A Cuerpo Sur Foundation initiative
As a Foundation we want to promote Latin American live arts, with a strong emphasis on the epistemologies of the south of the world, we are interested in promoting instances where hegemonic knowledge is questioned and the space is opened to experimentation, disciplinary and territorial crossings.
This 2024 summer, we wanted to create an exhibition window for the artists of the AVANZADA SUR 2023 Program, as well as the works and projects of artists who collaborate with Fundación Cuerpo Sur.
MALICHO VACA
REMINISCENCIA
13 de Enero 18:30 hrs.
Teatro AIEP
An artist dedicated to the theater for 15 years, he focused on playwriting and directing during his training as an actor. Since then, he has written six plays and another one is in development. Some of the themes he addresses include sexual diversity, gender, and human rights, interwoven with research into Latin American narrative, memory, biography, and technological tools.
Reminiscence
Through a delicate and seductive use of digital platforms, Mauro delves into his personal biography and at the same time into the biography of the city, into recent memory and at the same time into deep scars.
This is an experience that focuses on magical and unique places, revealing an emotional topography, a relationship with the city that is always different for everyone, but in which we inevitably find ourselves. Reminiscence establishes a unique and distinctive investigative approach, like a venture into a new genre. We encounter a highly sensitive, political, and intimate biographical documentary essay. What will happen to our footprints when we are no longer here?
MAILZA BERNARD (BRA)
ODORA LAB
15 de enero 10:00 a 13:00 hrs.
Terraza Funicular Parque Metropolitano de Santiago
16 de enero 15:00 a 18:00 hrs.
Terraza Funicular Parque Metropolitano de Santiago
17 de Enero 18:00 a 20:00 hrs.
Teatro AIEP
MAILZA BERNARD
(BRA)
Mailza Bernard is a multimedia artist with a degree in Applied Ceramic Arts from the Federal University of São João del Rey. She lives and works in Tiradentes, MG, Brazil. Her artistic research integrates ceramics, aromatic aesthetics, autofiction, territory, motherhood, and ecofeminism. She develops sensorial installations that integrate ancestral knowledge and cultural identities. Ceramics, combined with technology, video, and performance, become a transmedia vehicle that connects the archaic and the contemporary.
ODORA LAB
ODORA LAB is an interdisciplinary creative laboratory that investigates the colonization of the senses, with a special focus on smell, exploring the relationship between territory, body, and memory by cataloging and preserving the scents of native Latin American plants through artistic practices such as ceramics, performance, and installation. At #VentanaSur, he presents two actions that are part of the project: Smelling is Dangerous and Reminder.
DANIELLA SANTIBÁÑEZ (CHI)
REVELAR
15 de enero 10:00 a 13:00 hrs.Terraza
Terraza Funicular Parque Metropolitano de Santiago
17 de enero 21:00 hrs.
Explanda Teatro AIEP
DANIELLA SANTIBÁÑEZ
(CHI)
Dancer and performing artist. She holds a Bachelor of Arts with a minor in Dance from the University of Chile. She leads the body-based dance and improvisation practice Bomba Solar. She has collaborated on various choreographic and interdisciplinary projects with performances in Chile, Argentina, Brazil, Spain, and Germany. She participated in Tanzkongress 2022 with the work Fronteriza and in Tanzmesse 2024 with Develar. She currently resides in Santiago, Chile, and directs the artistic research project "Essays on Light," through which she created the short film "Aparecer" (2021), the solo performance "Develar" (2023), and her recent performance "Revelar" (2024-2025).
REVELAR
Revelar emerges from a series of photographic and dance practices that are part of "Essays on Light," an artistic research project that examines the sensitive relationship between the body and light. The project contains the photosensitive deliriums that arise from the experience of observing solar transits in the southern hemisphere. This opening of the process reveals experiments that invoke collective contemplation, opening the way to the body as a threshold of revelation.
ANDREA SOLANO (ECU)
¿DÓNDE SE FERMENTA LA CHICHA?
15, 16 y 17 de Enero 18:00 a 20:00 hrs.
Teatro AIEP
ANDREA SOLANO
(ECU)
Andrea Solano is an interdisciplinary artist from the Equatorial Territory. She has studied performing arts and is a textile manager and artisan. Her creative and research processes are related to traditional fermentation, the imaginaries, and the technologies that are created and imagined to sustain these processes.
WHERE IS CHICHA FERMENTED?
This is an invitation to reclaim intuition as a creative process and an activator of flavors, sounds, and nourishing relationships. Within this experience, you can listen to, taste, and share ferments, as an action that triggers knowledge and memories stored in our bodies. Understanding chicha, its ecosystems, and the technologies that accompany it, as a resistance to the modern, civilized, antibacterial, and capitalist discourse.
