2024 SELECCTED ARTISTS
JURY
Jazmín ra (CL)& hester draycott (uk-cl) /
Diana soria (MX) / monica galvÃo (BR) / Alejandra Dorado (Bo)/ víctor martínez (mx)
FULL LIST OF SELECTED
-Neyen Pailamilla “Mongeley Taiñ Dungun”
-Quintín Rivera Toro “América” – 2022
-Roma Vaquero Diaz “Acción para acariciar las montañas II” (Dos cóndores)
-John G. Boehme “Health”
-Laura Riaño Cabrera “Entre Cada Amanecer – Roca del Sol”
-Juan Carlos Cervantes Perez “Obra en construcción Autoabismo”
-Alexia Miranda “DESHOJAR”
-Noel Molloy “WE ARE ALL CENSORED”
-Isabel León “Poesías”
-Yuzuru Maeda “Perfect highlight”
-Dimple B Shah “Silence of the Fury”
-Jochi Muñoz “¿…en qué recodo del camino?”
-Sara Não Tem Nome “The promised land is not on Earth”
-Shao Ye “Cloud of Dust”
-Edinson Leonel Silva Mantilla y María A. Martínez Wandurraga “Desde las sombras” Vf
-Catalina Paz Rozas Palma “Choque”
-Victoria Eliana Jaffe “Agua Dulce”
-Peter Baren “THE WEIGHT OF LOVE [RAGE AND TIME AND HOPE]”
-Christine Brault “Ecos Transfronterizos”
-Shaokao “Chinese characteristic”
-Frank Bready “Las fronteras las inventaron los malos”
-Frida Alfonsina Escobar Santiago “tlalli nantli ,ñuke mapuæ”
-Johannes Christopher Gerard “Un significado que debe ser oculto-revelado”
-Fredy Clavijo “Desde el silencio”
-LaColectiva “Lo dejamos por escrito” (Rosabel Martínez, Yadira Polo, Gloria Martha Pérez, Gloria Inés Cárdenas, Lina María Quintero, María A. Wandurraga, Klaudia Amorocho)
-Bartolomé Ferrando Colom “Haz de voces”
-María A. Martínez Wandurraga “Caminos”
-Carola Etche “Transmutar”
-Diego Alejandro Garzón “Tac Tac Diablo”
-Maria Florencia Heller “La sub version de los espacios”.
-Marlon de Paula “El entierro del buey”
-Juli Puch – “Anonymous Confession / Confesión Anónima”
Neyen Pailamilla
Captura de “Mongeley Taiñ Dungun”
SYNOPSIS
Mongeley taiñ dungun is a video performance that addresses four areas of great importance to the Mapuche people: language, ancestral medicine, history and land exploitation. This visual fabric is carried out through a Mapuche body that exhibits these milestones and manifests them through her own condition as a woman, Mapuche and heir to the diaspora.
BIOGRAPHY
Neyen Pailamilla is a queer Mapuche artist who works with performance, textile practices and audiovisual formats. Inspired by his Mapuche identity, he uses it as a basis for reflecting on both personal and contextual aspects. Pailamilla is an Eyebeams Democracy Machine Scholarship and has been invited to residencies in Germany and Sweden (IASPIS). His work is part of several collections, including that of the Ludwig Museum in Cologne (Germany) and that of the National Museum of Fine Arts in Santiago de Chile. He is a student of the Master Transdisciplinary Studies in the Arts at the
Zürich Zhdk University of Arts. He currently lives and works in Zürich, Switzerland.
Quintín Rivera Toro
“América” Screenshot
SYNOPSIS
“America” with an accent is a multidimensional and universalist concept, which encompasses the border, political and philosophical problems of belonging or being excluded. The Human Mutis wrinkles the word until it is like a disposable paper for the garbage.
BIOGRAPHY
Quintín Rivera Toro was born in Caguas, Puerto Rico in 1978. He holds a B.F.A. in Sculpture from Hunter College, New York – 2001; a B.A. in Communications and Film Studies, from the University of Puerto Rico in Río Piedras – 2007; an M.F.A. in Sculpture from the Rhode Island School of Design in Providence, Rhode Island – 2013; and Ph.D. in Art Production and Investigation with the Universitat Politécnica de Valéncia in Spain – 2019.
Roma Vaquero Diaz
Screenshot of “Action to Caress the Mountains II” (Two Condors)
SYNOPSIS
Action to Caress the Mountains II (Two Condors) is a video made on a hill in Aconquija at sunset. In it, I invite the Canadian performance artist Florencia Sosa Rey to carry out together the second part of the Action to caress the mountains I. Located at the top of the hill, we rest our feet in contact with the earth and direct the tips of our fingers towards the mountain. Body and landscape affect each other, making possible not only contemplation, but also a manifestation made up of gestures, atmospheres and rhythms.
BIOGRAPHY
Research artist. She develops her practice between photography and performance. Master’s Degree in Combined Artistic Languages (National University of the Arts) and Bachelor’s Degree in Performing Arts (National University of Rosario). She currently participates in the Art, Bioaesthetics and Environmentalism clinic at
MUNTREF, coordinated by Pablo La Padula, and the Photography and Performativity Laboratory with Suyai Otaño. She attended the Manglar Clinic coordinated by Andrés Labaké at Galería Acéfala (2023) and was part of the Gachi Prieto Gallery Artist Program (2021). She participated in the Curadora residency, Santa Fe (2023); Raíces, Catamarca (2022); R.A.R.O. Madrid (2022); Listen to the photograph- Artexarte Gallery, Bueno Aires (2021); La Flecha, Capitán Sarmiento (2020 – 2019); Original, Cura Malal (2018). He held solo exhibitions: How many bodies enter a body, Olla Roja Gallery, Buenos Aires (2022);
We are not territory of conquest, Emilio Pettorut Provincial Museum of Fine ArtsLa Plata (2019); La Cosahecha, Museum of the City, Pergamino (2012). His recent projects were exhibited at Galería Acéfala (CABA), Museo del Libro y de la Lengua (CABA), Can Basté (Barcelona), Centro de Arte Maristany (Barcelona), Quinta del sordo (Madrid); Gachi Prieto Gallery (CABA); Kirchner Cultural Center (CABA); Cherry Street Pier (Philadelphia); Provincial Museum of Fine Arts (La Plata); Espacio Idea MEC (Montevideo); Haroldo Conti Cultural Center of Memory (CABA); Jacobo Borges Museum (Caracas); San Martín Cultural Center (CABA). In 2020 he published the book How Many Bodies Enter a Body (Editorial Flanbé, 2020). Since 2017 he has directed the platform and archive Mundo Performance. He lives and works in Buenos Aires.
John G. Boehme
Screenshot from “Health”
SYNOPSIS
His practice is deeply rooted in exploring social and political themes through a multidisciplinary approach, blending elements of visual art, live performance, and critical pedagogy. Boehme’s performances challenge and engage audiences, prompting them to reflect on issues such as power, identity, and societal norms. As an educator, he has inspired students, fostering creativity and critical thinking in the next generation of artists. His role as a curator further amplifies his impact, as he carefully selects and organizes exhibitions and performances that provoke thought and dialogue.
John G. Boehme’s work has been featured in numerous prestigious biennials, galleries, venues and festivals worldwide, underscoring his international influence. His contributions extend beyond his performances; through his teaching and curatorial work, he creates spaces for meaningful artistic exchange and transformation.
As a multi-hyphenate, Boehme embodies the versatility and depth of contemporary art practice. His ability to seamlessly navigate and integrate various roles within the arts not only highlights his diverse skill set but also his commitment to fostering a rich and dynamic cultural landscape. Through his multifaceted career, John G. Boehme continues to push the boundaries of art, education, and curation, making a lasting impact on the global arts community.
As a multi-hyphenate, Boehme embodies the versatility and depth of contemporary art practice. His ability to seamlessly navigate and integrate various roles within the arts not only highlights his diverse skill set but also his commitment to fostering a rich and dynamic cultural landscape. Through his
multifaceted career, John G. Boehme continues to push the boundaries of art, education, and curation, making a lasting impact on the global arts community.
