Mon Laferte born in Viña del Mar, Chile. According to information from Vogueas a child he was attracted to music, he participated in school competitions and when he turned 13 he got a scholarship for Study music in the conservatory of its city locality, although it is a self -taught in its different phases of life.
The singer -songwriter who has put among the most listened songs My good love either Your lack of wanting In 2023 he had his first painting exhibition at the Mexico City Museum. The exhibition had the name of Gestures.
Since then their artistic exhibitions combine with their mother’s life, wife and his musical career. One more facet that has aroused admiration and also discomfort.
Also in 2023, EFE He published that he opened at the Gabriela Mistral Cultural Center (GAM), in Santiago, Chile, the multidisciplinary exhibition I love youa retrospective in which he reviewed his career and gave free rein as a poet and painter. It was even compared to Mexican artist Frida Kahlo.
2025 started with this same sample that will be open until March 2025 at the Valparaíso Cultural Park Cultural Center (PCDV). Due to its success they decided to extend it until March 16.
The controversy
Due to the decision to leave the sample of Mon Laferte longer, more than 500 artists wrote a letter that explains the discomfort for this decision. “The firm, visual artists and members of the cultural community, we express our deep rejection of the unfair disconnection of Alonso Yáñez Avendaño as head of programming of the former prison …We denounce that his separation responds, in part, to his firm defense of the agreements agreed with the artists selected to expose on the PCDV. Repeatedly, Alonso demanded that the scheduled dates and exposure times be respected, ”they said.
Then they complain about the programming space that extended to Mon Laferte, who they consider has been privileged and the displacement of previously programmed artists is denounced and reducing the explanatory terms of their works.
Mon Laferte responds
The voice of Mon Laferte is being an issue that has led to hundreds of reflections and comments for and against. It also leads to knowing other interiorities of your life.
“How does a right to be called an artist win? Are you born, do you buy it?“, says. He also describes, “I did not go to the university and I have no artist’s title or a professor or na, but the need teaches you to be more creative, fix them no longer asking permission, will they imagine I would have asked for permission? I would be dead. ”
In his publication accompanied by his works he enters one of the most complicated parts of his life. “I was raped at 7, at 11 I started taking, smoking cigar and consuming marijuana, I tried the base paste at 13, I studied in the D.320, had lunch at school and only reached eighth basic. I started working at age 13 and from that age to 18 I was abused by a 20 -year guy than me, who sold me as my manager; He stayed with half the silver. During that time I sang on the street, in bars, in the micros, in circuses.
At 17 I lived alone with my grandmother, I had to take care of her after a stroke that left her prostrated, I went out to sing at night and with that she bought diapers for her and sometimes the occasional dress of the clothes used for singing, I learned To do wonders sewing by hand.
At 18 I found an opportunity on TV, that for me was the salvation of my lifeI won 30 Lukas a week, then I started having pitutes and with that I helped my family. DFor the 5 years that I was on TV I was harassed by a musical producer, they kissed me for force several times and they tried to p … without talent, I believed it and endured out of necessitybut finally I had the value and I left.
With 23 years and 4 sticks that I had joined I went to Mexico, without pitutes, alone with the desire to get ahead. When I arrived in Mexico, the most difficult years of organized crime touched me, I escaped a couple of times from some club in Veracruz, I sang covers in bars for 8 years. He won 300 Lukas per month. With that I could sometimes send money to my family in Chile, ”said the singer.
PCDV also published a message of support to the singer. “We regret that from some sectors the image of an artist as prominent as Mon Laferte is tried; A creator who not only values, but we have declared our cultural ambassador for the world. We reiterate our recognition to their work and our commitment to all national artists who require constant support to make visible their works and contribute to the country from an area as relevant as the culture and those who have housed and we will continue supporting with the same conviction of always“They said on their website.
What symbolizes this controversy?
An article by Galo Ghigliotto, Chilean writer and screenwriter, in the magazine Santiago, From the Diego Portales University, he shares that Mon Laferte has told that he visited a museum for the first time at age 30, in Mexico. “From that experience, it began to develop a production that today exceeds a thousand works,” he explains.
“It is possible that some people who have never stepped on a cultural center for the first time thanks to this exhibition. The question then is: What does it mean for a cultural space to exhibit the work of a massive artist? The answer is paradoxical: the possibility of offering other artists a continuous space in which they can show their works. The legend circulates that an Argentine editor about to break Neruda a book to help him save his editorial. Neruda would have given him Elementary odestitle that led to the reflot of the publisher and thus continue publishing other books. And that is not uncommon in publishers, it even has a name: it is called peritation when a successful book finances the publication of other less commercial titles. The same goes for galleries, cinemas, cultural centers: the more visits, the more income, the more space for sometimes more radical artists, sometimes simply minority. To ignore this is part of the ignorance of the outraged, ”says Ghigliotto.
Another point of your article leads to the discussion about access to cultural spaces. “It is legitimate, but when criticism concentrates exclusively on who is occupying the space, rather than in the value or impact of the work, it is evident that what bothers are not only the paintings of a singer, but its success, its Visibility and, ultimately, your right to be there, ”adds the editor and screenwriter.