RAÍZ – English Content

1 Saskia Calderón

Ecuador, 1981

Coro de plantas extintas


Video performance



Coro de plantas extintas is made up of a choir of eighteen performers. It presents a melody that is formed with the vowels of the names of extinct plants and the rhythm of a pre-Hispanic musical piece: the yupaichishca.

In this sound composition, the artist designates a musical note to each vowel of the alphabet, going from low to high in her vocal range, to build a musical piece that commemorates pre-Hispanic culture.

Being a self-referential work, it seeks to investigate extinct cultures within the artist’s own history of mestizaje. Thus, from the individual to the collective, questions are posed about the disappearance of pre-Hispanic cultures, their melodies, designs and cosmologies. She also questions what the word extinction implies, whether it is a termination or end of a culture at the hands of another more dominant one.

Our current civilizing model extinguishes or makes certain cultures invisible and exalts others. With this work, the artist aims to promote the autonomy of these silenced cultures and put a brake on their ongoing colonization and the imposition of a dominant way of life. This, in order to understand who we are, where we come from and to create deep-rooted ties with other types of shared history.


Saskia Calderón

Ecuador, 1981

Eclipse solar


Video performance


Eclipse solar is a work that takes as its starting point the conquest of America which began in 1492. On that date, an eclipse was formed, where the moon took precedence over the sun and  left the day in total darkness. The artist sings, by way of improvisation, the evolution of Western art, playing with our current and past times, randomly selecting representative images from different periods of history.

This eclipse, which has a 529 year duration, is a metaphor for the invisibility of Latin American art, art from the global south,  as compared to Western art in general. The artist wonders what art would have been like without the conquest, which concepts would have prevailed and what forms would be represented without Western influence.

Thus, Eclipse solar invites the viewer to think about the expressions of our pre-Hispanic ancestors and the importance of making them visible today.


Saskia Calderón

Ecuador, 1981


Las lunas que no vi

Video performance


Las lunas que no vi  is a video performance created during the Covid19 pandemic, in which the artist reflects on pre-Hispanic cultures, the importance of the moon and its phases and cosmologies, and its invisibility in a pandemic time marked by confinement.

In this work, the artist sings the six moon phases of six months, simultaneously, forming a chorus. To create it, the artist goes back to pre-Hispanic times in Imbabura, the province of which she is from, to investigate agricultural production processes and the importance of lunar phases in enabling them. She rescues rituals and Andean cosmovisions, to reflect on them today, with the advent of the pandemic.

For the production of Las lunas que no vi, the artist uses a pilche or mate, an element of nature that, due to its shape, refers to the moon and is used by various indiginous cultures in Ecuador.


Saskia Calderón

Ecuador, 1981

Lengua Muerta


Video performance


Lengua Muerta starts from the investigation of cultures such as the Quitus, Arawaks, Incas and Chibchas, and analyzes the languages that have become extinct in the area of the Imbabura province of Ecuador.

The performance consists of taking the vowels of the name of these cultures (A, I, O and U) and musically translating them (FA4, DO #5, SOL5 and Re4, respectively), designating with each vowel a musical note, and forming a melody sung in two voices.

The work analyzes languages that precede Spanish, which are still present today, via mestizaje, as well as other languages which  disappeared as a result of the conquest and the strong influence of European culture. The work draws attention to the importance of knowing the extinct language diversity in a given locality, and reflects on the causes of this disappearance so that new memories can be constructed.


Saskia Calderón

Ecuador, 1981



Video performance


The work addresses the relationship of human beings with the sun, emphasizing the rituals that are carried out in the province of Imbabura, where the artist is from, such as the Inti Raymi or summer solstice, as well as the relationship of human beings with the language of the stars.