BIOGRAPHY
HEALTH-like lard begins as a warm, translucent physical fluid that slowly solidifies at minus thirty
degrees Celsius into an opaque, buttery phlegm-like wall obscuring eye contact with the viewer until the
technology recording the performance ceases to work.
(performance length 16:00 minutes)
Laura Riaño Cabrera
Screenshot from “Between Every Sunrise – Sun Rock”
SYNOPSIS
Each dawn was an encounter with the mystical, vital and longed-for energy of the Sun, being touched by the light and heat that for millions of years has linked the times, places, materials and lives of this planet, of this part of the universe. From the Vereda San Francisco (in San Bernardo, Cundinamarca, a territory with visible traces of Catholic symbolism) looking at the valley I ask myself… Where/how is the knowledge of the territory housed? How do I approach/introduce/access it? to that which my eyes ignore and my knowledge – perhaps impregnated by an instrumental rationality? – ignores…
“[…] For tradition, the rocks signify wisdom and the trunk where knowledge is kept for many generations. The elders say that where there are stones there are books, there are spiritual libraries, there is a lot of information.” [1]
I turn to these words as a path that builds links between thoughts, mobilizing my actions in search of enlivening listening and restoring dialogue with those forces/existences of the territory to which we have ceased to attend. Each dawn was also an opportunity for the attempt of simple gestures from the affections, presence and awareness of the body. The gesture of spiral weaving reminded me, in each cyclical turn, that continuing to knot was only possible if it remained attached to the thread that, from beginning to end, linked time to origin. With patience in the repetition of the knots, strong in their accumulation, perhaps, like sedimentations of geological layers, like ancestral rocks that teach us and remind us of the transformation of the territory. The movement of a whole, one and multiple. A body that extends beyond what we can perceive and even comprehend. Vibrating signals, messages from the wind that overwhelm us and carefully hold us together. Vibrating signals, messages from the wind that overwhelm us and hold us carefully together, gathered with the
profound meaning of life, with other knowledge and guides ignored, underestimated, feared and/or
Unknown.
[1] Returning along the Path of the Ancients. The Path to Reorganize Life. Document prepared within the framework of Agreement No. 169 of 2012, signed between the Mhuysqa de Bosa Indigenous Council and the District Institute of Tourism.
BIOGRAPHY
Laura Riaño Cabrera (Bogotá, Colombia 1997) in her practice hybridizes actions, video, installation, painting and manual work. Guided by the search for the knowledge of other beings, materials and elements that pulsate life and transformation, she follows sensitive paths that make it possible to decolonize the imaginary, affections and territory, as well as ways to de-hierarchize relationships, knowledge, and in turn, perhaps, disrupt anthropocentric ways of being/doing/thinking. In your process
it approaches the knowledge and memory present in the material and ritual culture of various indigenous peoples of the south of the continent, attending to and wondering about the close ties of kinship, reciprocity and care with Mother Earth in her syncretic crossings.
Master’s Degree in Plastic Arts from the National University of Colombia (2022). She has participated in the laboratory spaces and tutorials of the Waja Cultural Foundation around performance, the languages of the body and experimental practices linked to the city and the territory (2020, 2021, 2023). He has collectively exhibited his video-actions at Galería Santa Fe de noche, Bogotá (2021); From Timbo to Tambo, within the framework of the Laboratory: Creating and Researching Outside the Line (2022); XI international performance festival Acciones al margen, Bucaramanga (2023); International Festival of Performance-art and Audiovisual Formats (FIPFA) Buenos Aires, Argentina (2023). In 2024 she was one of the winners of the Scholarship for Artistic Residencies at the ArteSumapaz Foundation (San Bernardo, Cundinamarca) and of the Artistic Residencies in the Pedagogical Block of IDARTES.
Juan Carlos Cervantes Perez
Screenshot of “Construction Site Autoabyss”
SYNOPSIS
Riding on a suspended bicycle, 34.sec (Carlos Cervantes) presents his performance “Autoabismo”. Clinging to the idea that there are solutions to achieve sustainable mobility.
The performance piece is born in the central lane of one of the main roads of the city, it is not the intention to completely stop the vehicular flow, but to advance on the sides and be able to observe what happens, having as a first message a sign that announces a construction site, called Autoabyss, immediately a bicycle with a head with a person clinging to not fall to the ground on a pile of toy cars.
At the same time, images show part of the daily life of how people move in the city of León, Guanajuato. Becoming aware of a reality where every day a work under construction called Autoabyss advances more and more.
BIOGRAPHY
34 sec – Performance Artist
Carlos Cervantes (1996) who from the bowels of the iconic Andrade Tower in the city of León Guanajuato, had his approach to performance in a workshop guided by Gustavo Álvarez (Cosmossfactory) this has led him to experiment with various pieces, looking for in each action that moment in which for an instant or more, that long-awaited “Visual Stamp” is generated. Installation is something that characterizes his work, his taste for building broadens the scope of his projects. One of his motivations is sustainable mobility, making pieces with an activist approach.
He has participated in Festivals such as Decrépito, Indecente, Cuerpxs Territorixs; at the International Performance Meeting “Nolohagaustedmismo” 2023 in Aguascalientes Ags.Mexico; in various cultural exhibitions, a member of the Perro Pateado collective who documented his piece “Autoabismo”. He was recently selected to exhibit a three-dimensional piece at the first Local Biennial of Young Art in León.
Alexia Miranda
Capture of “DESHOJAR”
SYNOPSIS
The piece is a work of female sisterhood that delves into the act of peeling onions collectively and endlessly, provoking a sound action that is interspersed with the sound of the cello played by a professional musician and the accompaniment of a group of women dressed in black invited to collaborate in the action.
In action, the act of “Deshojar” is taken to the limit in a poetic and symbolic game of releasing, peeling, letting go; The onion becomes the metaphor of the female body that peels like a skirt, layer by layer. The onion as a Latin American symbol of the cuisine inherited from grandmothers, from matriarchy, is the essence of the hidden, it is what is underneath and the provocation of tears.
BIOGRAPHY
Alexia Miranda, 1975 multidisciplinary artist Her work focuses on the limits of human relationships, processes of collective activation, energetic and textile fabrics, taking the body to the limit of fragility to question our bonds and roles established by a patriarchal system. His work has been exhibited in North, South and Central America as well as in Europe and the Caribbean. Among his most recent exhibitions are: Destejer la Memoria, a retrospective exhibition of 20 years of performative and installation work at the Museum of Contemporary Art of Querétaro, MACQ, Mexico 2024, as well as at the Museum of Contemporary Art and Design of Costa Rica, MADC 2023. She was coordinator of the Latin American Performance Continuum for El Salvador 2020, guest artist at the 13th Havana Biennial 2019 “The Construction of the Possible” and at the Hemispheric Meeting of Policies and Performance of the Americas, at Ex Teresa Arte Actual Mexico City, 2019.
Among his recognitions are: First Place Central American Film and Video Festival ÍCARO, Guatemala 2009, First Place Paiz Art Biennial El Salvador 2005, Young Talent of the Year, El Salvador 2008.
Noel Molloy
Screenshot from “WE ARE ALL CENSORED”
SYNOPSIS
Repeal of the 8th referendum in Ireland on the 26th May 2018- “The State acknowledges the right to life of the unborn and, with due regard to the equal right to life of the mother, guarantees in its laws to respect, and, as far as practicable, by its laws to defend and vindicate that right.”The Eighth Amendment of the Constitution Act 1983 was an amendment to the Constitution of Ireland which inserted a subsection recognizing “the equal right to life of the pregnant woman and the unborn”. Abortion had been subject to criminal penalty in Ireland since at least 1861; the amendment ensured that legislation or judicial interpretation would be restricted to allowing abortion in circumstances where the life of a pregnant woman was at risk. It was approved by referendum on 7 September 1983 and signed into law on 7 October 1983. In 2018, it was repealed by referendum. Distrust abounded so much so public Lectures/ Discussions and Debates were cancelled and not allowed and even a street Artists Mural was ordered to be painted over at an Arts Center on treat of withdrawing it’s funding. The director of the Art Center made a statement referencing this censorship as the mural was being painted over.
