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Graphic Design

Carola Ureta Marín

Carola Ureta Marín is a London-based Chilean designer and visual translator specialised in editorial, cultural development and historical research projects. Last year, she was part of the curatorial team of the Chilean Pavilion at London Design Biennale 2021 – hosted at Somerset House – which won the medal for the most outstanding overall contribution. The pavilion was entitled Tectonic Resonances: from human-centered design to planet-oriented design.

In 2019, she created The City as Text [La Ciudad como Texto], a collaborative digital platform that allows online visitors to partake in a virtual walk through 2.4km of Santiago de Chile's main avenue during a specific date and time. In 2020, she turned these visual and textual recordings into a book that is currently in its second edition (December, 2021). Her other publications include the award-winning book Luis Fernando Rojas: Obra Gráfica 1875-1942, celebrating the body of work of the pioneering Chilean photojournalist and visual chronicler.

Ureta Marín was a lead researcher and graphic producer of Diseño Nacional, a website for the dissemination of the history of design and material culture in Chile between 1840 and 1940. She is also a frequent public speaker participating in international congresses on Design History and Design Studies in Buenos Aires (2015), Taipei (2016), Medellin and Barcelona (2018), New York (2020), and Quebec (2021). During 2020-2021 she was a member of the Walkative Project, becoming president of RCA's Walkative Society (2020-2021), exploring how walking can trigger processes of thinking, researching, collaborating, and making. In this context, she organised different walks in London, online talks and interviewed different people related to this field, such as Francesco Carreri.

Ureta Marín obtained her BS in Design from Pontificia Universidad Católica de Chile (2012), an MA in Cultural Management from Universidad de Chile (2015), and is currently finishing her second MA in Visual Communication at the Royal College of Art in London, UK.

Carola Ureta Marín-statement

My roots in the Chilean Diaspora play an essential role in my creative output. After the Social Uprising exploded in October 2019, my practice turned to the need to preserve the memory of the crisis that is making deep changes in Chile, almost changing its DNA. By documenting, amplifying, decoding, and sharing voices, streets, demands, violations of citizen rights, our slogan: 'Dignity', and our icon: a bloody eye, I bring the past into the present with the purpose of not forgetting it and creating a better future. I consider Design as a powerful tool for coding and decoding information to favour communication and understanding between human and non-human environments. I am interested in cultural, artistic, and heritage-related projects that contribute to the development of society and its surroundings.

My current work brings together my studies in design, cultural management and visual communication with my experience in editorial and graphic design. My approach advocates constant experimentation, freedom of play through art, collaborative work, and generating projects that contribute to the improvement of democratic culture and environmental awareness. A fundamental component of my work is giving the audience an active role in directly exploring the objects, scales or experiences through deliberate design, generating moments of surprise, pause and reflection.

This video is an introduction to the universe of "Calling Lights" and its different elements. Just as the eyeball is surrounded by a wall of three layers that serve different functions, this work is made up of three elements that are connected, but can also be understood separately. [Video + Music album + Publication] Encoding a specific message and translating it to be activated through sound, light and text, in an infinite resonance.

This work is a tribute to all the eyes unjustifiably lost due to the police shootings during the Social Uprising in Chile, 2019-2020. This collaborative artistic exploration gives a voice to the blinded eyes. Light and dark and the act of blinking become a language, a code. The message, ‘this work is a tribute to all those eyes unjustifiably lost during the demonstration in 2019, Chile’ is rendered into morse code, the most established military way of communication. 

The essence of the message is spread all over the world through its interpretation by different musicians of the Chilean diaspora. The reproduction of the soundtracks activates not only the message but the memory that evokes the protest and at the same time, creates a connection with the diaspora. The original message, emerging from the narrowest country in South America, finds an active, nutritive and transformative conversation process with the musicians, through their musicalisation, that globally resonates. In this project, the power of transfiguration as a method of transformation – changing the form in a way that reveals its nature and culture – brings the past into the present and reinvents it.

This work also seeks to explore new and more inclusive forms of communication, learning, entertainment, healing and repair processes through art and design.


Video + Music Album + Publication
Sonic Pamphlet / Sonic Revolution, Music Album (Sonic Pamphlet)
Launch Project
Sonic Pamphlet / Sonic Revolution, Music Album (Sonic Pamphlet)

Sonic Pamphlet is a compilation of ten soundtracks created by ten musicians. Each soundtrack intrinsically includes the essence of the following message translated into morse code: 

'This work is a tribute to all those eyes unjustifiably lost during demonstrations in 2O19, Chile'

Therefore, each time the track is played, the coded message is repeatedly activated, heard again and again. A standard definition of the word 'activation' is the act of causing something to start or start working, and applied to Sonic Pamphlet, the political message operates over and over again. As previously stated, the purpose of this work is to be a tribute to all the lost eyes. This statement will sound every time the musical themes are played.

A message without activation is frozen information, a static, petrified or mute notion. It is almost like a scream without an echo. This idea is reminiscent of Walter Benjamin’s book, ‘The Work of Art in the Age of Mechanical Reproduction’, and also Susan Sontag's text, ‘Posters: Advertisement, Art, Political Artifact, Commodity’ – in which she states that posters exist to be reproduced, to go out in multiples; they were never intended to exist as a single piece.

In the case of the soundtracks, they need to be played in order to hear them. Thus, far from being a simple playlist, this album is titled Sonic Pamphlet to draw attention to the history of the pamphlet as an important protest and political campaign tool that, due to low production and distribution costs, afforded its producers the freedom to play with formats, layout and periodicity.



Music Album (Sonic Pamphlet)


10 Sound Tracks / 30 minutes
Calling Lights: Publication, Printed edition and online free download
Launch Project
Calling Lights: Publication, Printed edition and online free download

All the research and the creative process developed in this work has been captured in a publication that aims to be shared around the world. For this reason, and following the principles of 'Calling Lights', you can download this edition online for free. Its small format and black and white design are in line with being a low-cost, easy-to-reproduce, mass-produced protest tool. This does not mean that the design is not thoughtful, detailed and without unique reading rhythm. Moreover, this material is an object that seeks to communicate, reflect and learn from social processes and ethical issues that require greater care.

All we ask is that you name the work correctly and cite the artists where appropriate. A limited print edition is also available to celebrate the launch of the project and thank its contributors. 

Download publication


Printed edition and online free download


115mm x 155mm | 112 pages

ANID Chilean National Research and Development Agency