TAINA VILLALOBOS (CHI)
CICLO DE INTERCAMBIOS SUCESIONALES DE SEMILLAS
15 y 16 18:00 a 20:00 hrs.
Teatro AIEP
17 de Enero 19:30 hrs.
Plaza Camilo Mori, Bellavista Providencia.
TAINA VILLALOBOS
(CHI)
Taina Villalobos is a caretaker of traditional Chilean organic seeds, a visual artist, and an art worker. She holds a degree in Sculpture from the University of Chile. She lives and works in Santiago, Chile. Her projects question the relationship between humanity and nature, finding ways to include relational aspects in contemporary artistic practices. The processual aspect of her work is constructed through everyday social practices, interviews, and encounters with diverse people. Understanding art as a tool for social transformation, the artist seeks to rethink our worldview in her work.
CYCLE OF SUCCESSIVE SEED EXCHANGES
The cycle is an action that is part of the research project on seeds and art, Memories of the Soil. It is a search for new ways to relate to the cycle of edible plants, care for their dormancy, and propagate their abundance. It is living evidence of the interweaving of seeds between women, with their movements through different spaces; with their colors and shapes that have been preserved from generation to generation in the territory of Abya Yala. Memories of the Soil proposes a perspective of the world with biodiversity at its center, as a visual tool to generate emotional exchanges, both of thoughts and of seeds and their diverse varieties.
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PALOMA POLLAN (ARG)
TRANSPLANTA
15, 16 y 17 de Enero 18:00 a 20:00 hrs.
Teatro AIEP
PALOMA POLLAN
(ARG)
Visual artist and mycologist who creates sensitive experiences at the intersection of nature and art to be experienced collectively. Her academic training encompasses the visual and performing arts. She currently cultivates and collects mushrooms and promotes psilocybin-assisted therapies. Through her practice, she seeks to nurture and diversify relationships with non-human organisms that cohabit our habitats, to increase understanding of their value.
TRANSPLANTA
It is presented as an attempt to expand the human, to enable ways of being in the inescapable hybrid landscape, an eco-cyborg fantasy where the tension between body, technology, and nature is sustained by a being undergoing a process of transformation as it digests and metabolizes different materials that mutate its physical appearance. Accompanied by a sordid sound field, it is a dreamlike and evocative setting.
PANTERA VILLALVA (ARG)
REENCANTAMIENTO
15, 16 y 17 de Enero 18:00 a 20:00 hrs.
Teatro AIEP
PANTERA VILLALVA
(ARG)
Pantera is a queer and Afro-Argentine artist and activist. Through his work, he explores the intersection between his Afro ancestry and the contemporary, combining visual, technological, and performative languages, and recovering magical and ritual practices from Afro-descendant and Latin American cultures.
He explores intersections between body, identity, magic, and memory, profoundly questioning the processes of disenchantment imposed on the world by colonialism, coloniality, and capitalism. His work proposes a counterattack and enchantment against a colonial regime of death and oblivion, seeking to do justice through the recovery of historically subalternized practices and knowledge.
REENCHANTMENT
Time is not linear. It is neither gradual nor progressive. Time is a spiraling cycle that repeats itself with the accumulation of experiences and meanings. From this spiral emerges REENCHANTMENT, an action by Proyecto Sankofa, which explores: Who determines what will or will not be remembered? Who has the right to memory?
Through a series of actions that seek to re-enchant this disenchanted world, this is an invitation to remember that it's never too late to go back and search in the past for what we have forgotten.
CLAUDIA PALAZZO (UK)
WHY DO THESE OLIVES HAVE BONES IN THEM? (Open process / Apertura de proceso)
16 de Enero 18:00 a 20:00 hrs.
Teatro AIEP
Claudia Palazzo es una artista radicada en Londres que trabaja en las intersecciones y contradicciones de la danza, el arte escénico, la instalación, el cabaret alternativo y el cine. Su estructura es a menudo poética, salvaje, meditativa y violenta. Influenciada por las raíces de la cultura de los clubes nocturnos, las torres habitacionales del centro de la ciudad y el entrenamiento psicofísico, ha permitido espacio para la disociación y reasociación como una forma de procesar, contextualizar y navegar por cosas que pueden parecer enormes. Su trabajo suele habitar un lugar de tensión, utilizando la interacción entre la fuerza inherente y el daño reiterado por impacto a una estructura de soporte. Su interés está puesto en establecer conexiones significativas y circuitos de retroalimentación con audiencias, abrazando el poder de una comunidad temporal.