BIOGRAPHY
Studied Limerick School of Art and Design 1978 – 1982.
Degree in Fine Art 1982. Exhibited and created Performance throughout Ireland, Western and Eastern Europe and the U.S.A. Awards Arts Council of Ireland awards from 1991 to 2006; Americans for the Arts 1998 residence PA USA; Cultural Relations Committee Dept. of Foreign Affairs Travel award 1993, 2003; V.E.C. from 1999 to 2006; Roscommon County Council/ Arts Office, 1999 to 2024. Organized ‘Arts Cabaret’ numbering 20, 1997 to 2020, Founder of Working Artists Roscommon 1990 artists group and administrator. Member Visual Artists Ireland.
Isabel León
screenshot from “poesías”
SYNOPSIS
POESÍAS was an action created to be shared in streaming for a visual poetry festival, at a time (the coronavirus crisis) when we interacted through screens on a regular basis. The creative process, specifically in relation to the living arts, also had to adapt to these circumstances.
All the actions in this piece take place in the mouth area and allude to the inescapable need to communicate, at a time when that communication was very conditioned. They are actions in which the friendliness of some images contrasts with the violence of the actions themselves.
The video action speaks of the urgency of art, of the poetic, of beauty, of criticism, of humor and of the
absurd to survive in this world. It is an action that produces pleasure and uneasiness at the same time, like life itself.
BIOGRAPHY
Isabel León, Spanish visual artist, performer, independent cultural facilitator and teacher. Bachelor of Fine Arts and Official Master’s Degree in Artistic Production and Research. Her work moves between video performance and live action art, media to which she has been intensely dedicated since 2007. He conceives artistic practice as an act closely linked to life, so his work is connected to his most intimate feelings, thoughts and emotions. He is interested in the apparently insignificant, the game and the absurd with a work that arises from the here and now and in which he leaves a special space for intuition.
She has participated in numerous festivals, action art meetings and national and international residencies, both in art centres and museums in Spain and in Finland, Germany, Canada, Morocco, Ukraine, Lithuania, Ukraine, Austria and Norway among others. She co-coordinates the research and creation project EXCHANGE Live Art and teaches workshops in art centers, universities and independent spaces. I conceive of artistic creation as an act closely linked to life, so my works need to be sincere and connected to my personal experiences and my daily life. I am interested in the minimal and the apparently insignificant, the driving force and inspiration of my work, often linked to memory and memories, as well as austere in terms of technical and material needs.
Yuzuru Maeda
screenshot from“Perfect highlight”
SYNOPSIS
I contemplate the concept of individuality. What if thirty individuals collectively share their perceptions, sensations, and thoughts? Imagine a scenario where a person at the rear utilizes the vision of the individual in front to navigate their surroundings. In this shared experience of senses and thoughts, they cease to exist as thirty distinct entities and instead become a singular entity or being. As this unifie being, it adapts its form fluidly in response to its environment, much like a liquid. At begging of the performance it took on a tall, mountainous shape, and as it encounters a staircase, it transforms into a more elongated form, and then it reverted back to its mountainous shape again.
If humanity could extend its individuality beyond the confines of the physical body, what possibilities might arise? It is unnecessary for us to possess items individually, to engage in competition with one another, to feel envy towards others, or to partition resources. At present, our perspectives are overly subjective due to our separation from one another which creates many urging issues. I believe that the concept of expanding individuality may offer insights into our future existence..
BIOGRAPHY
Yuzuru born in Japan, Gifu.
Yuzuru graduated from LaSalle College of Arts, Singapore in 2009 for Bachelor of the Arts program in music composition. She has embarked on performing music and improvisation and making video,installation and performance art with Zentai Art Project . In this art projects Yuzuru uses Zentai( full boy tights), the Japanese sub-culture to investigate the human conditions of identity, connections with the energy as a means to come to terms with one’s living environment. She also organizes Zentai exhibition, Zentai walk, Zentai performance with Zentai Art Festival
Recent performance in Back Art Performance Art Biennale(Bangladesh)、Asian Art Biennale (Bangladesh)、2017 Artregems International Performance Art Festival(Taiwan)、Sound art network(Singapore)
Dimple B Shah
Screenshot from “Silence of the Fury”
SYNOPSIS
Although the Pandemic was there for one and a half years, it was not as fearful and terrible as in the second wave, especially in India. The April and May Months of 2021 were hard traumatic and horrible. It got chills to our spines when we saw mass deaths and graves in different cities of India. Cremation grounds were with the piles of Burning bodies in almost all Cities, innumerable people dying with entire families wiped out at large. The Government’s official records report around seven lakh deaths, nowhere to match the actual as per sources. It unofficially reported twenty-five lakh deaths. Cremation grounds were overflowing, graveyards had no space, floating unclaimed bodies in the river, the river beds were full of dead bodies, and some cities built massive Crematoriums to deal with the number of deaths. The smell of death was all around social media flooded with news of condolence messages and death.
Many lost many close friends and family members. The second wave had created fearful smog of death, hopelessness, and loss. The smoke from the burning pyre covered the whole country mourning was everywhere, every family under this grey cloud. The burden of loss was heavy people waited hours outside cremation grounds days and could not give a proper send-off to their loved ones with much unregistered mass cremations. This performance was a silent protest about whom to blame. The fear of Human extinction was shadowing – manmade disasters. Whom to blame? The one who leaked this virus or to one who was doing and developing this virus?
This video is about the silent anguish, agony, and misery that people experienced and encountered during the period, and the performance is about unregistered deaths and unclaimed bodies. The deep thought towards the lost soul was a silent protest to make every death count.
BIOGRAPHY
Dimple B Shah is a practicing multidisciplinary artist from Bangalore, studied at MS University, Baroda. She has worked in several International Residency Virtual Canvas International online residencies Krupa Gallery Wroclaw Poland, The Art House UK, Villa Welbreta, Germany, Space Studio, Baroda, Glasgow Print Studio UK, Printmakers Studio Mumbai & Baroda and Karnataka Lalit Kala Academy. She has been honored with National & International Awards among them ROSL International Residency UK 2019, Villa Welbreta Residency by Municipal Corporation of Munich 2017, India Foundation for the Arts grant for project 560, 2014, Afiriperforma International Residency, Lagos, Nigeria 2013, First Gold Prix in 7th Engraving Biennale, Versailles 2009, National Award, LKA, Government of India 2008, Commonwealth Arts & Crafts Award, UK 2005, Arunawaz Award 2004, Junior Fellowship, HRD, Govt.2000/2. She has been practicing, Live Performance art for the last Twenty-three years and widely performed in International performance Festivals and Biennales in Zurich, Paris, Munich, Gothenburg, Lagos, Colombo Dhaka, Pattalung, Gokseong and several cities in India. She is an active member of Transitstation, Lock Unlock Performance Art, Out of Site Chicago and Be-coming Tree.
She had solo shows in Glasgow Print Studio, United Kingdom. Sumukha Art Gallery and Kalakriti Art Gallery, Hyderabad. She had two-person shows at The Art House United Kingdom and Manchester Contemporary and her Prints performed at the show titled ‘The Weitere Weiterreichung’ in Kunstquartier Bethanien, Berlin. The 8th Guanlan International Print Biennial China 2023, Hit | Haugesund International Relief Print Festival, THE 5TH BANGKOK TRIENNALE, EIGHT INTERNATIONAL TRINNALE, SOFIA, BULGERIA Dada Fest International Festival, Liverpool and Massachusetts USA and Third International Print Biennale of Yerevan. Her works are in the collection in the University of Iowa Stanley Museum of Art and a Private collection
Jochi Muñoz
Screenshot from “¿…En que recodo del camino?”
SYNOPSIS
I stood on a mound of flagstones (previously made), from where I proceeded to form a path with them. Once the stones were exhausted, I took them again, from the first to the last one I placed, and I carried them to the end of the road to form another mound there. I stood on it again, and resumed the action of building another road. So, I repeated this a total of 6 times, once for each decade of my life. In the same way, the number of stones added up to 60, my age at the time. The path I followed as I made and undid the path was circular and counterclockwise.
