Among various more difficult means of intervention, a renovated cartography seems appropriate for immediate utilization. The production of psychogeographic maps, or even the introduction of alterations such as more or less arbitrarily transposing maps of two different regions, can contribute to clarifying certain wanderings that express not subordination to randomness but complete insubordination to habitual influences (influences generally categorized as tourism, that popular drug as repugnant as sports or buying on credit) (…) Meanwhile we can distinguish several stages of partial, less difficult realizations, beginning with the mere displacement of elements of decoration from the locations where we are used to seeing them.
Guy Debord, Introduction to a Critique of Urban Geography

Emilia Azcárate’s exercises in psychogeography have led her to travel around the South American continent and the Caribbean in search of what we could literally catalogue as garbage. Untitled (Port of Spain, Santo Domingo, Caracas, Catia-Altamira, São Paulo, Rio de Janeiro, Aruba, Oranjestad, San Nicolas, St. Lucia, Castries, La Souffrière), consists of a series of works made from discarded bottle caps found on the street, which are then washed, cut, and flattened by the artist. The caps are then installed on the wall in a mandala pattern, producing an infinity of moving circles which allude to migratory patterns between the islands of the Caribbean and South America as a result of colonial, now globalized, economies. The number of caps found in each localization determines the size and shape of the mandala, which ultimately functions as a sort of psychogeographic map or random statistic graph of a given city or territory.

Selected solo exhibitions: 2001: Centro Cultural de España, Santo Domingo;
Caribbean Contemporary Arts, CCA7, Port of Spain; 2000: Museo Alejandro Otero, Caracas; 1999: Luis Adelantado, Valencia, Spain; 1998: Sala Mendoza, Caracas.
Selected group exhibitions: 2002: 25th São Paulo Biennial; 2001: Marlborough, Madrid; IV Bienal del Barro de America, Museo de Arte Contemporaneo de Caracas Sofia Imber; 2000: 7th Havana Biennial; Taller Internacional de Artistas La Llama, Sala Rómulo Gallegos, Caracas; 1999: Salón Pirelli de Jóvenes Artistas, Museo de Arte Contemporáneo de Caracas Sofía Imber, Caracas; 57 Salón de Artes Visuales Arturo Michelena, Ateneo de Valencia, Estado Carabobo, Venezuela; Respiración artificial, Centro Venezolano de Cultura, Bogotá; Dibujos falsos, Laboratorio Arte Contemporáneo, Caracas.