The Chilean pavilion looks back into its own past: the focus is on a soccer stadium in Santiago, which was the scene of an inglorious chapter in the city’s and country’s history during the Pinochet dictatorship.
The centerpiece of the Chilean pavilion is a 7 x 5 meter stadium made of rammed earth. 60 individual parts of different dimensions divide the monolith into enigmatic fragments; instead of the stadium tiers, fine elevations, obviously settlement structures, can be recognized. What appears to be an oversized hand flatterer in keeping with the upcoming soccer World Cup actually addresses a highly charged political and social issue. “Stadium: an event, a building and a city” presents a part of the history of the Chilean national stadium, which for one day was both a building and a city.
In the course of Chile’s economic globalization in the 1970s under the Pinochet regime, a programme of liberalization was launched by the National Urban Development Policy. State investment in housing construction was cut, planning instruments and regulations were softened and urban expansion areas were released at will. The programme also included the resettlement of informal settlements and the legalization of these areas in a major propaganda act. 37,000 people, whose names had been announced weeks earlier in the newspapers in a kind of cartographic blueprint of the stadium plan, gathered there on September 29, 1979 to receive their land title deeds, which declared them property owners. But the gift came with a catch: the land was located on the frayed outskirts of the city, which lacked the necessary infrastructure.
The rapid rise in land prices led to speculation and an ever-increasing divergence in the living standards of the population strata. The incipient socio-spatial segregation process is still noticeable today, as video recordings of contemporary witnesses prove. The stadium played a tragic role in this – the place that was supposed to be a space for the public became the epitome of exclusion for a day. Historical documents of the events and the stadium itself are intermingled with the curators’ spatial interpretations and leave room for personal interpretations.
All photos: Cristobal Palma.












