Dystopian Art of Lobsang Durney


Dystopian art created by Lobsang have very unique characteristics.  Although the worlds he is creating do not paint the best picture of our future, these worlds aren't intimidating.  It is possible that his dystopian art is not a conclusion, is not the final judgment but just a single frame in a film reel.  If we look closer, we see how the objects he is painting are always in motion.  Maybe that is the secret to his art that is so inviting.  We are expecting a new frame.  We are hoping for the Happy End.  We are not sure if this is really dystopia.  

Lobsang uniquely provides us with a different perspective, an alternative reality.  He is not saying this is what we will come to.  He is saying, this is what possibly can happen.  And at the same time, his childlike imagination is running wild with the possibilities.


Who is Lobsang Durney? A visionary, surrealist painter who interprets with his brushes a symphony of colors. Valparaíso has big eyes that intimidate.  It is an enchanted city.  A recognizable bus among everyone else, yellow and green, ended his life in this unusual place. Despite this feeling of Revelation, the mechanics of life continues. The paradox of destruction conveys its message. 

The imagination is not content with the limits imposed by reality. 

She has the ability to create other parallel worlds. That is magic. 


Lobsang has developed his own line: selected environments, elaborate staging, transmission of a message, freedom of interpretation of that message emanating from the heart of Valparaíso.   The message is definitely related to its Chilean origins but ultimately, outside of its context, it belongs only to the imagination of its spectator.


In his last exhibition “Doble Estandar” ("Double Standards"), Lobsang raises the question of an economic power that, at present, permeates all life experiences, unifying them.  Optimistically, we give in to a schizophrenic exercise of consuming and being consumed.  We move between impossible sincerity and false flattery, between the voracious eagerness of success or its weak simulation. 


Suppressed bodies, demolished architectures, miseries and contradictions of the social corpus are revealed in the art of the exhibition. The artist has removed the veils, exposing to light a bizarre socioeconomic entity that, as Mark Fisher defines it is: “infinitely plastic, capable of metabolizing and absorbing any object with which it makes contact".  Lobsang machinery alludes to a dreamlike detritus culture. Located on the periphery of degradation, organic-mechanical contraptions refer, as Burroughs says, to "a soft machine", in useless struggle against the entropic dispersion of its parts.


Lobsang Durney  was born in Quilpué on June 9, 1976.  He graduated with a degree in architecture from Technical University Federico Santa María and worked extensively  in the advertising workshops of his father learning the technique of screen printing and others. 


"My experience with art begins as a child.  Encouraged by my mother and influenced by my father, a painter and screen-printer, I started working early in our advertising workshop.  I went from being an apprentice to an active collaborator in the creation of graphic pieces, which made me learn this trade and take interest in painting, advertising graphics and reproduction techniques.


"In my youth I won several painting contests, and this recognition motivated me to stay on track.  Later I studied architecture in Federico Santa María Technical University in Valparaiso, Chile. I wanted to learn how to combine the creative capacity of art and scientific knowledge, two commonly distinct and distanced areas. The use of digital tools identify my work, so I became familiar with the new techniques of representation, without abandoning traditional painting. I had the opportunity to give workshops and talks at prestigious universities in Chile. I have developed four important exhibitions to date, which are mostly related to the port city of Valparaíso, where I lived for many years."


Selected Exhibitions:

2006 Exhibition 10Megapinceles, Antesala I. Municipality of Viña del Mar. 
2006 Exhibition 6Megapinceles gallery A TODA COSTA, Algarrobo.

2008 Classical Art Fair, Buenos Aires. Argentina.

2009 Exhibition Pig Led Room. Viña del Mar, Chile
2010 Collective 13x13 AICA selection, University of Talca, Providencia. Chile
2010 Selected VII International Water-color Biennial. Viña del Mar, Chile.
2010 Honorable Mention contest My City of the I. Valparaíso, Chile.
2010 Preselected MAVI contemporary art contest "Cabeza de Ratón". Santiago, Chile
2011 Exhibition Embajadores Ensubidores , Sala el Farol, University of Valparaíso.

2011 Visual Trip, collective art city of Valparaíso.
2012 Exhibition Transportravestivalpo Galerá Bahía Utópica, Valparaíso.

2013 Exhibition Animalparaiso Galerá Bahía Utópica, Valparaíso.

2014 Collective" Enterarte "Palacio de La Moneda, Santiago.

2015 Colectiva "Enterarte" Cultural Center Mapocho Station, Santiago. 
2015 Collective "Enterarte" Fundación Telefónica, Santiago. 
2015 Collective Space BUGA, Santiago.

2017 Exhibition Vuelopolis Galerá Bahía Utópica, Valparaíso.

2017 Collective "ESSA EFA" Gallery La Cerverina d'Art , Leida, Spain.

2018 Exhibition Doble Standard Sala El Farol Universidad de Valparaiso, Chile

2018 Exhibition Memoria Medial Faro de Arte Contemporaneo Building, Santiago, Chile