CONCEPTUAL JUSTIFICATION
After reading several poetic texts that talk about paths, one in particular, Permanence of Tears, by the Haitian poet Jacques Viau Renaud, helped me to specify both the concept of my piece and the form that the action would take.
Permanence, departure, love, heartbreak, hate, attachment, freedom, fear, rootedness, achievements, strangeness… they are things that, in different doses, are rushed by every passer-by in life. During this, each individual follows in the footsteps of others; it rides, so to speak, on what others did previously, while leaving its mark on which, perhaps, others who come after will ride. I resort to the use of the circular layout of the path, as a metaphor for the constant and perennial searches of the individual; as a metaphor for the constant and perennial dissatisfactions of the individual.
BIOGRAPHY
Jochi MUÑOZ. Born in San Francisco de Macorís, Dominican Republic, in 1954. Graduated Laude in Industrial Psychology, at the Pedro Henríquez Ureña National University (UNPHU); he completed the Official Master’s Degree in Performing Arts, from the Rey Juan Carlos University, in Madrid and the diploma in Performance Studies, at the Latin American Faculty of Social Sciences (FLACSO), in Santo Domingo. Trained in folkloric dance, ballet and modern dance, and with higher studies in music. She has taken various courses and workshops in the areas of performance and performance, and has several publications to her credit. She has participated in numerous national and international festivals, both dance and performance.
She worked at the Ministry of Education, teaching Folklore, and at the Pontificia Universidad Católica Madre y Maestra, Recinto Santo Tomás de Aquino (PUCMM-RSTA), coordinating the dance area, while teaching and directing the dance group. Nominated for three years at the Casandra Awards as a Dancer (1994, 1995 and 1996). Meritorious professor at PUCMM-RSTA (2004). Artist selected four times at the National Biennial of Visual Arts (2009, 2011, 2013 and 2023, obtaining a PRIZE on the first occasion), and, twice, in the Eduardo León Jimenes Art Contest (2012 and 2014). He lives and works in Santo Domingo, where he develops his teaching work and as an independent creator of performing arts and Performance Art.
Sara Não Tem Nome
Screenshot from “The promised land is not on Earth”
SYNOPSIS
The promised land is not on Earth. Without a place in the world, I let go of my body and occupy other spaces. My thoughts go through walls and inhabit other beings. Imaginary borders cannot determine my steps. They won’t keep me trapped in myself. I go further. I don’t fit inside anymore.
BIOGRAPHY
Sara Não Tem Nome was born in 1992 in Contagem, Minas Gerais, Brazil. She is a master’s student in Visual Arts at EBA – UFMG. Sara works with different artistic languages, such as music, cinema and visual arts. She participated in the artistic residencies Incomodo (2011), Bolsa Pampulha (2013), Red Bull Station (2015), Poça (2019) and Casa Póça (2022).
She released two solo albums, “Ômega III” in 2015, receiving the Dynamite Award for best Pop music album, and “A situation” in 2023, sponsored by Natura Musical and included in the list of 50 best albums released in 2023, by APCA (São Paulo Association of Art Critics).
She was a member of the Tarda project, with which he released the album “Futuro” in 2020, selected for the launch show at the Som e Fúria Festival, and received the 6th BDMG Award for best short film with the work “Buraco de afundar”. She held the solo exhibition “Situações” at MMGV in 2019. He has works in the collection of the Pampulha Art Museum (MG), Red Bull and Casa do Olhar (SP)
Shao Ye
Screenshot from “Cloud of Dust”
SYNOPSIS
The promised land is not on Earth. Without a place in the world, I let go of my body and occupy other spaces. My thoughts go through walls and inhabit other beings. Imaginary borders cannot determine my steps. They won’t keep me trapped in myself. I go further. I don’t fit inside anymore.
BIOGRAPHY
Shao Ye, graduated from Sichuan Fine Arts Institute in 2023 with a master’s degree, now lives and works in Chongqing. His media of work includes performance, video, installation and writing. He emphasizes the liveliness in artistic creation. The work of him is clean and natural, with transience.He is exploring the real “live” of art now, relying on walking through mountains and rivers to enjoy the state of solo performance, so sometimes the work does not need to be watched by the audience.
Recently Performance Live:ParallelLine—501XU Art Space(Chongqing in 2023),Wail of a Raven—10th “firewood”live artfestival (Chongqing&Chengdu in 2023),Cloud of the Dust、A Novel—17th “On the Cloud” International Performance Art Festival(Kunming in 2023), Passerby — 17th “GUYU ACTION” International Performance Art Festival(Xi’an in 2023),Fall Down—“zou He”15th Anniversary Farewell Exhibition of He Base(Chongqing in 2023),Spring Harvest、Toward to the Sun—“Narr”Biweekly Art Festival (Chongqing in 2022),A Secret—9th “firewood”live art festival(Chengdu in 2022).
Edinson Leonel Silva Mantilla y
María A. Martínez Wandurraga
Screenshot from “desde las sombras”
SYNOPSIS
This audiovisual piece is based on the principle of equality and the defence of the rights and freedoms inherent to every human being. Despite the fact that political and governmental systems often include the idea of promoting inclusive governments in their agendas and proposals, everyday reality reveals a deep gap between promises and deeds. People with disabilities continue to be subject to exclusion and discrimination in multiple aspects of social, academic and professional life. This exclusion is aggravated by the lack of adapted opportunities, insufficient resources and the lack of specialized training for teachers, which significantly limits the full development of this population in various areas.
The audiovisual piece presented here explores, in a detailed and sensitive way, the process by which an individual with congenital visual impairment is able to use their sense of touch to identify, feel and understand the volumes and textures of an object. This sensory process not only allows him to connect with the environment in a unique way, but also enables him to translate those tactile experiences into two-dimensional representations, employing the technique of relief engraving.
Through an artistic approach, it is documented how the individual creates a print using linocut, thus demonstrating that, despite being frequently underestimated by social systems, this population has remarkable abilities to develop plastic and visual works based on haptic perception.
This work challenges prejudices about the abilities of visually impaired people and highlights the need to transform educational and social structures towards true inclusion. By revealing the creative potential of those who are excluded, it promotes a perspective that values diversity as a source of wealth and strength for society.
BIOGRAPHY
Edinson Leonel Silva Mantilla
Born in Colombia in 1981, he holds a Master’s Degree in Fine Arts from the Universidad Industrial de Santander (UIS), a Specialist in University Pedagogy from the University of Pamplona, a Master’s Degree in Design Management from the Universidad de Investigación y Desarrollo (UDI), and a PhD Candidate in Education Sciences from the Universidad Cuauhtémoc. He is a plastic artist and higher education teacher with extensive experience. He has participated in events in Colombia, the United States, Russia, Italy, Mexico, and Romania, standing out in the field of engraving and photography, which has earned him mentions and recognitions for his proposals.
María Angélica Martínez Wandurraga
Born in Colombia in 1989, she holds a Master’s degree in Visual Arts from the National Autonomous University of Mexico (UNAM) and a Master’s degree in Fine Arts from the Industrial University of Santander (UIS). She is a visual artist, illustrator and teacher, with a solid presence in the artistic field of the region. His illustrations have been published in national and international books. He has participated in group exhibitions in Colombia, Mexico, Brazil, and Argentina, obtaining several mentions for his visual work and research processes.
Catalina Paz Rozas Palma
Screenshot from “Choque”
SYNOPSIS
Ergonomically designed to accommodate human morphology, the car detaches the body from the experience with the outside in exchange for protection, comfort and speed. After entering the car, the heterogeneity of the human body is normalized due to automotive serialization.
Consequently, marginal and inessential aspects for the technical functionality of the car, such as the shape, size and colour of the model, acquire an aesthetic-symbolic relevance linked to the identity of the user, as well as to the codes of the market.