Thought as an intimate dialogue, like the one that the sun has with human beings, Sol was composed by doing a subjective exercise of transforming radiation into musical notes. Our sun emits energy in the form of short wave radiation, mainly in visible ultraviolet and near infrared bands, with wavelengths ranging between 0.2 and 3.0 micrometers (200 nm to 3000 nm). The visible rays (between 400 nm and 700 nm) correspond to the radiation that the human eye can perceive and include colors. The non-visible rays are divided into ultraviolet and infrared, the first less than 400 nm and the second greater than 700 nm.

The artist here converts the measurement ranges of the visible rays (from 400 nm to 700 nm), into musical notes that match her vocal range and, on the other hand, for the non-visible rays, she performs the same exercise, but it is performed by a choir that is not seen in the work, but can only be heard.


2 Sebastián Calfuqueo

Chile, 1991

Kowkülen (Ser líquido)

Video (1920 x 1080)

Texto autoral



This work takes a bodily, personal and poetic journey with respect to waters, wetlands, lakes, seas, rivers and springs. It addresses the body, binarisms, gender, sexuality, the historical relationships of water and life, as well as its potential as a living space, fundamental for the relationships of all territories.

In Kowkülen ((Ser líquido), Sebastián Calfuqueo holds his body from a tree in Shibari style (a Japanese type of bondage), and thus suspends and rubs his skin with the water of a river located in the Wallmapu territory. While the water caresses Sebastián’s skin and flows through his body, a text is read alternating between Mapudungun (the Mapuche language meaning ‘language of the earth’) and Spanish, which gives an account of toponymies linked to water and of anachronisms and the complex relationships between different Mapuche terms and words, which allow entering and leaving different imaginaries –mapuche and non-Mapuche–. This way there is an interweaving in the call for the defense of water, from the perspective of the rights of nature and indigineous communities.


3 Oscar Santillán

Ecuador, 1980

How Rivers Think


Agua y plantas de la amazonía recolectadas y selladas dentro de 80 diapositivas personalizadas


How Rivers Think shows a real herbarium, however it is strange since, instead of drying the botanical samples to keep them in a pristine and isolated state, in this work we find that those samples have been kept as small ecosystems within themselves.

The title of this piece refers to outstanding anthropological texts such as, Cómo piensan los nativos [How natives think] (1922) and, more recently, the text Cómo piensan los bosques [How forests think] (2013).

While canoeing down a river in the Amazon (called Kushuimi by the Shuar natives), Santillán took real samples of the water and small floating fragments of the rainforest. These varied river samples, taken along the way, were then poured into custom slides. In this way, they have been sealed, each of them being preserved as living ecosystems.

In this work we approach the river in a new way, not as images that represent it, but by showing us the river itself from within, as a body containing infinite possible worlds.


4 Lizette Nin

República dominicana, 1984

Orí Odé

7 cianotipos

Dimensiones variables



In Yoruba culture, Orí refers to spiritual intuition and destiny. It is the divine spark of consciousness embedded in the human essence. Orí is previously aware of our destiny, it is our spirit that returns to earth again. Orí Inú is the inner spirit and Orí Odé is the physical container of that same spirit, the vessel where it is housed. At birth we choose an Orí Inú, whose form represented in the Orí Odó already contains our destiny. No matter what that destiny is, it will lead us to fulfill our purpose of transcending and returning to the energy of creation as an Orisha.

For this exhibition, Lizette Nin builds several images in relation to the Orí Odé that represent our temporal roots to our earthly plane, and also to the transcendence of our bodies to another plane, back to the source of energy that created us. Traditionally,while  these conical shapes are made with cowrie shells and natural elements, here, they now appear deconstructed and transformed. The conical shapes are now made of paper and take on a minimalist shape. On the paper, cowrie shell shapes are printed and drawn that dialogue with plant, animal and human elements, emphasizing the apparent modern dualities that insist on separating nature and culture, body and soul, or the human and the divine.

In the words of the artist “They are representations of the energy source to which we will return to, of the Orí Inú of black souls, the transcendence outside our heads, the return to the spiritual roots erased by centuries and centuries of colonial violence. These are  vessels for my black soul.”



