Portafolio/ Verónica Troncoso

Verónica Troncoso Guzmán

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Verónica Troncoso | Portafolio

Verónica Troncoso GuzmánPortafolio

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Voices, stories and ghosts.

I am an academic as well as visual artist and sound artist.

Much of my creative work results in visual and sound instal-

lations which often concern a place a specific theme. A body

of research centred around the documents, personal stories and

archives about the repression in Chile during the dictatorship

in the 70’s . This theme uses a mixture of intersect with the

exile as symbol of flux of information and resistance into dif-

ferent countries which exchange a political history in common.

I am in the quest of the languages for talk about the end of the

utopias and the experience of the exchange, to able to produce

a new form for reflect about the real and imaginary borders.

I work with different materials: files, sounds, photography,

drawings and text, which I place in real spaces or in digital,

like Internet. The exhibition area is for me an experience in

which I can communicate in a open and creative way the

idea of the resist in different times and in a different contexts.

In my work is very important the experience with communi-

ties, my focus are in the search and the contact with different

realities which I can found in the places and in the archives..

Statement

Portafolio

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Index /

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Archive and Archeology of an Absence Pag. 44-55

Stories and ghostsExhibition the Archive of an absence Pag. 56-71

Performative readingThe Archive a an absence Pag. 72-81June 14Pag. 82-93

120 steps and a coffee. Memory and archive of political imprisonment of women in the Valparaíso Region Pag. 94-109

Project: Memory cartography in drifts routePag. 110-121

Collective Cartographies in Transit: Why Divide the Lands?Pag. 6 - 15

Sounds displacements of a resistancePag. 16 - 23

Traces of lightPag. 24-31

What is Resist?Pag. 32-43

Recent Work / 2014 - 2015


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/ Collective Cartographies in Transit: Why Divide the Lands?

/ ZK/U Berlin, October 2015

This work is part to my research project about the immigration of documents who was take out of Chile in Dictatorship times. I found these documents about Chile in FDCL Archive in Berlin city. Whit this materials I made a sound installation were I placed in di-alog the sound of different readers in different languages, they read an instructive who talk about how you can resist. At the same time, in the same space, I placed un table with a type-writer on top, in a one side of the typewriter I put one speakers with the interview of Urs Muller –who is an old man, who knew the stories of the document–, in the middle of the table I put a digital projector with a short film about Chile during the Punch in 1973.I an lateral wall I placed many cards paper with part of the instruc-tive. the idea was build the experience of the past, and in another hand, the impossibility to understand in the context of the end of utopias. In this sense, the sound, the different languages were the way to talk about the essence of resistance.


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Speakers areaTypewriter, speakers, table and film projector. Texts on the wall.

Film projection

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fig. 1. Collective Cartographies in Transit: Why Divide the Lands?Sounds, objects, and documentary film projection



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/ Sounds displacements of a resistancecollective exhibition

/ Errant Bodies / Berlin 2015

Two headphones, one slide projector and one chair was this sound installation in were I put the sound of the old german system heating, now use this system represent a gentrification resistance in Berlin city.In this sound installation, I proposed the exchange into the reading and the experience of the sound in two different layers, one is the visual when you read the text about the resistance in Chile during the Dictatorship and in another hand the sound of the old heating in Berlin city.the sound and the slide projection were the link into the past with the presente and the link was the time that the people could expend using the slide machine and listened the sound.


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Chair to see the slideshow

speakers and headphones

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fig. 1. Sound Displacement of a Resistancesounds and slides installation



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/ Traces of lightcollective exhibition

/ Neue Nachbarscaft / Berlin 2015

I this place for refugees in Moabit, Berlin, we made a collective in-stallation. The concept was put light in a dark place for that we use five slide projector in a different direction they lit up the pillars which in the past were a bowling. In the windows I wrote in german a text about resist in time of the cold war in a Federal Germany. In the exhibition during two day I was asking to many people who went to the site what means for them the resistance, I recorded the answers.


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Slides projection

Writings on window

Area of Slides projection

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fig. 1. Traces of lightWritings on window. fig. 2. Traces of light

Writings on window.


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fig.3. Traces of lightWritings on window.

fig.4. Traces of lightslide projection on the wall.


