It will be based on the project presented in Cartagena de Indias in the last congress, which was also inspired by the name of the city - Cart[ajena], a pun coming from “carta” (letter) and “ajena” (foreign) -. The artists will carry out a series of interventions arising not just from previous works, but also from their stay in Valparaíso and their common experiences of the work process.

With its title, the curators, Jorge Díez (Madrid, 1954), José Roca (Barranquilla, Colombia, 1962) and Paulina Varas (Valparaíso, 1975), intend to show the public how a subtle orthographic change can turn the name of the city itself into a neologism, thus turning a private matter into a foreign concept. As it already happened with Cart[ajena], the diaeresis on the a of Välparaíso creates a surprising visual feeling which refers to the poetic licence of the 19^th Century through which a vowel could be extended in order to prolong its duration on the verse. As the artists stated, the project is based on “regarding the city as a language the artists have to decipher, translate or interpret by considering urban interventions inventions of different imaginaries of the city.”

The invited artists are Ricardo Basbaum (São Paulo, Brazil, 1961), who will execute an “architectural-sculptural temporary structure” in one of the squares of the city; Raúl Belinchón (Valencia, Spain, 1975), whose Tierras en Silencio (“Silent Territories”) alludes to the disappeared languages of the Chilean territory through an approach to geographical spaces; the group Democracia, made up of Iván López and Pablo España (both of them born in Madrid, Spain, 1971) will present No os dejéis consolar (“Don’t let yourself be comforted”), a project that reflects on the role of spectacle in contemporary societies by means of an intervention in the pitch of the football stadium Santiago Wanderers of the city; Discoteca Flaming Star, made up of Cristina Gómez Barrio (Madrid, Spain, 1973) and Wolfgang Mayer (Kempten, Germany, 1967) will continue their reflection on the performance documentation beyond their recording; Jon Mikel Euba (Bilbao, Spain, 1967) will present a new lecture of Re:horse, a performance revolving around the conception of text as notes and the translation itself; Esther Ferrer (San Sebastián, Spain, 1937) will carry out the performance Les voy a contar mi vida (“I am going to tell you my life”), in which a group of people does exactly that: tell their life to those wishing to hear it; La Más Bella, a group made up of Diego Ortiz (Madrid, Spain, 1968) and Pepe Murciego (Madrid, Spain, 1967) will make a special limited edition of their experimental magazine; Miler Lagos (Bogotá, Colombia, 1973) will present a personal approach to the co-existence of nature and architecture in Valparaíso and the persistence and resistance through which both elements manage to exist; Fernando Llanos (Mexico, 1974) will present the work Orgullo Local (“Local Pride”), a urban project for Valparaíso, which will put forward a reflection on pride, identity and history; Juan López (Alto Maliaño, Cantabria, Spain, 1979) will talk about the signs of some commercial streets turned into mottos that have lost their previous role; Rafael Lozano-Hemmer (Mexico City, 1967) will present Tercera Persona (“Third Person”) (2006), an interactive piece with an integrated surveillance system addressed at the spectator; Priscilla Monge (San José, 1968) will show a video of the place known in Valparaíso as “la piedra feliz” (“the happy stone”), off which many young people could have thrown themselves; Guisela Munita (Valparaíso, 1971) will present, subsequently to an intervention in Serrano street, Vivir mejor (“Living Better”), a work that shows her interest for the “re-writing of the city”, Valparaíso; Carme Nogueira (Vigo, Spain, 1970), will show the series of short videos Porteños, on how she learnt their history and the discourse of the port of the city; Catalina Parra (Santiago de Chile, 1940) will exhibit an audiovisual intervention “as a tribute to the suffering Mapuche people within the context of the Chilean Bicentenary”; Populardelujo, a group made up of Juan Esteban Duque (Envigado, Colombia, 1974), Roxana Martínez (Bogotá, Colombia, 1974) and Esteban Ucrós (Bogotá, 1979) will suggest the visitors of the exhibition to carry out a particular graph street search in order to attract both their visual and their communicative attention; Fernando Prats (Santiago de Chile, 1967) will present his installation Gran Sur (“Great South”), in allusion to the expedition that Sir Ernest Shackleton could never fulfil; Luis Romero (Caracas, 1967) will try to compose an alphabet of signs by recovering typographies no longer used; Pedro Sepúlveda (Santiago de Chile, 1972) will show his Campeonato de Futbol en pendiente “PICHANGA” (“Football Championship on a slope”), which represents his reflections on artistic interventions in public spaces by studying the traditions of the city clubs; Christian Silva (Santiago de Chile, 1969) will produce an intervention entitled Perifoneo with which he will spread his text around streets and heaps of the port; the group Sitesize, made up of Elvira Pujol and Joan Vila-Puig (both born in Barcelona, 1969 and 1961) will show their perspective of the city of Valparaíso through the Mapuche notion of AMPIN: “making the soul speak”; Tamara Stuby (Poughkeepsie, United States, 1963) will build a floating pier as an extension of the public space; Humberto Vélez (Ciudad de Panamá, 1965) will invite poets, musicians and local popular singers to his performance; and lastly, Azucena Vieites (San Sebastián, Spain, 1967) will continue with her work on the femzines or feminist fanzines.

