Paz Errázuriz is one of the most internationally recognized Chilean photographers. A self-taught practitioner, Errázuriz took up photography in the nineteen seventies. Her photography projects often involve a transgression of the rules imposed by the military regime of that period, daring to work in environments where women were not welcome. Her pictures reveal to us spaces and environments dominated by marginalization and sit-in protests. The intrepid vision of this artist stands out as it reveals to us the more hidden aspects of everyday life in Chile. Firstly, the social: In the 1980s, she focused her camera on her native Santiago, from those in the upper middle class (“Kennel Club, Santiago,” 1988) to lowest, with numerous images of the poor (“Compadres, Santiago,” 1987), the homeless, and the disenfranchised. In the dangerous political climate of the Pinochet dictatorship, Errázuriz documented protests, often putting herself at risk to do so. Errázuriz’s says of her photographs: “They are topics that society doesn’t look at, and my intention is to encourage people to dare to look.” Errázuriz’s kaleidoscopic vision encompasses all aspects of city life. Cofounder of the Independent Photographers’ Association (Asociación de Fotógrafos Independientes – AFI) in Chile, she has received several grants and numerous awards, among them the Ansel Adams Award, granted by the North American Chilean Cultural Institute in 1995, the Art Critic’s Circle Artistic Career Award, and the Altazor Award in 2005. She received the PHotoEspaña Award in 2015 and represented Chile, along with Lotty Rosenfeld, at the 56th Venice Biennale

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