Carolina Caycedo

Inglaterra – Colombia, 1978

A Gente Río (We River)


A Gente Río (We River) considers the connections between extractive and industrial infrastructure sites and environmental disasters in Brazil. The film focuses on four sites: the Itaipu Dam, the second largest hydroelectric power station in the world, where the land expropriation process became the catalyst for the emergence of the Landless Workers Movement (MST); the Belo Monte dam, on the Xingú River, where the granting of environmental licenses has been marked by a series of irregularities and met with powerful indigenous resistances; the Bento Rodrigues dam, which collapsed releasing hazardous waste from the Samarco mining company and caused an unprecedented environmental disaster in Brazil; and, finally, the Vale do Ribeira, where the indigenous Caiçara and Quilombola communities have resisted the construction of a dam.

The artist highlights the accumulated knowledge of the communities, presenting a collective body that resists the extinction imposed by development-oriented projects.

6 Kasumi Iwama

Japón – Ecuador, 1989

Money doesn’t grow on trees but avocados do (Oro verde)


Escultura, cerámica y pintura acrílica


Money doesn’t grow on trees but avocados do (Green Gold) refers to the commercial value of avocados in a capitalist and globalized world. Contrary to the «health and wellness» image that is used to market avocados in so-called «first world countries», avocado production has nothing to do with health and wellness, as it has many devastating consequences for the environment and the people who live in the regions that produce them, which tend to be countries of the global south.


Consequences range from excessive extraction of water, which dries up and erodes the land, the stealing of water from rural communities, and the expropriation of land from indigenous groups so that more space is made for the planting of more avocados. Distant consumers will never really know how consuming this fruit affects others.

The title of the work refers to the popular English proverb «money does not grow on trees», which parents often use when their children ask for something expensive, to express that money is not so easily obtained. However, avocados are what really grow on our trees and they are becoming more profitable than ever.


7 Gian Cruz

Islas Filipinas, 1987



Dimensiones variables

Gian Cruz’s series, (séro) TROPICAL (e), negotiates the tropics as a potent site of resistance against the colonial exploitation of land and bodies, and the naturalization of cissexism and heterosexuality. The photographs presented here, imagined as atypical and performative self-portraits of the artist, in relation to overcoming health complications related to HIV / AIDS in early 2015, show the intersections of the body, the viral, and the ecological. In doing so, they make HIV / AIDS narratives visible, in the context of contemporary art in Southeast Asia (specifically in the Philippines), while grappling with the emergence of pandemics as colonial phenomena driven by the extraction of natural resources and the invisibility of indigenous traditions.

Cruz’s work evokes the persistent and reverberant ecologies of infectious diseases in the Philippines throughout the Spanish colonial era, where increased maritime trade, destruction and alteration of vital ecosystems, through colonial agricultural policies and the Military intervention in food systems made Philippine populations vulnerable to waves of disease.

In the context of contemporary and historical pandemics, and growing anti-Asian racism, Cruz reflects on the lack of apparent meaning or intention inherent in viral disease.  His work reaffirms  that human contexts of viruses and their conditions of social inclusion and exclusion, give them meaning and promote their dangerous potential.

8 Daniela Ortiz

Perú, 1985

La Rebelión de las Raíces

15 pinturas de acrílico sobre madera en formato 20 x 30 cm

For this series, La Rebelión de las Raíces,  Daniela Ortiz painted a series of situations in which tropical plants and their roots, which have been kidnapped from European botanical gardens and greenhouses, are protected and nurtured by the spirits of those racialized people who have died at the hands of European racism. These plants find their own way to confront and do justice, with respect to the politicians responsible for institutional and structural racism.
9 Colectivo Ayllu / Migrantes Transgresorxs

España, 2009


Alex Aguirre Sánchez, Leticia / Kimy Rojas, Francisco Godoy Vega, Lucrecia Masson,

Yos Piña Narváez

No nos culpes por lo que pasó

Instalación de dimensiones variables

Through a labyrinthine journey of four multimedia installations, the works here are proposed as an Andean huaca, from where a critique of the western and heterosexual construction of the colonial project inaugurated in 1492 is established in which dogs played a fundamental role as tools of torture.

