On the possibilty of narratives /
Cuando las cosas cambian / when things change
To be rooted is the invention of a practice /
The world is fucked up. There is no doubt about it, and yet some kind of beauty, sensitivity, and transformation is still possible.

How to render rage and depression into a transformative force? And what is my role in this mess?

As an artist born and raised in Argentina’s Patagonia, my artistic and political perspective is built upon the empowerment of the elements that come from this geographically peripheral position. My critical view of the contemporary world, the urge to build up collaborative projects, the view of art as a territory of exchange and confrontation, are rooted in that primal experience in a desolate landscape -a territory in conflict. These conflicts are inscribed in my body and in my family history. Imbricating these conflictive layers in my practice, I’m currently in an attempt to reshape the matrix of my work, listening to both ancestral sounds and my constantly being out of place. To think around the articulation of non-European concepts and practices in contemporary performance, I confront myself and sink into turbulent movements, into a distance that I feel is getting deeper and deeper. I call the form that this shift of perspective manifests in my way of working: “to be rooted practices”.

In my work, the creation of concepts, practices, and artistic experiences are entangled. This embodied knowledge is the outcome of slow and confusing processes of transformation where personal desires, narratives, and intuitions are in a tense but intimate relationship with deep theoretical and political questions.

I'm trying to answer these questions proposing new connections: new or different relationships between words and things, between space, bodies and time, between affects and intensity, between the visible and the invisible. An off-key grammar in order to build new rhetorics, produce new sensitivities, and offer different narratives as tools -maybe knives or hammers- to reframe reality.

Therefore I understand the performative space as the battlefield for an opening hypothesis of relationships between bodies and time, for an exploration of other intensities. Space understood as tactical and material land where the performers’ bodies, immaterial forces, and the audience meet and confront each other. A field where it is possible to establish clashing relationships between past and present, and to construct divergent bonds to the future.
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