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/ What is Resist?Collective exhibition

/ ZK/U / Berlin 2015

What is resist? is a sound installation which work like a cowork-er space in which I placed four speakers with an individuals head-phones with four different sound records. The idea was build a space were share the sound as individual as well a collective experience.In the table, the people could listen the interview of Urs Müller talk about Chile in the 70´s; Martin Beikirch interview ho was talking abut his experience in jail in the 70’s when He printed a text which talks about the RAF (red army); the sound of the readers which read the instructive about how could resist; and the last sound was the record of people talked abut what mean for them the resist, sound which I recorded in a Refugees place.In front of the table I put a slide projector with many different phrases in german, spanish and english language. That phrases talked about the concept which I was working: the resistance, the flux, the letters power, etc. The projection was into a glass cabinet, in the same cab-inet I placed different drawings with my routes in Berlin and three documents about Chile in the 70`s.The individual experience in a collective space, the table with de headphones, was in some point an exercise of how you can connect not only the past with the present, also the History of Chile in the 70’s with the present and the in Europe through the universal idea of the resistance.


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Slides projection

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Documents installation

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Area of slides projection

Table


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fig. 1. What is Resist?Cabinet, Sounds installation, slide projection and work table.

fig. 2. What is Resist?Sounds installation, slide projection and work table.


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fig. 3 What is Resist?Sounds installation, slide projection and work table. Speakers, headphones, cables connection and pink fluor tape.

fig. 4 What is Resist?Sounds installation, slide projection and work table. Speakers, headphones, cables connection and pink fluor tape.


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fig. 5 What is Resist?Cabinet, drawings, documents and slide projection

fig. 6. What is Resist?Cabinet, drawings, documents and slide projection , detail.


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Archive and Archeology of Absence

www.arqueologiadelaausencia.cl

“El objeto estético nos ubica en relación con el vacío, permitiéndonos sentir la catástrofe pero sin llegar a dom-inarla nunca; nos facilita una reflexión crítica esencial sin comprometernos con gestos narrativos totalitarios o erróneamente quiméricos.”

Michael Lazzara, Prismas de la memoria.

The Archive Archaeology Absence, is a digital archive who contains

life stories of victims of repression during the military dictatorship in

Chile.

This Archive recovering quotidian stories that was are outside the

official archives on the military dictatorship.

The Archive Archaeology, rescue a personal registers from the family

of Missing People. The focus of recovering is especially from the photo

album, because they contain the visual story the person. The photo-

graphic images who were put out of the official archives by violence.

The personal documents are deposit in the file. The File program-

ming allowed to generate an interface you browse files that lets and

open way associative.

This file and the use of technology and the Internet, provide access

to a live, interactive file and deterritorialized, building a living and

collaborative memory.

Through this file, fiction and poetry the return of images to family

album, as repository of family and emotional memories that were

taken out of circulation by violence and then amnesia installed for

the State politics.

Portafolio

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MAP OF THE DIGITAL ARCHIVEWWW.ARQUEOLOGIADELAAUSENCIA.CL

Stories / The aura of the

Documents and registers of archives of victims of the dictatorship in Chile,

Archives life The action of the name

Biography

Stories

Photography

Written documents

Press

Videos

Sound Archive

http://arqueologiadelaausencia.cl/

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Figure .01 | http://arqueologiadelaausencia.cl/

Home Archive Archeology of Absence.The images are interspersed randomly each time that you enter the file or each time a new random order is requested. The random interface allows “move” the file, that way is left the users can see a new documents who was below.

http://arqueologiadelaausencia.cl/

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Figure .02 | http://arqueologiadelaausencia.cl/archivos/

This page containing each of the victims of repression of the military dictatorship, in total there are 16 files. Every Personal archive has a Biography, Stories, photographs, objects, News-papers, written documents, videos and sound file.

http://arqueologiadelaausencia.cl/archivos/

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Figure lenin-diaz-2/testimonios/lenin-diaz/

Testimony from Lenin Diaz Archive .Generated from interviews with relatives and some external information sources, was to created a sensitive biography, out-side the institutional archives and official documents.