This repressive project did not end with the colonies, its power multiplied through the creation of new dogs: borders, police, detention centers for foreigners, among others. Likewise, the installation recovers forms of spiritual resistance that have been maintained in Abya Yala despite the violence.

For the development of this installation, Colectivo Ayllu has proposed “soft/tender walls” made of images / collages generated in their residence at the Australian Print Workshop (Melbourne), in August 2019. These walls are surrounded with a sand floor, different lights, smells, audios and videos, which trace a route culminating with perreo. “We are not at fault; fault is white and Christian.”


10 Regina José Galindo

Guatemala, 1974



Dimensiones variables

In 2012, José Efraín Ríos Montt, the former President of Guatemala, was accused of genocide and crimes against humanity; Regina José Galindo’s video is a haunting reinterpretation of the atrocities recounted during his trial. Tierra begins with the artist standing naked in a verdant field, the tranquility of which is shattered by an earth-moving machine. Here, Galindo alludes to the incident in which innocent citizens were murdered and cold-heartedly buried in a bulldozer-dug mass grave. The stark contrast between the machine’s huge, armored bulk and the artist’s vulnerable body captures the injustice of Montt’s regime, while the abyss that grows around her serves as a poignant symbol of the despair and alienation born of political violence in general, and Montt’s post-conviction acquittal in particular.


11 Lucía Egaña

Chile, 1979

Julia Salgueiro

Brasil, 1986

Stone Butch

Mixed media

Dimensiones variables


Stones give us roots. They allow us to fix things,  hold on to the world or the earth, a house or something to hold on to. However, gemstones and minerals have historically been subjected to extractivism. An unbridled use of these minerals to enrich only a few and strip the land of what is a constituent part of it.

Precious stones have been forcibly associated with an adornment for a certain hegemonic femininity – another robbery from lesbians – and minerals currently live enclosed in technological devices that are invisible, black boxes. Likewise, the nature of rocks have also been obliterated from traditional images of dissidence.

In the words of the artists: “The series of photographs, here, emerge from a hole, from an empty image. After months of collecting images of sexual dissidence, we found that there was none that referred to the visuality of a stone butch, those impenetrable, tough, masculine lesbians. These photographs are a tribute, a recognition and a catalog around the diversity that this species presents. A way of admiring their beauty and their  simplicity because, unlike almost all of them,  “the stone butch has the dubious distinction of being possibly the only sexual identity defined almost solely in terms of what practices she does not engage in.” ( Jack Halberstam, 1997).


12 Karina Aguilera Skvirsky

Estados Unidos, 1969

Sacred Geometry

Serie fotográfica Dimensiones variables

Sacred Geometry explores Ingapirca, an archaeological site in Ecuador, as an absorption of the debates around the engineering feats of Inca architecture and insert the body into an archaeological site.

The work begins with an investigation of the construction of Ingapirca (Inca Wall). Built in pre-Columbian times by the Incas and later altered by the Cañaris, it is the largest known ruin in Ecuador, a subject of speculation among scientists and the general public. The site has been photographed ad nauseam; Its internationally dispersed artifacts and the mysteries of its construction are the subject of scientific advancement, tourism and fictions.


13 José Luis Macas

Ecuador, 1983

Ranti Ranti / Trans-acción  –  Acuerdo de Trueque

Mixed media

Dimensiones variables


The work Ranti Ranti / Trans-Acción – Acuerdo de Trueque seeks to create other forms of representation of landscapes and territories from the Andean community. It invites us to think beyond the structure of the nation state and the hegemony of the planimetric map, as a tool for control and looting. The work generates new forms of representations – assemblages from the implementation of the ethical principle of Andean reciprocity Ranti Ranti.