Una amplia variedad de contextos en la escena de clubes underground, festivales y galerías han sido sede de su trabajo. Ha compartido su trabajo junto a Complicite, Carlos Motta, Franko B, Ann-Liv Young, Atabey Mamasita, Lucy McCormick, SERAFINE1369, Eddie Peake, Sinead O'Connor y Marisa Carnesky, por mencionar algunos.
Actualmente, Claudia busca representar su cuerpo danzante en su ausencia. Una combinación de diálogo subliminal y salvaje con la arquitectura y el público, invitando a preguntarnos sobre cómo podemos desafiar los ideales capacitistas de movilidad sin sucumbir al control disfrazado de cuidado.
LIGHTING CALL
January 18 10:30 hrs.
Metropolitan Region 2024 Project Presentation
Need a space to create a live arts project this year? As Fundación Cuerpo Sur we want to invite companies and artists to share our rehearsal room at Mapocho Station. If you belong to a creation of live arts that takes place this year in the Metropolitan Region, we invite you to apply by presenting your project in Relámpago, a day within Ventana Sur, in which we will share a breakfast where artists who wish to participate will have 5 minutes to present their project.
In this instance, artists, programmers and collaborators of Fundación Cuerpo Sur will be present. We are interested in enabling future dialogue with companies and artists, building networking, and enabling a meeting between Metropolitan Region creators.
Apply on our bio form where you will need to indicate your company name, project name and attach a photo.
Prepare the presentation and you must be at 10:00 am on Thursday the 18th in the Espacio Transiberiano of the Mapocho Station to present your project. See you!
Frequently Asked Questions:
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Individual projects that are identified within living arts may be submitted.
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It is not necessary to have a release date for 2024, they can occupy the room for a stage of research as a residence.
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The trial period will be approximately 3 months or longer depending on the number of rehearsals per week requested and the requirements of each company.
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Presentation must be oral, no video or image projection will be available for the 5 minutes available.
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The jury will select 3 projects from all participants.
COLECTIVO CUERPO SUR
Ébana Garín & Luis Guenel
MINGA DE UNA CASA EN RUINAS
Minga of a Ruined House is a performance created from the remains of a house on the island of Chiloé, at the beginning of Chilean Patagonia. The investigation questions the meaning of house and home for human beings in the times we live in. The performance asks: How many houses do we need to destroy to fully understand who we are? Do we have the possibility of building another future with these ruins? "Minga of a Ruined House" plays with the past, present, and future of the remains of a house to propose an intense journey through the meaning of inhabitation and community in a present that seems to prefer disposable houses and ephemeral homes.
15 y 16 de Enero 20:00 hrs.
Teatro AIEP
JOSEFINA CERDA
FERAL
15 y 16 de Enero 22:00 hrs.
Galería Solar, Providencia
Josefina Cerda Puga (31) is a performer, stage artist, and sound designer. Her work explores the relationship between body, sexuality, archive, sound, and fantasy, with a focus on interdisciplinary practices and reflections on pleasure and love. She combines her artistic work with university teaching in the areas of interdisciplinarity and gender perspective in the performing arts.
She is currently a producer for the Cuerpo Sur Foundation and collaborates with the artistic collectives Complejo Conejo, Cómo se Recuerda un Crimen, Cuerpo Sur, Radioafectiva, and Teatro del Sonido.
Feral
Feral is a vocal-sound performance that addresses the processes of sexualization, objectification, and the empowerment of one's own pleasure. Over the course of 30 minutes, the performer narrates her story from a hypersexualized childhood to an adulthood where pleasure finds new avenues of exploration in domination, sex work, and BDSM. The scene takes place in an intimate setting with a live sound recording and playback set, projections, and other sexual technologies that will accompany the story.
COLECTIVO CRSUC
CÓMO SE RECUERDA UN CRIMEN (?): RÍO MAPOCHO
18 de Enero 18:00 hrs.
Audio recorrido comienza en explanda Estación Mapocho y termina en puente Bulnes.
Cómo se recuerda un crimen (?) is a transdisciplinary group made up of five Chilean creators, who carry out research and artistic creation projects on topics such as memory, territory and history since 2019. The five members of the collective cross the disciplines of performing arts, architecture, sound art and design; to inform historical crime investigations and contemporary review.
They have performed three site-specific projects: “Villa San Luis” within the framework of the Accompaniment Program of Teatro Niño Proletario, “UNCTAD III” in co-production with the Gabriela Mistral Cultural Center and “Rio Mapocho” funded by the Ministry of Arts, Cultures and Heritage. They have a digital experience carried out under the Blue Fund of the University of Chile called “Barial Memory Experience”. They have participated in museum displays such as “50 years later: A strike to memory” of Museo Histórico Nacional, “Huellas: proyecciones de la memoria” in the Architecture Faculty of Universidad de Chile, “La violencia en el espacio” at Centro Cultural Matta in Buenos Aires Argentina.