As a result of the above, the bodywork has become the new skin of the contemporary man, smooth, metallic and shiny. Since its creation in the nineteenth century, the automobile has become the only body that can fully experience the urban space, since after a short walk within the city, the human body encounters limits as a result of its own biological characteristics. Streets, avenues, highways, are spaces characteristic of modernity that announce to human beings a danger if they try to enter them by their own means. Because of this, only when the person is contained by the car is he allowed to enter modern spaces, giving the body the function of leather, the new limit with the exterior.
The car crash is the cause of the human body emerging in places that are not designed for its corporality, places built without taking into account any anthropometric characteristic. Along with that, the crash also causes the loss of the common appearance of a car, abandoning its shape designed to respond as an object of desire and consumption.
In this sense, the collision by a human body against a car is proposed as an action against the normalization of the body by the market, as the need for the body to make itself visible from its precariousness, fragility, diversity and its own power, in a context that thinks of it not as something else but as a user/consumer.
BIOGRAPHY
Catalina Rozas (Santiago, 1988) Bachelor of Arts with a mention in Engraving from the University of Chile and in Aesthetics from the Pontificia Universidad Católica de Chile. He has taught at the University in courses of Art History, Cultural Management and Hispano-American Literature and Poetry.
Her artistic research focuses on the deployment of the human body within the Latin American urban context, specifically on the relationship that the body maintains with certain machines and objects that it uses as prostheses in order to access the territory of the city. This through graphic, performative and media languages.
She has participated in several group exhibitions, such as in the National Young Art Contest of the University of Valparaíso (2018), in the MAVI/Minera Escondida Award (2015), in the 5th version of the Itaú Bank Youth Contest (Artespacio Gallery, 2020), in the Metropolitan Gallery (2021).
She has been awarded an honorable mention in the Marco Bontá National Engraving Contest (MAC Forestal Museum of Contemporary Art, 2013), First Place in the Performance category and First Place in the Engraving category in the 2023 and 2014 versions of the Young Talent Visual Arts Contest, organized by the Municipality of Santiago, and with the Fondart for the Acquisition of Works (MINCAP, 2020).
Her audiovisual works have led her to participate in the first version of the advisory program “Cinemas on the edge” organized by the Chilean Video Corporation (CChV) within the framework of the 15th Biennial of Media Arts of Santiago (2022).
Victoria Eliana Jaffe
Screenshot from “Agua Dulce”
SYNOPSIS
Think about the puna. Return to the water. Deploy an action. To appropriate the landscape. The Ojos de Mar is the tourist center of Tolar Grande. Think about the action inside this tourist attraction. They are the background to unfold a message, as a curtain is arranged. Is the message a premise? A question? An observation? What is the use of raising this accent in the immensity near the cordilla?
Operating as a miner: Analysis of the site to be explored. Make the investment. Perform water analysis drillings and measurements in percentages of the level of minerals existing on land. Initiate the exploratory stage to locate the processing factory. Move on to the construction stage. Hire staff. Advance in the extraction stage. Earn millions in dollars. Observe the stock market.
Operating like a miner: Getting to know this altitude for work, marveling and going out to explore its surroundings. Think of a project, write it down and win a fund. Analyze the provincial mining situation, inquire and talk to a geologist. Going out to the countryside to learn about environmental needs and thinking about recording equipment. To act to: generate awareness? Convey a message? Who is it for? for what? Who are the recipients? Is it of any use Unfolding a cloth as white as salt, like lithium. To be an accent that resonates on this horizon. To walk on the earth of salt. Execute a piece of writing, a sentence, a premise. Achieve a flag. Raise this message. Sustain the premise. (unfold- build- sustain) Unfolding a fabric, constructing a message, sustaining the premise
BIOGRAPHY
Victoria Jaffe (1990, Argentina). Transdisciplinary artist, rural teacher and cultural manager. He studied at the Provincial School of Fine Arts “Tomás Cabrera”. Currently, she is studying for a Bachelor’s Degree in Plastic Arts from UCASal and a Diploma in Community, Peasant and Popular Feminisms in Abya Yala from UNJu. Attend different training workshops in: performance, photography, ceramics, curatorship, among them, the Contemporary Art Training Program-PFAC directed by Luis María Rojas and Romina Rosciano Fantino, and the MoMA 2020 Contemporary Art Program (virtual).
In 2021, he obtained a Citizen Fund for Development Salta, with the group project “The Brotherhood of the Mantis”. In 2022, he won the National Fund for the Arts-Creation Grants, to develop the work of BOOM! 2023, from the Museum of Contemporary Art of Salta. I coordinate and create the project “ELLXS/TIERRA/HUELLAS” together with the women’s collective of the Community of Artists of Salta-CASa, within the framework of 8M, in 2024.
As a student he won the 1st Prize in Sculpture “Lola Mora” 2015 and participated in the International Sculpture Biennial, Challenge Award “Hierro Líder”, Chaco 2014. It is part of the Federal Modern Archive. She participates in residencies, exhibitions and salons. She is a member of GrupaGraficaSalta, feminist engravers. She is President of the Board of Directors of the CASa Civil Association.
Peter Baren
Screenshot from “THE WEIGHT OF LOVE [RAGE AND TIME AND HOPE]”
SYNOPSIS
He seems to have casted magic over the city! Peter Baren unfolds his performance on König Street. He is dressed in a straight suit, has a calm demeanor, as a gentlemen, holding a book [RAGE AND TIME – all the words are cut out] and a white handkerchief [Hope texted on it] at the same time, walking down slowly and leisurely, sometimes opening the pages and put the book against his forehead and produce a deep sigh in it. Since there are trams running on both sides of this main street, Peter walked in between the rails with his arms wide open and the first vehicle that approached slowed down and followed behind, showing the German tram driver’s respect for people and sensitive to signals.
As time progressed, there were already four vehicles behind him maintaining the same slow speed. When the opposite tram also approached him, it quickly made people feel that it was about to cause a traffic jam. At that moment, we saw Peter’s face turned to one side, his body followed and automatically formed an indicator of release. Now, all the vehicles overtook him, as if by magic, they were lost for a moment. People were applauding.
The police car also stopped beside him and asked, “Ist alles in Ordnung [Everything allright]? He nodded his head. After the police car left, Peter continued and stopped for a deep sigh in the open book and bowed to the people around. At this time, a little girl ran up to him and returned the white handkerchiefs that he dropped along the road. She held up the white handkerchiefs as if she was giving flowers. Peter seized this opportunity to kiss the gift. It was a seamless ending.
BIOGRAPHY
Peter Baren *1954. The Netherlands. Lives in Amsterdam and works on performances and other presentations. Baren is considered one of the most prominent artists in the field of performance art in the Netherlands / Stedelijk Museum Amsterdam.
The involvement of the audience is triggered by mobilizing all the senses. It cannot and should not be that the spectators leave the location unmoved. A performance by Peter Baren is not a visual spectacle, but an emotional experience / Rob Perree.
Baren studied painting at the Rijksakademie in Amsterdam from 1972 to 1977. Since his first public performance in 1980 his work has been shown frequently in the Netherlands and since the mid-eighties on an international level.
His work is often collaborative; other artists he has worked with in an early stage include artist / filmaker Stuart Sherman, dancer / choreographer Truus Bronkhorst, criminologist / poet Koos Dalstar. In 1989 Baren was a recipient of the PRIX DE ROME Art & Theatre. Baren refers to his site-specific performances as temporary explorations / exploitations. revolving around the history of mankind, cultural objects and space. Many of Baren’s pieces commemorate the notion of ritual and the way it functions in various socio-cultural contexts. This is conveyed in his art
through the use of concepts of otherness and both ancient and contemporary cultures in works that also employ body art techniques although in minimalist settings constructed with historical props.
PETER BAREN Blind Dates With The History Of Mankind Performances 1980-2013, the monography, was presented during STAGE IT! Series of presentations on performance art at Stedelijk Museum Amsterdam. Blind Dates With The History Of Mankind (2013- present), as a multi-sensory performance series, searches for a common ground between sensual bewilderment and operational suffering, challenging the constructed nature of our ideas on progress, identity and memory, derived from our social, cultural, political circumstances and exceeds territories / Peter Baren.