Mi papá imaginario

Me producen ternura, por el solo hecho de pensar que estos objetos tuvieron contacto directo con mi papá, algo que yo tuve y de lo cual no guardo recuerdo, es muy fuerte. Con la cigarrera, ahora que yo fumo como enferma, y que tengo más años que mi papá en el momento de su detención, me hubiera gustado fumarme un cigarro con él. Cosas tan banales, tan cotidianas, pero cuando la ausencia te ha marcado, pasan a tener un valor supremo. Son verdaderos tesoros, lo que queda de alguien que no está físicamente. Tengo la fortuna de tener algunas cosas: se suma el reloj, el isopo, la chaqueta, la moneda, pero son casi objetos de culto, porque yo puedo sentarme y decirle a mi hijo: “Mira, esta cigarrera la tuvo tu tata y en algún momento la palpó, la usó”, y no tengo más que eso en lo físico, entonces es como un regalo, un tesoro, un testimonio. Yo quizás por un cuento de sanidad mental, nunca he sido de andar imaginando. Si bien como te contaba, me he dormido pensando en que quería soñar con él, no soy de pensar qué hubiera hecho mi papá, qué me hubiera dicho, pero sí no pasa casi día en que no… yo paso por mi casa y veo una foto de él y me comunico con él. Yo creo que es con quien más puedo conversar y compartir cuestiones. Él está muy presente. Pero más de mí hacia él, no imaginando cosas, porque creo que me haría más daño, a no ser en situaciones especiales he llegado a pensarlo, qué se yo. Ahí me marcó mucho mi mamá cuando chica que me decía que ya no estaba el papá y que no podíamos imaginar cómo sería la vida con él, porque el papá no está. Suena terrible, rudo, pero es lo que tenía que hacer. Yo era una niña chica y mi mamá me estaba protegiendo. Y ahora soy adulta y puedo hacer con mi mente lo que yo quiera y lo evoco como quiera. Pero como madre yo ahora entiendo que quizás haría lo mismo con mi hijo. Yo no recuerdo, pero me dice mi mamá que yo vivía pensando: “Y el papá que no llega”, entonces mi mamá tenía que sacarme de eso también.

La cigarrera es parte de mi papá imaginario, porque una de las fotos que fui recuperando es una que sale él fumando, con su pelo largo, fumando y mirando para el lado, si bien me acuerdo bien de esa foto cuando chica, después olvidé que fumaba, entonces hace poco me reencontré con los objetos y fue como acordarme que mi papá fumaba y bueno, yo también fumo. Estaba impeque la cigarrera, como si la hubieran comprado recién, no le ha pasado nada. Tiene un olor a cuero nuevo… Esto es reciente, no recuerdo haberla visto antes, no me llamó la atención, no sé… mi tema con la maleta era la ropa, pura ropa, sentirle la textura, palpar.

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Figure .04 | http://arqueologiadelaausencia.cl/archivos/maria-veronica-cienfuegos-cavieres/fotografias/monios/

los-cuadernos-de-registro/

Photography page. These photographs were registered from the personal archives of missing people familiar. These pho-tographs belong to Veronica Cienfuegos who was killed in 1981 for secret police.

http://arqueologiadelaausencia.cl/archivos/maria-veronica

http://arqueologiadelaausencia.cl/archivos/maria-veronica

http://arqueologiadelaausencia.cl/archivos/fernando-navarro-allende/testimonios/los-cuadernos-de-registro/

http://arqueologiadelaausencia.cl/archivos/fernando-navarro-allende/testimonios/los-cuadernos-de-registro/


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Stories and ghostsExhibition the Archive of absence

Museum of Contemporary Art, Quinta Normal,Individual exhibition.March-April 2015, Santiago Chile.

“Cuando uno reflexiona sobre la manera en que el estado dictatorial deshumanizó a sus víctimas privándolas de voz y rostro, usurpando sus identidades, etiquetándolas, asignándoles números, negándolas– uno comienza a entender el impulso humano de hablar por los muertos.”

Michael Lazzara, Prismas de la memoria.

“Stories and ghosts,” the exhibitiom of Archive Archaeology of ab-sence”. The exhibition articulates from building knots visual constellations photographic registers of documents, letters, objects and photographs from the personal archives the families of victims of the civil-military dictatorship in Chile.Constellations of pictures who were exhibiton on a wall, 15 meters long and 5 meters high. The images corresponding to different pho-tographic of events like: weddings, trips, baptisms, birthdays, school, etc. as well as documents and personal belongings.

The work presents 140 photographic register from different types of documents and in 4 different formats; 14 texts with fragments of stories pertaining to Archive Archaeology of Absence; 45 audios from archives that were exhibition in 4 speakers on the sides of the gallery.The exhibition materials worked in three dimensions: picture, text and sound. The intention was to experience and explore a different states of perception and understanding of the archive from since installation.The exhibition articulates Footprints and remains of “other”, which tell about the fragment as a poetic system of the processes of memo-rization. Memories that are now possible to perceive and experience as recognizable by the an bodies absence.

