El Museo se encuentra ubicado en pleno centro de Santiago, en la esquina de las calles Bandera y Compañía, a una cuadra de la Plaza de Armas.
Chileans and resident foreigners: $1,000 Foreigners: $8,000 Chilean students and resident foreigners: $500 Foreign students: $4,000
El Museo cuenta con un servicio de guías, sin costo adicional, para los establecimientos educacionales.
Invitamos especialmente a coordinarse con alguno de nuestros guías para programar una visita o actividades de motivación y seguimiento que aprovechen de la mejor forma la experiencia de visitarnos.
Download recordings of the Permanent Exhibition display texts in English, French, Portuguese and Spanish here. These audioguides are in mp3 format and are arranged by cultural area, following the same order as our exhibit galleries. Descargue desde esta página audioguías en castellano, inglés, francés y portugués con los textos de las vitrinas de la […]
This site focuses on the art of the peoples of the Americas, grouped according to Cultural Areas.
The exhibition ranges from the oldest groups of fishermen to the current native peoples.
These smaller sites are dedicated to the temporary exhibits that the Museum has mounted each year.
Mesoamerica is the area that covers the present-day countries of Mexico, Guatemala, Honduras, El Salvador and part of Nicaragua.
The Intermediate Area includes the territories of Colombia and Ecuador.
The Caribbean Area extends across the Caribbean Sea and the Antilles.
These indigenous groups inhabited the Americas before the arrival of Europeans. They are often identified by the style of their artwork, the territory they inhabited and the period(s) during which they lived.
These human groups are the direct descendants of certain pre-Columbian cultures and retain some of their social and cultural elements, distinguishing them from the rest of the population. Most of these groups also have their own language.
This site contains hundreds of pages of information, drawings, animated clips, comics, audio clips, games and videos made especially for kids about the cultures and prehistory of the Americas.
The Museum's Audiovisual Archive, created in 1989, includes an Ethnographic Video Archive and an Indigenous Music Archive. The Audiovisual Archive is housed in the library.
The colonization of the Americas revolutionized the Old World of Europe in countless ways.
The fifty pieces from the Museum’s collection that are found in this section display basic iconography from several distinct cultural areas of the Americas.
Zona interactiva. Juega, explora y aprende con la cultura precolombina.
In this section, you can know more about 20 musical instruments in the Museum´s collection through photographs, sound clips, diagrams and explanations.
Check the news adcquisitions.
Since it was founded thirty years ago, the Museum has produced a wide range of publications on pre-Columbian art and cultures.
The Boletín del Museo Chileno de Arte Precolombino is a biannual magazine, founded in March 1985. Currently, it is the only specialized periodical of its kind in Latin America.
Revise en línea nuestro catálogo de libros, separatas, videos y música: biblioteca.precolombino.cl
During the 1970s, Sergio Larraín García-Moreno became increasingly aware of the importance of his collection and of the urgent need to establish an ongoing institution for its permanent and overall care.
Los arqueólogos del área de curaduría son los responsables de crear los contenidos de las exposiciones del museo. Además han desarrollado diversas líneas de trabajo centradas en el legado artístico de los pueblos originarios de América.
The laboratory is responsible for the registry, conservation and restoration of the collections comprising the Museum"s patrimony.
Conoce las noticias y actividades del Museo Precolombino.
The Museum Store features a wide range of articles: Reproductions of pre-Columbian pieces exhibited in the Museum, indigenous crafts, books, videos, CDs, clothing, tote bags, postcards, and more.
Receive our weekly schedule of events and news of outreach activities offered by the Museum.
Sheila Hicks smiles when she finds, intact in her memories, the names of the streets in Santiago, the walks through the Parque Forestal and the profound human dignity she found here, in South America, six decades ago.
In 1957, at 23 years of age, the young Sheila left her native United States to undertake an incredible trip, following the Andes Mountains from Venezuela to Tierra del Fuego. Then a painter, it was in Ecuador, Perú, Bolivia, and Chile where she discovered textiles, whose intelligence and simplicity impacted her to such an extent that they changed her life, and her work, forever.
Since then, Sheila Hicks’ textiles have been displayed in the most important museums and galleries in the world. Weeks from turning 85 years old, she continues working every day at her atelier, mixing distinct materials only for pleasure, the pleasure of discovery.
“All of my works are a huge game”, explains the artist, surrounded by plants, colors and fabrics on a warm afternoon in Paris. Her most recent game is the exhibition Reencuentro, curated by the Chilean researcher Carolina Arévalo, which will be on display until January 2020 at the Museo Chileno de Arte Precolombino.