The work reflects on the exchanges of materials, exchanges and celebrations between members of indigenous communes that inhabit the slopes of the Ilaló volcano, specifically the Tola Chica and La Toglla communes. This, taking into account that they are spaces where real estate speculation has promoted urbanization processes and land use that have affected the socio-environmental and cultural fabric, as well as the violation of the rights of nature.


14 Carlos Martiel

Cuba, 1989

Lamento Kayapó


Registro de performance


A history of racism, expulsions and collective suicides, dating from colonial times has marked and reduced the Guaraní population in Brazil.

After the war with Paraguay ended, in 1870, the Brazilian Government began to sell indiginous land, trampling on the rights of the native populations that lived and still live there. Over time, the situation of the Guarani and other indigenous peoples of Brazil has worsened, as they have been evicted from their lands and massacred by gunmen at the service of agribusiness. Despite this, the peaceful struggle for the rights and demarcation of the territory of these ancestral peoples continues.

For the performance, Carlos stood inside the gallery carrying on his head a Guaraní Kaiowá Cocar covered in human blood.


Carlos Martiel

Cuba, 1989

Lamento Guaraní


Registro de performance

The Kayapós are an indigenous people of Brazil, who live in Mato Grosso and Pará, south of the Amazon. For centuries this population has fought for its survival, the conservation of its ancestral customs and the demarcation of its territory. Mining, deforestation, agricultural interests and “ruralistas” are the main causes of their political struggle for survival, which often give rise to violent disputes and conflicts.

The so-called “ruralistas” are a group representing large national and multinational agro-industrial corporations that have repeatedly threatened the rights to land and the survival of the majority of indigenous populations in Brazil.

For the performance, Kayapó body painting was made on the body of the artist using the blood of an indigenous person.


Carlos Martiel

Cuba, 1989

Lazos de Sangre

Video performance

Video documentation of one of Carlos Martie’sl earliest performatique works.  Two catheters are placed in the artist’s forearms to allow the blood to flow and blend with seawater.
15 Joiri Minaya

República Dominicana – Estados Unidos, 1990

The Cloaking


2 fotografías

Dimensiones variables


Using tropical patterns as a critical medium, artist Joiri Minaya connects the commodification of «tropical» flora and the legacy of colonization, highlighting how mass-produced, deceptively innocuous «tropical» prints flatten Caribbean identities and erase specific histories of colonialism.

For The Cloaking, Minaya created original tropical prints, with allegorical designs that symbolize untold narratives of colonization. Through research in ethnobotany, cultural and historical specificity are again intertwined in tropical print designs.

Drawing by hand Manchineel Trees, Castor Plants, Yaupon Holly, Coontie Palms, and Rompe Saraguey – «plants of resistance» as she calls them – Minaya highlights plants used in ethnomedicine, purge rituals and dispossessed traditions. These are practices still in use today by natives and people in the Afro diaspora of the Americas.

In the process of creating these designs, Minaya appropriates the aesthetics of illustrations in botanical catalogs, created by early colonial settlers to classify plants.

Her designs in The Cloaking highlight plants used as weapons of defense, means of protection, and sources of resistance.

The project was originally commissioned by Fringe Projects Miami.

16 Tania Bruguera

Cuba, 1968

Destierro, Sincronía con el tiempo político
1998 – 2020


Texto impreso Dimensiones variables

Destierro (Displacement) creates a relationship between religious faith and the people’s trust in the effectiveness of its rulers. The object the work refers to is a Nkisi Nkonde, a religious fetish mainly native to Congo. Those who practice this animistic religion ask the fetish to grant them their wishes. The Nkisi Nkonde is «loaded» or activated with relics or body parts of a deceased person. Each nail in it is a wish that has been complied with.