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15, 30 mts.

7, 10 mts. 6, 90 mts.

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Wall with pictures(pic. 01 + pic. 02+ pic 03 + pic 04 + pic 08 + pic 09 + pic. 010)

Sound area(Pic.. 01 + Pic. 02)

Stories written(Pic. 05+ Pic. 06 + Pic. 07 + Pic. 011)

Stories written(Pic. 05+ Pic. 06 + Pic. 07 + Pic. 011)

Sound area(Pic. 01 + Pic. 02)

PLAN

EMERGING PHOTOGRAPHY SPACEMUSEUM OF CONTEMPORARY ART

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Fig. 01 | “Stories and ghosts”, north view,Museum of Contemporary Art, Santiago Chile, 2015

Fig. 02 | “Stories and ghosts”, south view,Museum of Contemporary Art, Santiago Chile, 2015

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Fig. 03 | “Stories and ghosts”, detail wall pictures.Museum of Contemporary Art, Santiago Chile, 2015

Fig. 04 | “Stories and ghosts”, detail wall pictures.Museum of Contemporary Art, Santiago Chile, 2015

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Fig. 05 | “Stories and ghosts”, wall texts.Museum of Contemporary Art,

Santiago Chile, 2015

Fig.. 06 | “Stories and ghosts”, wall texts, detailMuseum of Contemporary Art,


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Fig. 07 | “Stories and ghosts”, wall texts, detailMuseum of Contemporary Art,


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Fig. 08 | “Stories and ghosts”, overview exhibition.Museum of Contemporary Art,


Fig. 09 | “Stories and ghosts” wall of photographs, approach.Museum of Contemporary Art,


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Fig. 010 | “Stories and ghosts” wall of photographs, approach.Museum of Contemporary Art,


Fig. 011 | “Stories and ghosts”, wall texts.Museum of Contemporary Art,



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Performative readingThe Archive of absence

Museum of Memory and Human Rights.Santiago, Chile, 2014

“Si la memoria se propaga como el sonido, la onda de memoria transmite energía a través de una materia (y esa materia es lo social en su conjunto): puestas en movimiento, las moléculas sociales transmiten la energía a las moléculas cercanas, y así sucesivamente. Si la memoria encuentra un obstáculo, lo rodea para seguir propagándose. Si la memoria se refleja, se producen ecos. Cuando mas sólida es la sociedad que funciona como medio de propagación, es más elástica: la memoria corre mas lejos y más rápido a través de sociedades de acero que de plastilina.”

Daniel Link, “Cine y dictadura: la problemática del archivo y la memoria expandida

Five people dressed in black, took the stage in the auditorium of the Museum of Memory to sit in a long table, the table was covered with a black cloth that left see only the torso up; the lighting was a completely dark leaving only at the readers.Each one synchronously read three readings, finally sixteen stories from the Archive Archeology of Absence were read.Simultaneously it was projected a video with words from the stories and images associated with the files from the personal archive of the missing people. At the same time, Images and texts were synchro-nized with the performative reading of texts.The reading lasted about 25 minutes.The experience of live voice, the voice ordered as an aesthetic object and generated temporary archive -performative moment. Taking the acquis to a archive as a body, the body of the reader mediated by the voice device.

The performative reading was triggered something who the writ-ten language is unable to transmit, a new temporal experiential. A fragmentary experience, that triggered by the impersonation of the original body, made by the readers, the fiction of the presence of the absent body.

WATCH VIDEO https://vimeo.com/123032664 SEE PICTURES Performative Lectura

https://vimeo.com/123032664

http://raz.cl/artwork/lectura-performativa-archivo-arqueologia-de-la-ausencia/


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Different times of the performative readingArchive Archaeology of Absence

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Fig. 01 | “Performative reading of Archives Archaeology of the Absence”5 readers, 17 stories, 1 table and background video.

Auditorium Museum of Memory and Human RightsSantiago Chile, 2014.



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Fig. . 03 | “Performative reading of Archives Archaeology of the Absence”5 readers, 17 stories, 1 table and background video.


Fig. . 04 | “Performative reading of Archives Archaeology of the Absence”5 readers, 17 stories, 1 table and background video.