Your first impression of Santiago in 1957 was of a grey and crowded city, in comparison with the beautiful villages and places you had previously seen on your trip down the Andes. What are your memories of the city and your expectations for this reunion?
You are asking me about things that happened in 1957. Imagine that. I have to try to remember what I thought—Sheila pauses, silently, for a few seconds and then continues—. Calle Huérfanos. That scared me. The office where I had to go to notify that I had arrived in Chile was on Calle Huérfanos. I got my mail on that street for five months and it was shocking to me, it wasn’t poetic, it was a little sad. Huérfanos! Imagine that. After that I lived on Calle Merced, near the Parque Forestal. That was much happier. Better than Huérfanos, right?—she laughs—. Leaving from this little house on Merced was the Parque Forestal, which was for me a spectacular garden, very beautiful. Is it still beautiful, do people still go there a lot? Is it still open or did they put a wall around it?
It’s still beautiful, open and very popular.
That’s fantastic. On Calle Merced I had a little balcony with a very large window. I opened the window and had the Parque Forestal as a garden. To be able to have the park right in front of my door was incredible. Then, my impression of Santiago improved every day.
How were those first days in Santiago?
In the beginning I didn’t have any furniture. I went to a store that has its stock on sale and asked them to sell me a bed. For a while, that was the only thing I had. Afterward I went to La Vega and bought two wicker chairs, because they were very lightweight and I could walk with them. I walked about twenty blocks, I could sit on the street, rest, and keep walking with my two chairs. I believe I also bought a wicker table. Since I had nothing to hang on the walls, I took all of my dresses and blouses and hung them, I made a very nice composition. So I felt accompanied, not so alone, living with my few, but essential, pieces of furniture, with my dresses hanging on the wall, which became my companions, and with the Parque Forestal in front.
Are you excited to return to your old neighborhoods, to return to see the Parque Forestal?
Very excited. When I arrived in Santiago in September of 1957, it was spring. I walked through the Parque Forestal with the German landscape architect Oscar Prager, who designed it. I remember lots of diverse plants. Little by little I came to know not only Santiago Centro, but also Providencia, a little bit of all the surroundings. There were lots of beautiful gardens. After that I went by motorcycle to Valparaíso with an architect my age, very young, about 25 years old, who invited me to see the landscape. Imagine the impression I have of Chile traveling like this. I traveled along the entire coast, I went to La Ligua, I went to Isla Navarino, do you know where that is? In the extreme South. I went there on a little boat, and I also traveled on a small plane with a group of cartographers who were making maps of the region. It was very pretty. I traveled with the photographer Sergio Larraín. His father is the founder of the Museo Precolombino, where I will exhibit, but at that time, when I was there, he was the dean of Architecture at the Universidad Católica. He met me when I arrived.
As you said, the Museo Chileno de Arte Precolombino was founded by Sergio Larraín García-Moreno, the father of Sergio Larraín Echenique, both important people on your first trip to Chile. What does it mean for you to reunite with this part of your history?
I feel delighted to be able to bring my granddaughters. They, for the first time, are going to know the country of their grandfather. The emotion is very strong. They know the folklore and they meet some Chileans who come to Paris, but they don’t know Chile. I want them to go around, to travel, to go to Chiloé, Temuco, Valdivia. I am going back in my thoughts, in my memory, my history, through them as they are so young.
The exhibition Reencuentro will have you returning to Chile after fifty years. Why did you agree to do this, and why now?
Because I dance when I am invited to dance. There were Chileans who invited me to return to Chile to do something and I loved it. I was lucky to meet Carlos Aldunate, the director of the Museo Chileno de Arte Precolombino, who was in Paris on a visit. He knew the exhibition I did two years earlier in the Museo de Puebla in Mexico, he came to my atelier and said to me, why not in Chile? And yes, why not.
Some of the pieces you created during your stay in Chile, and which you will display in Reencuentro, were named after places in the country (Zapallar Domingo, Chiloé-Chonchi, Parque Forestal, and Tacna Arica). How did the landscapes and the architecture inspire your creative practice?
In Chile it wasn’t the architecture that inspired me as much as the villages, the landscapes and the people. The way that people lived, improvising life in the field. I loved that. To see how people worked manually, producing their houses, their furniture, their dresses, their food, fishing. It impressed me a lot to see how people were independent in the sense that they knew how to build a life. In cities like Paris, New York or Chicago, people don’t know how to live without the supermarket, without all that which is separated from the little, essential, poetic things of life. When I lived in Chile, I loved seeing how people improvised every day and every night. It is fantastic because there is an individual expression, there isn’t repetition, everyone is an individual with a personality, preferences, ideals, and creative abilities.
These people or this way of doing that you found in Chile, does it continue to inspire you?
