{"id":32435,"date":"2026-06-08T14:18:53","date_gmt":"2026-06-08T12:18:53","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/haunted-landscapes\/"},"modified":"2026-09-09T18:44:30","modified_gmt":"2026-09-09T16:44:30","slug":"haunted-landscapes","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/haunted-landscapes\/","title":{"rendered":"Haunted Landscapes"},"content":{"rendered":"\n
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Valentina Berthelon CL<\/sup>Haunted Landscapes<\/em><\/em><\/h2>\n\n\n\n
Video installation <\/strong><\/h5>\n<\/div>\n<\/div>\n\n
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Exhibition \u201c Sensitive Cartography and Reconstructed Memories<\/strong><\/strong><\/strong> \u201d<\/a><\/h5>\n\n\n\n

From October 23 to December 13, 2026<\/strong> From Wednesday to Sunday, 2pm to 7pm<\/p>\n\n\n\n

La Belle de Mai Brownfield Site<\/strong>PanoramaMarseille<\/p>\n\n\n\n

Credits<\/summary>\n

Direction, production, and editing: Valentina Berthelon – camera (intro): Clara Becking – characters and masks: Daniela Gallegos, Javiera Gonz\u00e1lez, Agniezka Szuran, Carola Bel\u00e9n Espinoza, Lorena Or\u00f3stegui, Helen Feifel, Carolina Lazo, Francisco Abasolo – 3D scans: Jerez Felipe, Felipe Baeza, Konstantin Martens, Qu3st10n, RGM, Benjam\u00edn P\u00e1ez, Renato del Canto, Colectivo Antes del Olvido, Ignacio Far\u00edas – Eternal Echoes – VR by Kurtmalonnek Rpdeao Monacida Valentina Berthelon – audio recordings: Independent News and friends during the protests in Chile (2019\u20132020) – background music for News by Tobias Freund.<\/p>\n<\/details>\n<\/div>\n\n\n\n

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Haunted Landscapes<\/em> emerged from the social uprising that began in Chile in 2019, when protests against rising public transportation fares escalated into a broader revolt against decades of neoliberal policies. The Plaza de la Dignidad, the epicenter of the protests in Santiago, has become a space marked by rubble, graffiti, and spontaneous artistic interventions\u2014traces of a society seeking transformation. <\/p>\n\n\n\n

Using 3D scans and point clouds shared online by Chilean citizens during the protests, the work digitally reconstructs fragments of the Plaza de la Dignidad and its surroundings. Monuments, subway stations, and building facades are reassembled into a speculative landscape where their original symbolic functions are shifted. The buildings no longer celebrate institutional power; instead, they evoke rupture, reappropriation, and collective memory. <\/p>\n\n\n\n

As the physical traces of the uprising fade, this digital reconstruction becomes an act of preservation and resistance. A soundtrack composed of field recordings made during the protests anchors the work in lived experience, evoking an atmosphere of urgency and transformation. <\/p>\n\n\n\n

Within this virtual space, hooded hybrid figures appear\u2014co-created with Chilean women and Berlin\u2019s queer communities. Inspired by the balaclavas worn during feminist protests, these handcrafted forms are reimagined through mythology: part ghost, part monster, part cyborg. They move through the space as fragile presences that challenge fixed identities and dominant narratives of visibility and control. <\/p>\n\n\n\n

Blending documentation, myth, and digital fiction, *Haunted Landscapes* explores how urban memory can endure through poetic reconstruction. The work presents virtual space as a place where erased acts of dissent can reappear, opening up possibilities for remembrance, multiplicity, and collective imagination. <\/p>\n<\/div>\n<\/div>\n\n

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Valentina Berthelon<\/h2>\n
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Valentina Berthelon is a Chilean multimedia artist based in Berlin. Her work, which encompasses video, sound, animation, and immersive technologies, explores the intersections between art, technology, perception, and collective memory. Through poetic, multisensory installations and performances, she explores the invisible forces\u2014material, emotional, and symbolic\u2014that shape our experience of reality.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div><\/div>\n","protected":false},"featured_media":32323,"menu_order":0,"template":"","edition":[140],"type_oeuvre":[28,95,117],"class_list":["post-32435","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/32435","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/32323"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=32435"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=32435"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=32435"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}