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Fig. 05 | ”Performative reading of Archives Archaeology of the Absence”5 readers, 17 stories, 1 table and background video.





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June 14, 1977

Museum of Memory and Human Rights.Santiago, Chile, 2014

“La voz se sostiene en “la ley no escrita”. (Esta división es puesta vívidamente en escena en Antígona, con la distinción entre las leyes divinas no escritas y las leyes humanas de la polis.) Podríamos ver aquí un sucinto resumen de lo que Kant denominará, un par de milenios más tarde, la oposición entre moralidad y legalidad.Esta distinción depende de que se comprenda de cierta manera la división entre la voz y la letra, donde se concibe la moralidad como un asunto relativo a la voz y la legalidad como un asunto relativo a la letra.”

Dolar, Mladen. “Una voz y nada mas”

This exhibition was the result of research about the first hunger strike from Relatives of the missing people military dictatorship in Chile. The strike hunger occurred on June 14, 1977 at the CEPAL building in Santiago of Chile.In this artwork I explored the sound as archive and experience of time like ephemeral perception.

From the research archive about hunger strike who located in the Documentation Center Museum of Memory and Human Rights and interviews with survivors who participated in the strike, were creat-ed various sounds categories with a different thickness of intonation, rhythm and volume.6 different sound categories resulting from the archive: names of miss-ing family members, names of the strikers, letters, body sounds, frag-ments of testimony and official documents.With the different density types of sounds a sounds composition interspersed with silence spaces intervals was created.The different sounds were installed at 23 different locations speakers in the gallery. The 23 speakers, 15 were black plinth between 1.60 m,. 2.0 m high and 20 cm. in diameter, creating a space sensory of the experience route.The register of some documents were installed with a mixing differ-ent types of files and stories in a single space wall of the exhibition.

See full research : www.archivohuelga1977.cl

http://archivohuelga1977.cl/


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Wall pictures(pic. 02 + pic. 06+ pic. 07 + pic. 08)

Overlooking the sound installation(pic. 05)

Sound installation area(pic. 01 + pic. 03 + pic. 04 )

PLAN

GALLERY OF MEMORYMuseum of Memory and Human Rights

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Fig 01 | “June 14, 1977”Sound installation | listen composition

Sound installationMuseo de la Memoria y los Derechos Humanos

Santiago Chile, 2014.

Fig. 02| “June 14, 1977”Sound installation | Listen reading charts

Sound installationMuseo de la Memoria y los Derechos Humanos


http://archivohuelga1977.cl/audio/composicion-14-de-junio/

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Fig. 03 | “June 14, 1977“Sound installation | Listen keywords

Museum of Memory and Human RightsSantiago Chile, 2014.

Fig. 04 | “June 14, 1977“Sound installation | hear testimony


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Fig. 05 | “June 14, 1977“Sound installation | Listen strikers namesMuseum of Memory and Human Rights


Fig. 06 | “June 14, 1977“Sound installation and wall pictures | Play names of the missing people


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Fig. 07 | “June 14, 1977“Sound installation and wall pictures | The strikers


Fig. 08 | “June 14, 1977“Photo wall, detail | The research


http://archivohuelga1977.cl/huelguistas/

http://archivohuelga1977.cl/huelguistas/


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120 steps and a coffee. Memory and archive of political imprisonment of women in the Valparaíso Region

Valparaiso Cultural ParkValparaiso, Chile, 2015

“¿Cómo hacer la historia de los pueblos? ¿Dónde hallar la palabra de los sin nombre, la escritura de los sin papeles, el lugar de los sin techo, la reivindicación de los sin derechos, la dignidad de los sin imágenes? ¿Dónde hallar el archivo de aquellos a quienes no se quiere consignar nada, aquellos cuya memoria misma, a veces se quiere matar?”

