The work of the Chilean visual artist Catalina Swinburn operates on the shifting border that she establishes between cult and artistic practice through the use of rites (performance) and the arrangement of objects. Her exploration of different visual media – video, installation, photography and performance – results in highly emotional images created with metaphoric and symbolic manipulations that challenge reality as a representation the artist is part of. She employs the intervention space to delve into personal and collective doubts where her own body establishes boundaries and bonds, claims and hopes. The artist seeks to make us reflect upon the gap between body and territory and upon the inhabiting passage. The process in which Catalina Swinburn creates her interpersonal work emphasises on the human necessity of the conditions of being, loss and destruction. Regenerating these narratives articulates a sense of urgency and a mode of resistance. With the continuous struggles globally and displacement of human beings, Swinburn expresses hope and freedom to the world and anticipates an openness for cultural dialogue. Great emphasis is laid on spirituality, nostalgia and tradition. Her work is presented as a syncretic bricolage, as an attempt to reconcile different doctrines, a process of transculturalization and miscegenation, the union of the sacred and the secular. All of this summarizes her identity as a female Latin American artist in an era with a multiplicity of encounters and realities. The artist’s body appears as a metaphor of the space where representations of difference and identity take place. The tension between the experience of women and the cultural significance of the female body is thus manifested. Contingency issues have always been present in Catalina Swinburn’s work in which the following question is raised: where is the limit of the past and the present, of death and the vital drive, of vigil and sleep, of the real and the imaginary, of the game of borders? This and other questions are addressed by a body of work from hazy territories, prodigal though blurry zones, the vagueness of which leads us to the realm of the subconscious. It takes us through the borders of the here and beyond, the archaic and the contemporary, into the multiple memory “of permanence” either as myths or reality.

Born 1979. Santiago, Chile

BA in Fine Arts. Catholic University of Chile. Chile

Lives & Works Buenos Aires, Argentina & London, UK

Represented by Selma Feriani Gallery & Isabel Aninat Gallery


Selected Solo Exhibitions

2018 Narratives of Displacement. Selma Feriani Gallery. Tunis, Tunisia

2016 La Frontera Perfecta. Centro Cultural Matta. Buenos Aires, Argentina

Fissures. Selma Feriani Gallery. Sidi Bou Said, Tunisia

2013 Arqueologia Anticipada. Isabel Aninat Gallery. Santiago de Chile, Chile

2012 Indulgences. Selma Feriani Gallery. London

Utopia installation. Farm Street Church. London, England

2011 Paraíso Perdido. Fundacion Collahusi. Iquique, Chile

Lujoso Silencio. Cecilia Gonzales Gallery. Lima. Perú

2010 Status Quo. Sala de Arte CCU. Santiago de Chile, Chile

2008 Lugares Comunes. Project Public Space. Vitacura. Santiago de Chile, Chile

No Hay Peor Ciego, Que El Que No Quiere Ver. Isabel Aninat Gallery. Santiago de Chile, Chile

2007 In Contemplation. 5006 Gallery. Buenos Aires, Argentina

2005 Piezas de Collección. Isabel Aninat Gallery. Santiago de Chile, Chile

2004 In Memoriam 12.05.04-05.06.04. Die Ecke Gallery. Santiago de Chile, Chile

In Memoriam. Animal Gallery. Santiago de Chile, Chile

Obituario. Animal Gallery. Santiago de Chile, Chile

2002 Memoria Velada. Animal Gallery. Santiago de Chile, Chile

En Memoria. Isabel Aninat Gallery. Santiago de Chile, Chile


Selected Group Exhibitions

2018 FRÜHLING [´fry:ling], der: weiblich. Mario Mauroner Contemporary Art Vienna. Vienna, Austria

2017 Examples to Follow / Expeditions in Aesthetics & Sustainabiity. Global Touring Exhibition. Curated by Adrienne

Goehler. Parque Cultural de Valparaiso. Valparaiso, Chile

2016 Arte Con-Texto. Museo de la Universidad de Antioquia & Museo de la Universidad de Medellin. Medellin

2015 Migrations in Contemporary Art. Muntref. Buenos Aires, Argentina

2014 Portrait Redux. Selma Feriani Gallery. Tunis, Tunisia

2013 Portraits. Selma Feriani Gallery. London, U.K.

2012 About Change. World Bank. Washington, U.S.A.

2011 Con-Texto. Artnexus Space. Bogotá, Colombia

Art & Money, Dangerous Liaisons. Curated by Sebastian Gokalp. Monnaie du Paris. Pairs, France

2010 Pieta. Isabel Aninat Gallery. Santiago de Chile, Chile

2009 Cohortes. MAC Museo de Arte Contemporaneo. Santiago de Chile, Chile

2008 Sesgos Miticos en el Arte Chileno. Extention Centre of the University of Chile. Santiago de Chile, Chile

2007 Haber. MAVI Museo de Artes Visuales. Santiago de Chile, Chile

Handle with Care. Museo de Arte Contemporaneo. Santiago de Chile, Chile

2005 Relocacion. Isabel Aninat Gallery. Santiago de Chile, Chile

2004 Fotoamerica. Isabel Aninat Gallery. Santiago de Chile, Chile

In Memoriam 12.05.04-05.06.04. Valenzuela & Klenner. Bogota, Colombia

2003 Non SIte. Cultural Centre of Las Condes. Santiago de Chile, Chile

El Objeto en el Arte Chileno. Telefonica Foundation. Santiago de Chile, Chile

2002 Kent Installations. Santiago de Chile, Chile

Erased Borders. Miami, U.S.A.



Pilar Citoler Foundation. Cordoba, Spain

Balanz Capital Collection. Buenos Aires, Argentina

Latin American Art Collection Artnexus. Bogotá, Colombia

CCU Art Collection. Santiago de Chile, Chile

ICC Contemporary Institue of Culture. Sao Paulo, Brazil

Arte Al Dia Collection. Miami, U.S.A.

Rosenblum Foundation. Buenos Aires, Argentina

Permanent Public Intervention. Vitacura Parks. Santiago de Chile, Chile