Selected performances and other presentations: Altered States. LIVE! Biennale. Vancouver / STEIRISCHER HERBST. Points of Reference 38/88. Graz / Fractured Bodies. TEMPTING FAILURE #18. Biennial of Performance and Noise. London / ASIATOPIA
#10. Bangkok Art and Culture Centre, Bangkok / BLURRR. 5th Biennial of Performance Art. Tel Aviv / NATIONAL REVIEW OF LIVE ART. Tramway, Glasgow / POLYPHONIX 14. Paris / FESTIVAL A/D WERF. Utrecht / PERFORMANCE TAGE. Shedhalle, Zürich / Franklin Furnace, New York / 10th OPEN ART PAF. 798 Art Zone, Beijing / BUDAPEST AUTUMN FESTIVAL – TAC Mücsarnok Palace of Exhibitions, Budapest/ III. SPOTKAN TEATRU WIZJI I PLASTYKI. Poltel Film Studios, Katowice / I NEED YOU. Kunsthaus PasquArt, Biel / STAGE IT! [Part 3]. Stedelijk Museum, Amsterdam / Préavis de Désordre Urbain #10. Marseille / VERBO. 12th Mostra de Performance Arte. Galeria Vermelho, Sao Paulo / TRANSMUTED. Ex Teresa Arte Actual, Mexico City / THE MANIFOLD [AFTER] LIVES OF PERFORMANCE. De Appel Arts Center – Theater Frascati, Amsterdam / UP-ON Live Art Festival 2008 – 2020. Lushan Art Museum, Chengdu / OVERLAPPING KASSEL. Kassel city / National Theatre of Greece, Athens / PERFORMANCE. Sao Paulo / CAMPO ABIERTO. Peras de Olmo ARS CONTINUA, Buenos Aires / PERPENDICULAR Project Brief biography of the collective, member artists, the representative, Archivist(s) or Presenting Artist(s)/Agent(s) (up to 250 words), Tiradentes / Slovak National Gallery, Bratislava / EXPANDED SCENOGRAPHY. National and Kapodistrian University, Athens /
Christine Brault
Screenshot from “Ecos Transfronterizos”
SYNOPSIS
Two major borders of North America cross me before I cross them, CAN-USA and then MEX-USA in the course of the years that pass and the stories lived, heard.
In constant research with the theme of the inscription of borders and territories on and on the body, and thanks to the invitation to participate in the I Binational Congress of the North-South Borders of performance art and living arts in Tijuana, Baja California, Mexico, I began in 2023 the process of tattooing the CAN-USA border lines (in Montreal by Dominique Bodkin) and then MEX-USA (in Tijuana by Momo).
Thus, those mnemonic and geopolitical traces that I cross and that cross me came to inscribe themselves on my skin. My body, through these red tattooed lines, becomes a support to provoke discussions, connections, diverse situations and recognitions from one border to another. These inscriptions were the introduction to the action Cross-border Echoes with migrant contributions: What do you write in the sand not to forget before crossing? What do you leave behind, what do you keep to move forward? I asked these questions to my immigrant students in Montreal before traveling to Tijuana, where I was going to perform this action on the beach, next to the place where the wall begins separating – reuniting Mexico with the United States.
Performance carried out within the framework of the 1st Binational Congress of the North-South Borders of Performance and the Living Arts, Tijuana Cultural Center, UABC, Baja California, Mexico, 2023. Christine Brault thanks the CALQ – Conseil des arts et lettres du Québec for facilitating this trip in Tijuana.
BIOGRAPHY
Christine Brault lives in Tiohtià:ke/Mooniyaang/Montreal, Québec, Canada. An interdisciplinary artist, depending on the context, her work is primarily created through poetic, artivist and feminist performance art actions. Her research deals with issues of migration, borders, human rights, violence against women and against the land. For more than a decade, he has been trying to build bridges between the South and North of the Americas. She has a regular presence in different Latin American countries, especially Mexico, either through performance meetings, or by giving artistic workshops as a pretext to provoke dialogues, conversations on these issues.
Her performative actions have taken her to several international performance festivals and residencies
of artists in Mexico, Chile, Dominican Republic, Czech Republic, China, India, Canada and the United States. He has also participated in three Meetings of the Hemispheric Institute (Performance Art and Politics) in Montreal, Santiago de Chile and Mexico City. She is a candidate in the doctoral program Studies and Practices of the Arts at UQAM (University of Quebec in Montreal) with a research-creation project from performance art and artivism, linked to Ciudad Juárez, Mexico. In June 2024, from his own curatorship together with Dr. Brenda Ceniceros (UACJ), a first exhibition was inaugurated at the Articule Gallery in Montreal with 16 artists from Ciudad Juárez or who work there.
SHAOKAO
Screenshot from “Chinese characteristic”
SYNOPSIS
Through daily means, turn chalk with countless possibilities and creativity into a pile of powder; Day after day of studying, working, brainwashing news, and political propaganda, anyone can easily turn into powder in the process of grinding; Without fire in cooking, without intense pain, it is actually the most painful.
BIOGRAPHY
Ordinary Eathlings currently living in Chengdu,China.
Frank Bready
Screenshot from“Las fronteras las inventaron los malos”
SYNOPSIS
This piece belongs to a series of works that recount, in audiovisual terms, my migratory experience, such as in “Tree Man Arrives in Argentina, 2018”, “Torture, 2020”, “Whitening, 2021”, “Felling of a Tree, 2024” and the latter “The Borders Were Invented by the Bad Guys”, 2024.
The creative process is not linear, it arises based on the need to express a limitation that violates or has violated my human rights, being a migrant, artist, non-white person, etc., in this case, I have taken into account an almost cinematographic audiovisual format, that is, this is the trailer of a film from the practice of performance.
I expose my daily life, in a Humanitarian Residence in Peras de Olmo Ars Continua in Argentina, a space that gives me the possibility of inhabiting my human right of access to housing, in the midst of a housing crisis due to lack of market regulation, without the possibility of having economic well-being. The violation of human rights is a political decision.
BIOGRAPHY
Teaching artist and shaman, he works and lives in Argentina. From Yaracuy, Venezuela, land of Queen María Lionza, devotee of the Popular Saint, José Gregorio Hernández. Artistic practice has been reduced to human vulnerability and existence, earthly and spiritual. Being born into a spiritual environment, he conceives the work of art as a ritual act or not the ritual as a work of art.
Her teaching practice has been oriented towards drawing and painting based on neurosciences, to delve into brain functioning and how artistic pedagogy serves as reprogramming through the education of perception: learning to look at the world. Helping to strengthen the critical eye and reflecting on our location in the world around us.
His artwork is a compendium of intertwining disciplines, poems, videos, drawing, and paintings; having an open creative process and experiencing changes according to the experience of the moment. As an artist I have participated in countries such as Venezuela, Poland, Argentina, Germany, Peru, Brazil, Colombia, Chile, Mexico, Ecuador and the Basque Country. Awards: 2016, 1st Place at the Venice Biennale in Bogotá 8.0 Jury: Gilles Lipovetsky, Nicole Joye, Ramiro Camelo & Miller Lagos. As a collective Los Tales. 2021 / 2nd Place in the nomination for the German Walter Reuter Award, in the category of TV and Multimedia, As a Violence against Women Collective, work: The Invisible Pandemic.
Frida Alfonsina Escobar Santiago
Screenshot from “tlalli nantli ,ñuke mapuæ”
SYNOPSIS
I bury myself to assimilate with these creatures.
BIOGRAPHY
He collected organic and inorganic elements to create grafts between the two. Nests woven or sewn to house soil and plants
Johannes Christopher Gerard
Screenshot from “Un significado que debe ser oculto-revelado”
SYNOPSIS
The desire for the useless is not about chasing uselessness, but about making sense of the seemingly impractical through creativity, criticism, and insight. Think of desire as energy, not as a void. When desire is free from the constraints of utility, it becomes a force that propels us toward new ideas and expressions, showing us that the useless has its own productivity.