Yes. They gave me standards. When I was young, my way of judging was a little naive. The people I met helped me establish my levels of culture and the orientation of my appreciation. That, once it is established in your perception of life, follows you forever. I live in Paris, but the bases of my cultural framework are from school when I was young and from all the trips I took, making an impression on me and discovering the world with very good guides. That was my luck, to meet people in Chile who helped me form my cultural framework to this day.
In your trip through South America, what was the main thing you learned about yourself and your way of understanding art?
To begin with, I did not know what art was. I didn’t know it, I had a preconception. And when you are traveling alone you aren’t looking for art, you aren’t looking for an adventure in art. You are on the adventure of surviving. The luxury of thinking about art was impossible, my concerns were where I am going to sleep, where I am going to eat, and how I am going to protect myself. At that time I spoke hardly any Spanish, I learned later when I had more security. I was too scared to be thinking about art. When I was in college, in the School of Art we studied all the different historical cultures of the East, of Africa, European, and I do not know why the pre-Columbian culture attracted me the most. The people, the things they made, the weavings that were so simple and so complicated at once, they represented a type of dignity I admire. There is a profound human quality in the highland population. That was my impression when I was in Ecuador, Perú, Bolivia, and Chile. The highland is a silent and spiritual place that attracted me a lot, with a dignity that is rarely seen, a very deep kind of silence. There are people who talk all the time and never say anything. There are people who talk very little but you feel that they have much to say.
How was your relationship with the indigenous communities you met in South America? How did you contact them, how did you communicate?
I had the fortune of being interested in textiles, which are an international language. You do not have to say a word, you sit beside a weaver and you speak without opening your mouth. So, sitting, after fifteen minutes in a row, you are able to perceive the level of intelligence and begin to communicate with the eyes, the hands, the heart.
At some point you felt that textiles were unfairly considered a minor art, or as not even belonging in the art world. Do you believe this perception persists or in some way has it been understood that textiles are a form of art?
It is evident that the battle is won. But it’s not my fault!—she laughs, once again—. There are a lot of people who silently share my feelings. We are not yelling and begging to be accepted as artists, we are seated calmly, making, and inevitably others are discovering the infinity of speaking with lines of color and texture. When I start to build with a line, with a thread, and I begin the adventure of moving that line in space, in three dimensions, imagine where it can go. It can go very far. I am living a poem of discovering threads in the highlands, a poem that began in 1957 and never ended, a dream that continues day and night.
Do you keep making new things all the time, thinking about some exhibition?
Right now there are four people working here in my workshop, every day from nine in the morning until six in the afternoon. I do it thinking about what gives me pleasure. I want to know what will happen if I mix this and this. To discover, to play. All of my works are a huge game.
What does it mean for you to be able to show what you’ve made to massive audiences around the world?
The thing I like the most is discovering the reactions of people of different ages. When three year old kids come to my exhibitions, I love to follow them and discover how they discover. It is a miracle to see how they see, to see them impacted without discord, without intellectual process, without the need to explain or justify. I love to put my textiles in a market, or in the Parque Forestal, and let people of all ages to discover them. It doesn’t matter the national or geographic origins, humans are humans, they have eyes, fingers, feelings, attractions and repulsions. That is very basic, and as I make such basic things, there will always be something to discover. In my exhibitions, people don’t enter and say what is this, I don’t understand, something very common in contemporary art. In my exhibitions people don’t question, they only enter and say: oh lá lá!
Interview by Oriana Miranda
Photo by Cristóbal Zañartu
From August 9th to January 31th, Sheila Hicks, the most important textile artist in the world, returns to Chile after fifty years with the exhibition Reencuentro, presented by the Museo Chileno de Arte Precolombino and Escondida | BHP.
Through more tan fifty of her works and a selection of pieces from the Museo Precolombino, some of which have never previously been exhibited to the public, Reencuentro presents a broad scope of work from the artist, through a thematic tour that puts contemporary art and the heritage of indigenous American art in dialogue.
With five decades in her artistic career, the work of Sheila Hicks has been displayed in prominent museums, international galleries, and public spaces and monuments, including the Centre Pompidou and the Palais de Tokyo in Paris, the Tate in London, and the High Line Park in New York.
“Sheila Hicks is considered the best living textile artist, so it is fantastic to be able to bring her to the Museo Precolombino. She began her vocation in textile art through pre-Columbian weavings, a means of artistic investigation that began during a trip to Chile at the end of the 1950s,” explains Carlos Aldunate, the director of the Museo Chileno de Arte Precolombino.
