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Marco Evaristti

Painting, Photos, Mixed Media

A retrospective: Marco Evaristti’s work demonstrates the important themes behind the outrage he has created. The outrage his work creates stems from the way he subverts the idea of outrageousness, while at the same time he exposes the concept to a multitude of critical viewpoints. His work asks important questions about everyday existence in general as well as in the specific context of institutionalized art at a time when the oceans are rising.

Evaristti's works are included in several important museum collections such as: MAC, Santiago Chile; MONA, Tasmania, Australia; MBA, Buenos Aires, Argentina; The National Museum of Fine Arts, Havana, Cuba; National Museum of Modern Art, Bangkok, Thailand; HEART, Herning, Denmark; Trapholt, Modern Art Museum, Kolding, Denmark; Vejle Art Museum, Denmark and The National Museum of Art, Copenhagen, Denmark.

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Marco Evaristti: Meet the Artists

Ethical Reality

November 10 - December 8

Marco Evaristti’s work can only be understood in relation to the logic of the avant-garde. The outrage his work creates stems from the way he subverts the idea of outrageousness, while at the same time he exposes the concept of outrage to a multitude of critical viewpoints. For these reasons, the response to his work is more than outrage.

Evaristti reveals that the frontier-crossing, avant-garde artist, who paints with the passion in his blood in order to challenge the existing social order, exists as the antithesis of citizens who are presumed to be respectable and socially useful, those who submit to the existing structures of the means of production.

Well-known works of avant-garde art and other famous works throughout history have taken up a lot of space in the public consciousness. However, despite claims to the contrary, few have had forward-looking political power, neither at the time when they were created nor later.

The sexist and classist structures of bourgeois society have been as much present in the art world as elsewhere. The notion that an artist has visionary power and an artwork has economically immeasurable spiritual value is a social construct that can neither be confirmed nor denied, especially because this notion is conspicuously used only for allegedly great art and only covers all other art with difficulty. The same aesthetic principles must, after all, be applicable to all art in order not to become elitist and lose all meaning.

In short, Marco Evaristti can be measured in relation to the logic of the avant-garde, precisely because he creates art that generates public debate. Through this debate, his art spreads its meaning, as opposed to being locked up in the stale discourses of the institutionalized art. He is an artist who, with precision, gets in the face of supposedly respectable society, putting himself on display.

Acting illegally and amorally, Evaristti exposes himself not only to the oppressive structures of the ideological state apparatus (i.e., the moral condemnation inherent in traditional art as well as high culture’s hostility toward self-promotion), but also to the repressive state apparatus (arrest, deprivation of liberty, sentencing, bodily harm).

As an artist, Evaristti thus simultaneously exposes the logic of the avant-garde more consistently than other artists, for whom the avant-garde is just empty rhetoric, an elusive dream or perhaps even a lie that consumes their entire life. Very concretely, Evaristti paints not only with industrially produced color pigment on canvas, but also with his own and other people's blood, plasma, as well as self-purchased, melted heroin.

In this way, in Evaristti’s work, transcendence and self-investment are more literally present than what average citizens have learned in school about art history. His work exposes important questions much more directly – questions about life, death, existence, democracy and identity – which for everyday existence in general as well as in the specific context of institutionalized art are used to justify the necessity of art at a time when the oceans are rising.

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Marco Evaristti: Text


Bangkok Post


Chilean artist and architect Marco Evaristti is challenging viewers in his new exhibition "Ethical Reality" in the hope of raising funds for his project in Nepal.

Prestige Magazine


Marco Evaristti is a Chilean artist who is best known for his controversial approach to art. In this exhibition by West Eden, the prime highlights of his creations are gathered, including ‘Pink State’ and several other environmentally related projects.

El Mostrador


El artista chileno Marco Evaristti presenta en el Museo de Arte Contemporáneo de Quinta Normal la exposición La Violadora, que abarca el tema de los abusos sexuales cometidos por miembros de la Iglesia Católica a niños y jóvenes. La muestra está compuesta por catorce óleos sobre tela, una escultura de bronce y otros elementos como vino y sangre acompañado de testimonios, publicados y testimonios de víctimas de abuso.

Wall Street Journal


Thirteen years ago, the Danish-Chilean artist made headlines and ruffled feathers with "Helena & El Pescador." The piece debuted at the Trapholt museum in Kolding, Denmark, and consisted of goldfish swimming in ten Moulinex blenders. Visitors were given a choice: hit the ON button and kill the fish, or leave the button alone as a way of granting pardon.

The Jewish Chronicle


A man who claimed that his sculpture of the entrance of Auschwitz was made from the gold teeth of Holocaust victims has walked away from £37,000, after being challenged by a Jewish art dealer to destroy the "tasteless" work.

Letra Libres


Señor lector, una noticia de mal gusto. No me disculpo: en el arte contemporáneo, el mal gusto es un oficio. Me refiero a una noticia de septiembre pasado. ¿Que no se enteró? No se disculpe: las noticias del arte no son noticias. El periódico inglés The Art Newspaper publicó entonces: “Gene Hathorn, un convicto sentenciado a pena de muerte, ha acordado regalarle su cuerpo al artista chileno-danés Marco Evaristti. El plan del artista es congelar el cuerpo de Hathorn y hacer con este alimento para peces.”

The Independant


The final requests of death- row prisoners facing execution have often included large orders of pork chops, fried chicken and bucket loads of ice cream. Never before has an inmate asked for his body to be turned into fish food and fed to goldfish, all in the name of art.



Last year, Chilean-born artist Marco Evaristti mixed fat removed from his body by liposuction with ground beef to make meatballs, which he fried in olive oil and displayed in a public gallery.

Marco Evaristti: List
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