Chilean multimedia and experimental artist, Nury González has been addressing memory issues through a variety of media and strategies. In Biennial 12, she presents Historia natural de la destrucción (Natural history of destruction), a work that consists of three chamales. Chamal is a mapuche blanket that dates approximately one hundred years. It is pierced, crushed or shredded by time, and, as black, it must be worn by women. These discarded covers were purchased by Nury in the Temuco market in 2011, the year of student mobilizations. The artist goes through the holes by sewing small stitches with white thread on them. The blankets then turn into maps that reveal the marks of destruction. The work Historia natural de la destrucción (Natural history of destruction) is made up of three pieces - Al hilo de la historia (Along with the story), Con el alma en un hilo (With the soul on a string) and Al hilo del pensamiento (To the edge of thought). The work features the video Hasta que valga la pena vivir (Until it's worth living), where the artist mixes images of the shore of Lake Riñinahue with the traces of lava from the eruption of Cordón del Caulle floating in the lake's waters, along with others from the lake Rinihue, on which float their small felt works. The felt has no warp (structure) or weft (history). It functions as a metaphor for the time in which Nury created his records and the current time in Chile.