It will be based on the project presented in Cartagena de Indias in the last congress, which was also inspired by the name of the city - Cart[ajena], a pun coming from “carta” (letter) and “ajena” (foreign) -. The artists will carry out a series of interventions arising not just from previous works, but also from their stay in Valparaíso and their common experiences of the work process.

With its title, the curators, Jorge Díez (Madrid, 1954), José Roca (Barranquilla, Colombia, 1962) and Paulina Varas (Valparaíso, 1975), intend to show the public how a subtle orthographic change can turn the name of the city itself into a neologism, thus turning a private matter into a foreign concept. As it already happened with Cart[ajena], the diaeresis on the a of Välparaíso creates a surprising visual feeling which refers to the poetic licence of the 19^th Century through which a vowel could be extended in order to prolong its duration on the verse. As the artists stated, the project is based on “regarding the city as a language the artists have to decipher, translate or interpret by considering urban interventions inventions of different imaginaries of the city.”

The invited artists are Ricardo Basbaum (São Paulo, Brazil, 1961), who will execute an “architectural-sculptural temporary structure” in one of the squares of the city; Raúl Belinchón (Valencia, Spain, 1975), whose Tierras en Silencio (“Silent Territories”) alludes to the disappeared languages of the Chilean territory through an approach to geographical spaces; the group Democracia, made up of Iván López and Pablo España (both of them born in Madrid, Spain, 1971) will present No os dejéis consolar (“Don’t let yourself be comforted”), a project that reflects on the role of spectacle in contemporary societies by means of an intervention in the pitch of the football stadium Santiago Wanderers of the city; Discoteca Flaming Star, made up of Cristina Gómez Barrio (Madrid, Spain, 1973) and Wolfgang Mayer (Kempten, Germany, 1967) will continue their reflection on the performance documentation beyond their recording; Jon Mikel Euba (Bilbao, Spain, 1967) will present a new lecture of Re:horse, a performance revolving around the conception of text as notes and the translation itself; Esther Ferrer (San Sebastián, Spain, 1937) will carry out the performance Les voy a contar mi vida (“I am going to tell you my life”), in which a group of people does exactly that: tell their life to those wishing to hear it; La Más Bella, a group made up of Diego Ortiz (Madrid, Spain, 1968) and Pepe Murciego (Madrid, Spain, 1967) will make a special limited edition of their experimental magazine; Miler Lagos (Bogotá, Colombia, 1973) will present a personal approach to the co-existence of nature and architecture in Valparaíso and the persistence and resistance through which both elements manage to exist; Fernando Llanos (Mexico, 1974) will present the work Orgullo Local (“Local Pride”), a urban project for Valparaíso, which will put forward a reflection on pride, identity and history; Juan López (Alto Maliaño, Cantabria, Spain, 1979) will talk about the signs of some commercial streets turned into mottos that have lost their previous role; Rafael Lozano-Hemmer (Mexico City, 1967) will present Tercera Persona (“Third Person”) (2006), an interactive piece with an integrated surveillance system addressed at the spectator; Priscilla Monge (San José, 1968) will show a video of the place known in Valparaíso as “la piedra feliz” (“the happy stone”), off which many young people could have thrown themselves; Guisela Munita (Valparaíso, 1971) will present, subsequently to an intervention in Serrano street, Vivir mejor (“Living Better”), a work that shows her interest for the “re-writing of the city”, Valparaíso; Carme Nogueira (Vigo, Spain, 1970), will show the series of short videos Porteños, on how she learnt their history and the discourse of the port of the city; Catalina Parra (Santiago de Chile, 1940) will exhibit an audiovisual intervention “as a tribute to the suffering Mapuche people within the context of the Chilean Bicentenary”; Populardelujo, a group made up of Juan Esteban Duque (Envigado, Colombia, 1974), Roxana Martínez (Bogotá, Colombia, 1974) and Esteban Ucrós (Bogotá, 1979) will suggest the visitors of the exhibition to carry out a particular graph street search in order to attract both their visual and their communicative attention; Fernando Prats (Santiago de Chile, 1967) will present his installation Gran Sur (“Great South”), in allusion to the expedition that Sir Ernest Shackleton could never fulfil; Luis Romero (Caracas, 1967) will try to compose an alphabet of signs by recovering typographies no longer used; Pedro Sepúlveda (Santiago de Chile, 1972) will show his Campeonato de Futbol en pendiente “PICHANGA” (“Football Championship on a slope”), which represents his reflections on artistic interventions in public spaces by studying the traditions of the city clubs; Christian Silva (Santiago de Chile, 1969) will produce an intervention entitled Perifoneo with which he will spread his text around streets and heaps of the port; the group Sitesize, made up of Elvira Pujol and Joan Vila-Puig (both born in Barcelona, 1969 and 1961) will show their perspective of the city of Valparaíso through the Mapuche notion of AMPIN: “making the soul speak”; Tamara Stuby (Poughkeepsie, United States, 1963) will build a floating pier as an extension of the public space; Humberto Vélez (Ciudad de Panamá, 1965) will invite poets, musicians and local popular singers to his performance; and lastly, Azucena Vieites (San Sebastián, Spain, 1967) will continue with her work on the femzines or feminist fanzines.