According to this belief, these objects of power are highly effective, but the person who asks must make a promise in appreciation of the wish to come true. If this promise is not fulfilled, the spirit in the Nkisi «wakes up» and looks for the person who did not comply to discharge all its power against him. These objects are so much respected and feared that at times they are used as witnesses in transactions or contracts between two people

Destierro (Displacement) is an allegorical way to approach Cuban reality and the social promises that were made and never kept. Because of the intimate relationship of the Cuban people with African Cuban religions, this action can be understood by the general public. As a consequence, when in 1998 a performance was held in the streets in Havana on Fidel Castro’s birthday, a popular peregrination walked behind the icon, which was followed, adored, feared, and on whom hopes, wishes and efforts have been invested to claim and restitute the social promises the Cuban Government had made to its people.


Camilo Godoy

Colombia, 1989

What did they actually see?

3 fotografías

(188 x 111,7 cm) Performance

“What did they actually see?” is a long term project by Camilo Godoy. It focuses on the artist’s ongoing research into colonial texts by white anthropologists, missionaries and explorers that describe the dance practices of non-white people. These texts often represent non-white people as “out of control,” “lacking discipline,” and being without “civility.” The installation of “What did they actually see?” for this exhibition consists of three large-scale black-and-white photographs of the artist dancing in the dark in his studio. These photographs document the artist attempting to embody and imagine the dances described in the colonial texts. Godoy’s project confronts how racist legacies of the colonial gaze constructed notions of non-white people that continue to reverberate in the present.

Felipe Baeza

México, 1987

Gente del Occidente de México II
2017 – 2019

40 collages en papel Medidas de 7 x 5 pulgadas

At the heart of Felipe Baeza’s work is the body: abstracted, dismembered, remembered, darkened, suspended, floating, drowned, sprouting wings, feathers, leaves, both human and heavenly, trapped and expansive, unleashed and rebellious.

In his series of collages Gente del Occidente de México II, Baeza makes the body grotesque and monstrous. Human limbs, torsos and mouth are combined with photographs of pre-Columbian objects to create totemic and hybrid entities that span multiple temporalities. They are both more than human and anti-human, while mixing logics of the self and the other, man and woman, subject and object. Disarticulated and hypersexualized human body parts, both male and female, replete with stereotypical gender markers (long painted nails, garters, jewelry, stilettos, sneakers) are attached to the heads and torsos of pre-Columbian figurines.

19 Performance: Héctor Acuña

Perú, 1971
Foto performance

Ejecutante: Frau Diamanda
Performer Invitado: Queerchaos Antigenero Moisés
Visuales: Carlos del Águila
Fotografía: Prin Rodriguez
Audio: Atahualpa

Transversiva Post Andina Revolucionaria: El Regreso



«(…) We helped the men to patrol. We women defended ourselves, you yourself had to walk when they sent you, and if you were alone, you had to do the same as a man (…)»

Peasant woman interviewed by the Truth and Reconciliation Commission (CVR)

The internal civil war hit the Peruvian highlands with extreme violence between 1982 and 1994, especially the departments of Ayacucho, Junín and parts of the jungle. A debacle that led to the death, looting and systematic annihilation of entire Andean communities, who were forced to take up arms without even being fully aware of which orders were being followed, whether from the Communist Party of Peru – Shining Path or Tupac Amaru Revolutionary Movement (MRTA) , or from the Armed Forces of the government of the day. Thus, the peasants were forced to leave their fields and undergo a militarized life (exercises, training, surveillance, etc.), which altered their daily lives and customs forever. Hard wounds that to this day do not heal.

Patrols were established and encouraged by the State, which gave mercenaries a  license to kill, making them real actors in the internal war. In this context, the identity of the counter-subversive warrior or Commando emerges, which marginalizes women in the construction of the official history of armed war, emphasizing male heroism. However, in the Sierra de Ayacucho, some widows and single women were forced to participate in the rounds and accompany the mercenaries, even receiving training in the handling of weapons by the ronderos themselves or the military. In this sense, not only were the men playing with multiple masculine identities (warrior, hero, military, defender, etc.), but also these women who were pressured to redefine their roles and assume self-defense tasks. «Women also became males’, when it comes to surveillance and settlement of daily intracommunal conflicts.