Georges Didí- Huberman, Pueblos expuestos, pueblos figurantes

“120 steps and a coffee” is a artwork of research and creation about political imprisonment of women in the Region of Valparaíso during the last dictatorship in Chile . This research focused on the history of 9 women who shared political imprisonment in “Buen Pastor prison”-located in Valparaíso city.From interviews with each of women, the photography register of their personal archive and research in institutional archives, was created a visual work that exhibited an unprecedented file.Photographs, texts with different types of phrases from the testimonies and the sound of the complete story of each one of women, produced an intimate and sensitive work by through open relationships be-tween documents and sound.The artwork was made up of 25 photographs for the register of per-sonal archive: pictures inside prison, photographs departure into exile log objects produced in prison and registration of a letter who was sent a one woman during her politic prison.The artwork was also composed of 9 portraits of each of the women today, a text under each picture with the testimony about the clothes they wore the day of his arrest, clothes with which they had to stay 20 days as missing, the recording of the testimony of each of them and a pair of headphones to listen. Finally on a wall was printed and installed 9 sentences in which each described the places of detention . In this wall a list of 118 names of women who were detained in the region of Valparaiso, a list that has not been fully recognized by the State of Chile was also placed. This artwork sought to create from archive –like a language– using the archive logic to reconstruction of women’s stories and political imprisonment in regions of Chile.

View More Images: “120 steps and a coffee”

http://raz.cl/artwork/120-escalones-y-un-cafe-memoria-y-archivo-de-prision-politica-de-mujeres-region-de-valparaiso/


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Wall pictures, sound and text(pic 01 + pic. 02+ pic. 06 + pic. 07 +

pic. 08 + pic. 010 )

PLAN

GALLERY LABORATORYCULTURAL PARK OF VALPARAISO

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Fig.Sound installation and wall pictures.Valparaiso Cultural Park

Valparaiso, Chile, January 2015

Fig.. 02 | “120 steps and a coffee”Sound installation and wall pictures.

Valparaiso Cultural ParkValparaiso, Chile, January 2015

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Fig.. 04 | “120 steps and a cafe”Wall of photographs and texts


Fig.. 03 | “120 steps and a coffee”Texts and wall pictures.Valparaiso Cultural Park

Valparaiso, Chile, January 2015

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Fig.. 05 | “120 steps and a coffee”Texts wall, detail


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Fig.. 06 | “120 steps and a coffee”Wall pictures, text and sound.


Fig. 07 | “120 steps and a coffee”Wall pictures, text and sound.


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Fig.. 08 | “120 steps and a coffee”Wall pictures, text and sound., detail


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Fig. 09 | “120 steps and a coffee”Wall texts.


Fig. 09 |“120 steps and a coffee”Wall texts and photoghraps.



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/ Cartography of memory in dirfts route / Project

/ Project presented to the National Endowment for the fine ArtsFondart, 2014.

“Cartography of memory in drifts route” is a project was one who

sought make territorial register, about the stories human rights vio-

lations that occurred in the rural area of the Central Region of Chile

(Metropolitan and Fifth Region).

Registration of cases of human rights violations during the military

dictatorship (1973-1989), has a registration system that is basically

the identity number and is impossible found cases in a territory, this

erase homogenized the differences and the perception of these actions

violence that occurred in the dictatorship.

One of those is the territory, which was not a random factor in the

systems of repression. In the case of rural areas, they had a character

of revenge and many of the horrors were committed by civilian

landowners against peasants.

The project is a territory work as a virtual cartography from where

it is possible to know the location of these stories about human rights

violations.

The idea was to create an interactive map-file from which you could

access the recorded testimonies put into the territory.

The sound archive, was created for speak about the territory and

would be the virtual-place from which you could just listen and log

in to these stories, the sound archive to give body, place and visibility.

In this project, the aesthetics and the arts were put together to made

available for build a collective memory of the horror.


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Territory

Places

Other cases

Archive

Audible testimonials

Cases of violation of human rights

Site Map / Cartography of memory in dirfts route / Project

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Fig. 01 | “Cartography of memory in dirfts route / Model of sound

- Plan Metropolitan Region, Chile- Red set of points represent cases of human rights violations

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Fig.. 02 | “Cartography of memory in dirfts route / Model of sound

- Plan Metropolitan Region, Chile- Red set of points represent cases of human rights violations- Pop-up menu with the names of the places in which they occurred violations of human rights in rural area

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- Plan Metropolitan Region, Chile- Red set of points represent cases of human rights violations- Pop-up menu with the names of the places in which they occurred violations of human rights in rural area

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- Operation of a sound file:- Name of victim- Place event - Sound with the story of testimony

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email // [email protected]

Web site // www.veronicatroncoso.clwww.arqueologiadelaausencia.clwww.archivohuelga1977.cl www.artemasarchivo.clwww.archivosemergente.uchile.cl

Phone // +56 9 9183 3969Adress // Arzobispo Vicuña 16, Dept. 318, Providencia, Santiago, Chile.