Squeaky, don’t shout. The Chillon and Rimac rivers, which once gave life and watered Lima’s valleys, are today practically swallowed by the city’s waste, with the Chillon being the most polluted river in the country. In Chillon, don’t scream, a video-documented performance, Urbina, wearing a blue metal harness with silver fins made of scales and black vinyl combat boots, traverses the banks and polluted waters of the now shallow Chillon River, an indispensable source of life for thousands of years – with water flowing from the highlands of the Andes, producing a rich river valley in what is now the Puente Piedra district of Lima. It is precisely in these zones of sacrifice that Urbina’s performative work mechanizes its challenges and tensions by proposing its own desiring body as an endangered species in the cartography of urban, lumpen, marginal social dismantling. Urbina enters the river in a becoming aquatic species, siren or sirene of Amazonian mythology, submerged in the polluted waters as in an open sore, infected with fecal waste, heavy metals and debris, invoking in a ritual rite, the denatured of this dead nature. This river exemplifies colonial necropolitics, a source of disease and death rather than life. In this sense, Urbina’s entry into the river is a death wish. However, being of Afro-indigenous and non-binary descent is already a form of death in the eyes of the State. Urbina is devoured as toxic waste, zoophilically, but at the same time it also feeds on and is infected by the waste. An apocalyptic critique of the schizophrenia of capital that destroys the most fragile areas of nature and therefore the most fragile body of social dismantling.