BIOGRAPHY
He was born in Cologne, Germany, in 1959. He works as an interdisciplinary and multimedia artist. Currently
resides in The Hague, Netherlands. He studied at the School of Engraving and Design in Cologne, Germany, in the
1975 to 1987, and at the Dun Laogharie School of Art and Design (IADT) in Dublin, Ireland, from 1977 to 1981.
To this day he has lived and worked in different countries in Europe, the Far East, North and South America, West Africa and Australia. Since 1981 he has regularly participated in exhibitions, projects, video and film festivals, including throughout Europe, the Near and Middle East, Southeast Asia, the Far East, Australia, Africa, Central America, North and South America.
Until 2007 he devoted himself mainly to sculpture, painting and engraving. Through the collaboration in 2014 with dancer Tsai Hsin-Ying (Kaohsiung, Taiwan) and performance artist Kao Yi (Tainan, Taiwan) during the “Silent Crossing Border” project at the Soulangh Cultural Park in Tainan, Taiwan begins to make its first video films and performance pieces.
From this project, his work and artistic visions began to focus on interdisciplinary, multimedia, and collaborative projects. Since 2014, collaborative projects with artists from different cultural backgrounds and disciplines have been regularly implemented.
Fredy Clavijo
Screenshot from “desde el silencio”
SYNOPSIS
When space is understood as earth, the artist gives himself to the game of imagining relationships between things that respond to the order of their secrets, then appear the sssisseo of the python serpent, protector of Gaia (earth), and the sibyl, a woman who can see in the future; although it is soon realized that the future of the Sibyl in the video is no longer the same as that revealed in the cave of the oracle of Delphi, commanded as destiny by the gods, but another that in the hands of men is not only uncertain but sometimes improbable.
A woman alone among the rocks who sounds like a horn of plenty a gasoline gun, is the image that is offered to us as a means to see in the future from an understanding of the ancient time of the earth that comes from the depths, for example, from minerals and underground deposits. But also, as we have said, it is the image before which we place ourselves to recognize a widely exploited territory and to question the desire and our ability to guess what the sound of this horn will bring.
What the woman makes sound wants to come from silence, highlighting all the breaths that make us alive and move. Video, like the earth, is a montage of sedimented layers where life is possible. Sometimes it trembles.
BIOGRAPHY
My artistic practice is based on my interest in reflecting on the landscape as a geopolitical scenario, especially in the isolated areas of the centers where various disputes for the tenure and exploitation of the resources that underlie these territories take place. Part of these searches focus on the relationships that are created between the rural and the urban, either due to the different degrees of interdependence or proximity between the agrarian world and life in the city. I am also concerned about the relationships that human beings establish with the natural environment and how they assign aesthetic, symbolic, archetypal, mythical and poetic qualities to it.
As part of the materialization process, I make use of industrially produced objects that contrasted with organic material, both extracted from the material culture of the context where I develop each proposal. Some of these materials are residual objects that I find abandoned and that are incorporated into the landscape after completing their usual cycle of use. I am interested in these vestiges, because in them a mark appears, a writing in the matter, which makes these waste materials carry with them new meanings. These ruins, damaged, fragmented, are traces that speak of our passage through the world, of our way of relating to objects, of our relationship with the natural environment, of the fragility of environments, as well as of change and transformation as a constant in life.
La Colectiva
Screenshot from “Lo dejamos pro escrito”
SYNOPSIS
Action that vindicates the value of the care work carried out ancestrally by women, fire, firewood and its residue, coal, as symbols that endure in the territories or are part of their memory. We confer on these pieces of burnt wood the symbolism that represents the wisdom, dedication and courage of our women, our grandmothers, our elders to him, “today”, to make a statement.
Around the fire, we begin an act of resistance, which seeks to leave a mark through the written word, a reflection of empowerment that reminds us of the struggle for equality, for the respect of our rights, facing the rules imposed by a patriarchal society that judges us differently for being women.
The writing is made on a wall, with the charcoal becoming a symbol of resistance and strength. “We leave it in writing” is a statement that expresses the position of a group of women, which goes against violence against our bodies and the way we have been judged and how we judge ourselves. “‘The wall and the wall are the role of the scoundrel’ goes the saying. We regret to inform the sectarians that on the wall and the wall LaColectiva also writes with sorority as a transformative impulse that makes us stronger.
BIOGRAPHY
LaColectiva is a group of women artists from the city of Bucaramanga, who have been working on artistic work in Santander and reflecting on gender and its sociocultural implications; Based on these concerns, a search for identity begins through artistic expressions that, in line with their own experiences, raise analyses, questions and discussions of the roles assigned and related to the feminine, to generate knowledge and contribute to the social transformations of the region.
Bartolomé Ferrando Colom
Screenshot from “Haz de voces”
SYNOPSIS
It is a sound performance in which, through the random manipulation of the alphabet, I construct random sonorities. Some of these sounds are partially based on reading the letters that I extract from the helmet. Others, on the contrary, are improvised from what I have previously produced. Language is fragmentary and exposed in such a way that pause or silence, and they are an important part of the discourse. In short, it is an intermediate piece located between music and sound poetry. Words no longer speak: they just moan, slip, burst or disappear. They are metallic screams that impinge, with another language, on the real event, wanting to approximate a primitive form of human communication
BIOGRAPHY
He has been a professor of performance at the Universitat Politècnica de València, Spain. She participates in a multitude of performance events and festivals in Europe, America and Asia, and coordinates international performance festivals at the IVAM, the MNCARS and the EAC. He was a member of the groups Flatus Vocis Trio, Rojo, and now of JOP, SIC, Bregues de Moixos, Trio poesía acción and dosentredos dedicated to the development of creative practices located halfway between music, poetry and action art. He has published poetry and essays, and has made recordings on MCs, LPs and CDs, as well as several performance DVDs.
María A. Martínez Wandurraga
Screenshot from “Caminos”
SYNOPSIS
Caminos is a video performance that reflects on the power exercised over women’s bodies, subjection and the obligation to have hegemonic corporalities, losing autonomy and control of the course of their lives. Caminos is another way of thinking about corporalities, from the rebelliousness of stretch marks as a trace and evidence of life, new paths traced that allow, from intersubjectivities, to inhabit and exist in the world without oppression. This piece is the result of the research “Meaningful drawing, multisensory experiences for the creation and contemplation of drawing”.
BIOGRAPHY
Colombia (1989). Master’s degree in Visual Arts from the National Autonomous University of Mexico (UNAM). Master’s degree in Fine Arts from the Industrial University of Santander (UIS). Visual artist, illustrator and teacher. Her work, mostly drawing, seeks to be visually attractive with an emotional and symbolic charge around issues related to being a woman. Through the use of line, dot, unconventional supports and the absence of color in specific areas, he seeks to achieve this goal. His visual work is current in the artistic field of the region. He has published his illustrations in different national and international books. He has participated in group exhibitions in Colombia, Mexico, Brazil and Argentina. He has obtained different mentions for his visual work and his research processes.
Carola Etche
Screenshot from “Transmutar”
SYNOPSIS
Transmutar is a video performance that explores how to pay homage to my past, from the outside freeing myself from what harmed me. It focuses on the theme of death and farewell, questioning what it would be like to say goodbye to the person you used to be. I design my own shade to celebrate, mourn and honor it with flowers. In my tireless search to recover sensations and emotions in my body, I immerse myself in a state of vulnerability and extreme fragility that allows me to transmute pain.
BIOGRAPHY
Carola Etche is a visual artist trained in photography and film (Universidad del Cine, Buenos Aires, Argentina), currently residing in Buenos Aires, Argentina. She trained in different fields of photography: in Spain and Argentina. In 2024 she received the iberescena scholarship for the A Casa vella Residency in Ourense, Spain, and Proyecto Ace awarded her the Together Apart #8 scholarship | MUTUALISMS.
Previously, in 2023 she received the Goethe-Zentrum/ICPA scholarship to carry out the Las Aguadas Residency, Asunción Paraguay and also the Necia – Live arts Performance scholarship in Poco a Poco residency, Oaxaca Mexico. In 2022 she took part in the HANGAR residency in Lisbon Portugal, in the experimental photo festival (analog photography) Barcelona (2022) and in the online micro-residency program FotocreativaBa coordinated by Natheim. In 2021, the FNA (Fondo Nacional de las Artes) grant her a training scholarship. In 2020 she was part of the MANGLAR Visual Arts Analysis and Production Program at Acéfala Gallery, coordinated by Andrés Labake and the FlussLab 2020 micro-residency program.
