© Gianni Wise, 2012-18

| | |

Decaptioned, Disaster Tourism, Rubyayre
Bronia Iwanczak, Suzanne Treister, Philipa Veitch, Gianni Wise
Curated by Bronia Iwanczak
May 31 – June 16 2001
Decaptioned. Manilla folders, folders, mdf, metal brackets, office chair, paper, twine, flour, copies of released
files from negotiations between Henry Kissenger and the Chilean Secret Police, copies of redacted surveillance files
that the Chilean secret police maintained, personal diaries.
The cardboard filing systems pointed to the surveillance files that the Chilean secret police and courts had maintained
for so many of their citizens. Inserted with records from Kissenger's relationship to the coup and personal accounts
during the time I lived there. Shelving and chair. Packets of flour. The packet simply referred to food parcels and perhaps torture.
See *Catalogue essay* by Richard Grayson.
An exhibition reflecting on the nature of disaster as a form of tourism; a form of entertainment for the North.
Cultural voyeurism?


from Broadsheet review by Alex Gawronski (The Art of Living Dangerously: Disaster Tourism - Broadsheet 10, 2001)

"Distinct from Iwanczak’s photographic exploration is Gianni Wise’s collection of forlorn manila folders. These amass
on a sagging wooden shelf in piles and bundles. Beneath them are a series of indistinct paper-wrapped packages one
can only assume contain food or some other basic human necessity. The folders themselves contain files and personal
reminiscences of the years the artist spent in Chile under the dictatorial reign of Augusto Pinochet. The work therefore
evinces a sense of direct exposure to the disasters of political tyranny. At the same time Wise evokes in his accounts a
decidedly self-deprecating humour. The artist recounts attempts to master Spanish while approximating first hand the
full extent of the political destruction wreaked by Pinochet’s regime.