Thus, by becoming a male-warrior, women had direct intervention in the war, assuming an additional burden to their traditional tasks related to reproduction and childcare, a determining role that still remains relegated to the shadow of official memory.

Transversiva Post Andina Revolucionaria is conceived as a tribute to the image of the peasant woman overshadowed in the construction of the official history of Peruvian internal civil war, taking as a reference the real case of Tarcila Rojas Llactahuamán de Ticllas, alias Comanda Tarcila ,an  Ayacucho peasant woman, first displaced and later trained by the military, who assumed the post of Comanda in May 1993.


20 Las Nietas de Nonó

Mulowayi Iyaye Nonó

Puerto Rico, 1979

Mapenzi Chibale Nonó

Puerto Rico, 1982

Foodtopia: después de todo territorio


Reflexión multimedia


mulowayi and mapenzi, afro-diasporic siblings who live in San Antón in Carolina Puerto Rico, make interdisciplinary work as Las Nietas de Nonó. In their formerly rural, currently industrializing working-class neighborhood of San Anton, Las Nietas de Nonó draw on their lived experience to explore the reverberations of their ancestral past and examine histories of colonialism within the context of Puerto Rico. These photographs document a project for which the artists subsisted entirely on wild food foraged from their neighborhood over a one-month period.

Framing their own survival and nutrition as a performance , they highlight the threatened ecology and precarious access to food in their neighborhood.

As part of their practice, Las Nietas de Nonó also co founded Parceleras Afrocaribeñas, an organization run by Black women that advocates for environmental and racial justice in their neighborhood, and La Conde, a community project that seeks to recover the campus of recently closed Carlos Conde Marin School and turn it into a community space.

that21 Comunidad Catrileo Carrión

Chile, 2015

Kiñe Lafken Ngelay Afpun (Un Océano Sin Frontera)

Video y afiches Dimensiones variables


“We want to erase the border, invoke the waves of the ocean to throw our woven offerings as beings that can navigate waters that have no limits and that stimulate a deviant and off-center futurity of the human.

We live in different territories: Pikunmapu / Qullasuyu (called Chile) and Kumeyaay territory (US / Mexico border). Nations not only have traditions and identity, they also have changes and revolutions. Towards that energy in constant movement we want to offer this video that we have woven, as a ceremony that is yet to come. We want to stimulate political imagination and radical love (Andrew Jolivétte), as reciprocal gestures through these actions, which yearn to communicate across the sea.”

The video is composed of two performances in different places, two textile pieces: a cordon from the communities and a piece woven in Mapuche technique called Ñimikan. There is also a poetic text that travels along with the movement of water and textiles, inviting us to become aware of another notion of the sea as a fluid memory of tidal waves (Kamau Brathwaite), which break with linear time as the only way of understanding life.

Along with the video there are two graphic pieces that iterate the poetic text and transfer it to a different materiality, since transformation is also housed in the rhetoric of repetition. The text navigates in an uncertain geography of language, where the chosen languages ​​speak of the place of enunciation that, as a community, summons us today. Framed in turn with the same Mapuche textile design of the piece recorded in the video: two fish, two interwoven hearts that protect this text, since it is a ceremony that does not yet have a delimited geography.



Arisleyda Dilone

República Dominicana, 1982

Mami y Yo y mi gallito


Dimensiones variables


For the past five years, artist Arisleyda Dilone has been pestering her mother to tell her about her childhood, her body, and past and pending surgical decisions – all in front of a camera. In the short film, Mami y Yo y Mi Gallito, Arisleyda and her mother finally sit down to talk about her hermaphrodite body.

Arisleyda mentions that, by making this movie, she sets out to heal something within herself. A break up. Her job is to document the highlights of her life and that of her family. Through documentary cinema she creates a space for participation and provides a stage for visual representation, which aims to abruptly interrupt generational cycles of trauma, dispossession, and / or simply highlight our existence.

“I decided first to tell my story about my intersex body in relation to family-defined womanhood,” says Arisleyda.