“THE TRANSITION FROM DICTATORSHIP TO DEMOCRACY CORRESPONDS TO THE IMAGE THAT DISAPPEARS IN THE PRINTMAKING PROCESSES (ETCHING) AND THEN REAPPEARS (PRINTED ON THE PAPER). MY WORK CALLS TO THE NEED FOR A SEARCH FOR JUSTICE AND TRUTH, WHICH BY NO MEANS IS FINITE OR TERMINAL, BUT RATHER AN INITIATIVE THAT EXISTS IN AND WITH TIME."
THE-RIGHT-TO-KNOW: UNDER THE U.S. SKY [artist book], 2017
Unique
Medium: hand paintings. charcoal powder on plastic
Dimensions: 24.0 in W x 33.0 in H x 1.5 in D (closed)/ 61 cms W x 84 cms H x 4 cms D (closed)
Binding Type: Clam shell box, Cowley's Sheepskin, Parchment, loose paintings
Medium: Charcoal hand paintings on plastic sheets
Publications:
- Right to know and Make the Economy Scream. Parenthesis 33, 2016, pp. 60-61 by Ian Kahn.
- The 97th Annual International Competition. Exhibition Catalogue, Print Center, Philadelphia, PA, 2023 by Liz Sheehan
- Maria Veronica San Martin, Memoriales Abiertos — Artishock Magazine, March 27, 2024
- Artista chilena María Verónica San Martín inaugura sobre la memoria en EEUU — El Mostrador, Newspaper, 03/12/2023 - "Evoking Memory as a Living Entity" — Lincoln Center — Empire State Tribune Newspaper
The-right-to-know: Under the U.S. Sky [silo], is an installation of 35 portraits in the exterior of a silo which refers to the United States intervention in Chile during the military dictatorship (1973-1990). The work is based on information taken from the declassified documents provided by the National Security Archive within its Chile Project, which began in the late 1990s following when Pinochet was detained in London from crimes against humanity. The identities of some of the disappeared disintegrate by the sun and rain over time, under the sky of the United States.
