From Carts to Art in Aconcagua: A Utilitarian Symbol of Local History Was the Inspiration for the First International Sculpture Park in This High Verdant Valley in the Chilean Andes

By von Flotow, Luise | Americas (English Edition), March-April 2002 | Go to article overview

From Carts to Art in Aconcagua: A Utilitarian Symbol of Local History Was the Inspiration for the First International Sculpture Park in This High Verdant Valley in the Chilean Andes


von Flotow, Luise, Americas (English Edition)


When Ricardo Vivar was growing up in Putaendo, Chile, in the 1950s, it was a favorite game for children to hitch onto the big old ox-carts that rumbled through town and get towed along behind on their roller skates. When he returned to Chile in the late 1980s, after many years abroad, the carretas had virtually disappeared, or worse, been turned into lawn ornaments. Vivar, a man given to abrupt conversations and brusque gestures, says, "I hated seeing them rotting away or decorating the front gardens of country restaurants." So Vivar, an artist in his own right, conceived a sculpture park on the outskirts of his hometown, as an effort to rescue these typical Andean vehicles from complete extinction, or from burial in museums.

Vivar found that the few remaining carts still on the road had been adapted to new uses, turned into trailers for pick-up trucks, with small rubber-tire wheels replacing the original handmade wooden ones which, in turn, had been recycled as items for interior decoration. The Isla Negra residence of Pablo Neruda, for example, has such all iron-rimmed wheel as a dining table with a circular glass top, while two others decorate the entrance to the poet's house on the Pacific coast.

Vivar's first sculpture, which consists of an original carreta entirely clad in cut-outs of agricultural scrap metal, was a response to his malaise. Using the technique he calls "madera perdida" (lost wood), Vivar spent weeks torching metal decorations out of old scrap and then applying them to the old wooden cart. Inspired by the Homage to Hoffmann; Begin the Beguine, a chair sculpture by Japanese artist Shiro Kuramato, Vivar wrapped an antiquated object that for years had served a very functional purpose, preserving it in an altered, sculpted state. He says he wants to "give the carts new meaning from an artistic perspective, place them back into history through artistic interventions." The result is an enormous wooden structure about eighteen feet long and nine feet wide, with a ten-foot tongue and five-foot high wooden wheels, now completely clad in metal cookie-cutter shapes. The lading platform has five-foot-high also wrapped in metal.

The object stands on the enormous stony plateau above the town, called El Llano, with the mountains of the cordillera rising beyond. Since September 2000, when this first sculpture was completed, another carreta sculpture has joined the first, and two more carts are waiting on the sidelines. These are modern adulterated versions, one painted turquiose green, and both with their tongues shortened and lightened so that they can be towed by pick-up trucks rather than oxen.

Over the course of the work on the first sculpture, Vivar raised a lot of community interest, especially in the newly formed cultural committee, headed by retired biology professor Bernardo Parra. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

From Carts to Art in Aconcagua: A Utilitarian Symbol of Local History Was the Inspiration for the First International Sculpture Park in This High Verdant Valley in the Chilean Andes
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.