She has been selected in competitions, scholarships and independent projects among which are: video performance ̈Ohasámava Hapykuere ̈International Festival of Performance-art and Audiovisual Formats FIPFA (2023) Video Savotage; PRODANZA Award (2020), Flickfair L.A. festival selection, California (2020); international video dance festival Clandestinas (Neumann produções) Sao Paulo, Brazil (2020); International Dance Festival IMARP Sao Paulo, Brazil (2020), Video Capsid selection Festival video art El Almacén de las Artes, Astillero, Spain (2021), among others.
Diego Alejandro Garzón
Screenshot from “Tac Tac Diablo”
SYNOPSIS
She has been selected in competitions, scholarships and independent projects among which are: video performance ̈Ohasámava Hapykuere ̈International Festival of Performance-art and Audiovisual Formats FIPFA (2023) Video Savotage; PRODANZA Award (2020), Flickfair L.A. festival selection, California (2020); international video dance festival Clandestinas (Neumann produções) Sao Paulo, Brazil (2020); International Dance Festival IMARP Sao Paulo, Brazil (2020), Video Capsid selection Festival video art El Almacén de las Artes, Astillero, Spain (2021), among others.
This Action was interrupted but lasted long enough to present the symbolic intention of a musical and religious syncretism that converge in a gesture of a single take, of ambiguous perception, perceived in a disruptive way in relation to the context but also seeking an acoustic exercise according to the architectural characteristics of these temples, from the gesture of acting near the altar and in front of the public as a real but ephemeral presentation.
BIOGRAPHY
(Pereira. Colombia, 1980) Plastic artist. Bachelor’s degree in visual arts from the Technological University of Pereira. Her work opens a dialogue between body, language (oral/written) and context, questioning social imaginaries and official discourses through processes that involve a relational aesthetic, seeking the power behind the minimum gestures. She has participated in festivals and meetings of video art, performance, plastic arts, in conventional and underground scenarios. In 2011 she participated in the International Migrants Day call convened by Tania Bruguera with the action Musilandia.
In 2013 he won for Colombia the representation for the Inmediterraneum Video Art Festival. Simultaneous for six countries. In 2016 he won the National Circulation scholarship. II Cycle with his project The Need for the Useless and the Experimenta Sur Grant from the Goethe Institut and Mapa teatro. In 2017 she carried out an artistic residency with the Traficantes collective in Matadero- Madrid and participated in Panorama Sur in Buenos Aires. ARG. In 2018 her project Mi gato no dice miau was selected for the XVI Encuentro de Arte y comunidad in Quito. ECU. Selected in 2020 for the XVII Regional Salons of Artists, Western Zone, Ministry of Culture with his video performance Cantos de citronella and receives for this same piece Stimulus in the category Creation of works Art/ nature of MinCultura- Colombia in 2021. Since 2019 he has been developing gestures that combine image and text in public space under the pseudonym Poing.
Maria Florencia Heller
Screenshot from “La sub version de los espacios”.
SYNOPSIS
The Telecom building was abandoned, in the area of the Santa Fe neighborhood. Bogota. The emblematic telecommunications company that in its glory years had hundreds of employees. Today we can feel in its wide abandoned spaces the history of what was an industry that does nothing more than exemplify, the labor movements in relation to technology, the relationship of the body with labor, and personal histories.
BIOGRAPHY
María is a movement and sound artist. In her career, she practices and researches oriental body practices, deep listening and sound objects. It explores other forms of knowledge, associated with play, emptiness, intuition and apparent nonsense. With these tools, explore the information that reverberates in objects and places.
Marlon de Paula
Screenshot from “El entierro del Buey”
SYNOPSIS
Auri Sacre Fames: El Entierro del Buey it is a performance that arises from historical research and the autobiographical relationship of the artist, whose family, from the rural environment, raised oxen. At the end of the twelfth century, a land route connected the Recôncavo Baiano with the regions of the mining sertão. The cowboys traveled more than 1500 kilometers to supply the mining areas with meat. Thousands of oxen crossed this route until, in the eighteenth century, the Portuguese crown prohibited the journey. Historians point out that gold extraction in Minas Gerais would have been impossible without the supply of meat from Bahia, essential to feed the populations of the mining areas. The meat of the ox guaranteed the continuity of mining: without meat, there would be no gold. The intense slaughter of oxen in the gold-bearing regions left the soils full of bones.
This story gave rise to a legend in the Gerais: an unburied ox is an ox that continues to wander. The performance investigates this legend and the history behind it, exploring the connections between memory, economic exploitation, and the cultural impact these activities left on mining regions.
BIOGRAPHY
Originally from the rural region of Vale do Rio Doce (MG). His production is guided by the environmental, social and mythological dimensions of the territories he inhabits. A multimedia artist, she is currently pursuing a master’s degree in Visual Arts at the University of Buenos Aires (EBA/UFMG). He has participated in various exhibitions, both national and international, highlighting ‘Proximity and Distance’ at the Goethe Institut in New Delhi/India (2022), ‘Artist of an Artist’ at the Luisa Strina Gallery (2023), ‘Sonoridades de Bispo do Rosário’ at the Oscar Niemeyer Museum (2024) and ‘Open Wings’ at the A Gentil Carioca Gallery (2024). He was awarded the XVI Funarte Marc Ferrez Prize (2021) and the 4th Décio Noviello Photography Prize (2023).
He was selected for the 9th Pierre Verger National Photography Award (2023). She participated in the Residency program of the Museo Bispo do Rosário/RJ (2019) and in the creation residency at Labanque – Centre de Production et de Diffusion en Art Contemporain, in Béthune/France (2022).
JULI PUCH
Screenshot from “Anonymous Confession/Confesión Anónima”
SYNOPSIS
Anonymous confession is a post-pornographic confession of love, it is the revelation of a deep secret, lodged in the inability to communicate a love that remains over the years. This short film is also the audiovisual record of the serial production of depilatory wax masks with which the artist works producing plastic works. A short film that was intended to be just a performance record, recorded in the kitchen of Juliette’s house, but that out of necessity became the possibility of catharsis, waiting for news that the artist hopes to hear from a friend with whom they share a silent past.
BIOGRAPHY
Juli Puch (35 years old) Multidisciplinary queer artist, performative performer, creator of erotic worlds. Actress graduated from the National University of the Arts and student in the process of preparing a Thesis for the Master’s Degree in Theater and Performance at the same university. A Chilean living in Buenos Aires since 2010, she has been a choreographer and performer for the Chilean-Argentine performing arts cooperative La Fuga for 9 years. Director of the Mermaid Aquarium and Erotic Archives, collective erotic performances resulting from erotic art workshops and research laboratories. Academic researcher in porn and post-porn through photography, video and performance art. His experimental short films Baño de mar a medianoche and Confesión anónima are touring the circuit of international festivals as well as VILLANAS, an erotic performance in 3 acts that is about to be exhibited in Belgium.
She is an active member of the Ballroom Buenos Aires community where she explores the Sex Siren category through workshops, laboratories and a documentary in the process of creation that was selected to have tutorials in the lab. Eccentric in January of this year 2024. Director and curator of LA ONCE, snack and porn, and teacher of the Sexy Popurri workshop, a laboratory workshop of scenic and audiovisual practices with erotic content.
JURY
Jazmín ra (CL)& hester draycott (uk-cl) /
Diana soria (MX) / monica galvÃo (BR) / Alejandra Dorado (Bo)/ víctor martínez (mx)
CONTINGENT conversations: RUTH VIGUERAS BRAVO, Two Looks, Three Records, MEXICO
book presentation by Ruth Vigueras Bravo
CONTINGENT conversation: MAYA RIVERA and GUSTAVO ÁLVAREZ, Performance o die, MEXICO
Maya Rivera y Gustavo Álvarez