Cómo se recuerda un crímen (?):
Río Mapocho
How many crimes has the Mapocho River witnessed? How many crimes has it suffered?
This site-specific is an invitation to meet with the river that crosses the city of Santiago with the objective of recognizing its history and its relevance to the city. We are here because there is a river and before us there were other cities here, some from collaboration, other from the omission of the previous ones. However, the river determined that the Mapocho Valley was a meeting point between cultures, for settling, homes, of what is sacred, of violence, a territory in dispute. The piece reviews the prehispanic past, colonization, the modern city, dictatorship, the recent past and present, focusing on the Mapocho River and the changes around it.
The experience is a walk along the banks of the Mapocho River that requires: a cell phone, headphones, and the Izzi Travel App (free) to listen to the audio tours that will guide the work, and attendees will be given a fanzine that is part of this collective expertise.
Research: Cómo se recuerda un crimen
Direction, dramaturgy and guiding voices: Cecilia Yáñez Ortiz and Camila Milenka. Graphic Design and Architects: Melissa Thomas Pavon and Javiera Chavez Skoknic.
Sound Design and Music: Josefina Cerda Puga and Francisco Sanchez. On-Field Production: Manuel Díaz.
Communications: Grieta.
Mentors: Francisca Marquez, Joaquin Moure.
Testimonials: Alicia Juica, Catalina Huerta, Francisca Márquez, Guillermo Donoso, Joaquín Moure, Rubén Stehberg,
Thank you to: Radio Archive Museum of Memory and Human Rights, Radio Cooperative Issuer and Ricardo García Issuer, Public Landscape Festival, and everyone who made this project possible.
Project funded by the Ministry of Arts, Cultures and Heritage, Fondart Nacional 2023.
COLECTIVO CUERPO SUR
Luis Guenel
ÚLTIMA ESPERANZA
18 y 19 de Enero 20:00 hrs.
Teatro AIEP
From testimonies and experiences that emerge outside the supremacy of images, Última Esperanza is born, a production that explores blindness, taking as its starting point the stories of individuals who perceive reality through non-normative approaches.
In a society that exploits the consumption of images, seeing is the norm, and what we don't name with our eyes seems like a revolution. Última Esperanza investigates these interstices, where human and non-human communication manifests beyond ocular-centrism. And sensory dimensions such as sound, smell, and intuition gain space in a proposal that challenges even theater itself, questioning the concept of "a place to see," which rests on the etymology of the word.
Última Esperanza is a radical exercise. A flash of white noise. And also, an overwhelming question: does he who does not see cease to be seen?
This contemporary performance-theater proposal stars two women: Hilda Snippe and Ébana Garín. The former, a blind amateur actress, embarks on an initiatory journey through the performing arts with Cuerpo Sur, redefining the experience of inhabiting difference. The latter, an actress and performer with the collective, explores the last opportunities for meaningful communication in a neoliberal context that insists on the unbridled consumption of images. Hilda and Ébana shed light on a bond that vibrates in the corporeal realm and in the inhabitation of words, projecting memories, affective maps, and mundane trajectories of those who cannot see.
Last Hope is presented as an interdisciplinary experience, whose dramatic writing takes shape through encounters and spaces for dialogue with Task Force, Hilda Snippe's inclusivity working group, comprised primarily of people with disabilities.
Dirección: Luis Guenel Soto
Dramaturgia e Investigación: Ébana Garín Coronel, Hilda Snippe y Luis Guenel Soto
Intérpretes: Ébana Garín Coronel y Hilda Snippe
Diseño de iluminación y vestuario: Ricardo Romero Pérez
Diseño de escenografía y vestuario: Nicolás Zapata Soto
Composición sonora: Damián Noguera Berguer
Producción y audio descripción: Josefina Cerda
Producción en terreno: Carolina Echeverría
Operador de sonido: Sebastián Cifuentes
Representante internacional: Loreto Araya Ignat
Co-Producen: Fundación Cuerpo Sur, FITEI Porto, MC2 Grenoble, GAM, Teatro Łaźnia Nowa, FITLO y Arcadia Leeuwarden.
Apoyo a la creación: Nau Ivanow - Tryater - Grand Theatre Groningen - Festival Santiago Off - Embajada del Reino de los Países Bajos.
Colabora: Goethe Institute, Dirección de Investigación y Desarrollo (DiCrea) Universidad de Chile