As a disciple of Josef Albers and with artistic training based on the Bauhaus philosophy, Sheila Hicks undertook a trip throughout South America in 1957, from Venezuela to Tierra del Fuego, a fundamental experience in her training. It was on this journey through the Andes that she learned of the textile techniques and ancestral cosmovision that would change her life forever and where, inspired by the landscapes and architecture of South America, she began to create her own textile work.
“The people I met in Chile helped me form my cultural structure, and they inspire me to this day. I loved seeing how people were independent in the sense that they knew how to build a life, improvising every day and every night and achieving an expression where there wasn’t repitition, but rather that each one was an individual with a personality, preferences, ideals, and creative skills. I am living a poem that began in Chile in 1957 and has never stopped”, Sheila Hicks expresses.
The exhibition Reencuentro is possible thanks to the successful alliance between the Museo Precolombino and Escondida | BHP, with the objective to recognize the heritage of the indigenous peoples of America, to value indigenous art and encourage its creation, and to grant it the dignity it deserves.
“We are very proud to present the works of Sheila Hicks together with the Museo Precolombino, within the framework of our alliance of more than two decades. We feel especially excited because with this opportunity we go a step further to integrate the contemporary art of Sheila Hicks with the culture and ancestral techniques of the Andes, represented by spectacular pieces from the collection of the Museo. We invite you, therefore, to explore and be inspired by this exhibition that reflects the many possibilities of creation offered at the intersection of languages and cultures,” says Alejandra Garcés, the director of Communities and Indigenous Affairs for Escondida | BHP.
Reencuentro by Sheila Hicks is distinguished by its coloring, texture, and monumentality, linking architecture, geometry, design, craftsmanship, contemporary and Pre-columbian art in innovative and beautiful textile pieces.
“It is going to be an exhibition, above all else, that is beautiful. The works coming from Sheila Hicks are really poignant and the pieces from the museum collection are magnificent; it’s going to be first-rate contemporary and pre-Columbian art,” says Carolina Arévalo, the curator of Reencuentro.
The display is divided into four curatorial sections that converse and overlap, starting from the yarn as the essence of a textile, architecture and photography, chromatic spaces, landscape and memory to end in Being Textile. During this travel, Reencuentro show the journey of Sheila Hicks through Chile and South America, her textile journey and the analogy between her work, Andean weavings, and pre-Columbian architecture.
Among the exhibited pieces are Zapallar Domingo, Chiloé-Chonchi, Parque Forestal and Tacna Arica, which show her relationship with the landscape and architecture of the Chilean territory, and the minimes, small weavings with which the artist began to study ancestral methods, experimenting with textures and variations in scale.
The exposition includes the display of 16 unedited photographs by the artist from Paris, Mexico, Ecuador, Perú, and Chile, and the projection of the video Opening the Archives, an emotional recording in which Sheila Hicks looks through her personal archive of images. Additionally, the Aprentizaje de la Victoria monumental textile work by Hicks will be installed in the South Courtyard, making manifest the link between her work and the patrimonial architecture of the Museo Precolombino.
The pieces and photographs of Reencuentro come from the Atelier Sheila Hicks and from the Centre Pompidou, Sikkema Jenkins & Co, Demisch Danant, Galerie Frank Elbaz, Alison Jacques Gallery and Cristóbal Zañartu.
For Reencuentro, the Museo Precolombino in partnership with the Fundación Mustakis will have audiovisual and digital platforms in the exibition gallery which will make it possible to visualize and deepen the relationship between the textiles by Sheila Hicks and the pre-Columbian weavings.
The exposition has a large program of education and outreach, highlighted by the masterful talk by Sheila Hicks and a visit by the curator of the Centre Pompidou, Michel Gauthier, in addition to diverse workshops for general and family audiences.
These activities are the result of a collaboration between the Museo Precolombino, the Corporación Cultural Amereida, Instituto Francés de Chile, Feria Ch.ACO Fundación Caserta, Fundación Artesanías de Chile, Fundación Colorearte, the Escuela de Diseño at the Pontificia Universidad Católica de Chile, Escuela de Arquitectura y Diseño de la Pontificia Universidad Católica de Valparaíso, Centro Cultural Palacio de la Moneda, Museo Nacional de Bellas Artes, Museo de Arte Popular Americano and Museo de la Solidaridad Salvador Allende.
Sheila Hicks | REENCUENTRO
Location: Museo Chileno de Arte Precolombino (Bandera 361, Santiago).
Date: From August 9, 2019 until January 31, 2020.
Hours: Tuesday through Sunday from 10 until 17:30.
Admission: Chileans and residents: $1.000, Chilean students and residents: $500, foreign tourists: $7.000, foreign students: $3.500. Minors under the age of 10, free entry. The first Sunday of every month, free entry. Find all instances of free admission at precolombino.cl/planifica-tu-visita/entradas/