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
Artista dedicado al oficio teatral por 15 años, acercándose a la dramaturgia y dirección durante su proceso de formación como actor. Desde entonces, existen seis obras de su autoría y una en proceso de desarrollo. Algunas de las temáticas que aborda son: diversidad sexual, género y derechos humanos, cruzadas por la investigación de la narrativa latinoamericana, memoria, biografía y herramientas tecnológicas.
Reminiscencia
A través de un uso delicado y seductor de las plataformas digitales, Mauro escarba en su biografía personal y al mismo tiempo en la biografía de la ciudad, en una memoria reciente y al mismo tiempo en cicatrices profundas.
Se trata de una experiencia que pone el foco en lugares mágicos y singulares, relevando una topografía emocional, una relación con la ciudad que para todas y todos siempre es diferente, pero en la que inevitablemente nos encontramos. En Reminiscencia se instala un sello de investigación propio y único, como una apuesta a un nuevo género, nos encontramos con un ensayo documental biográfico muy sensible, político e íntimo a la vez. ¿Qué va a pasar con nuestras huellas cuando ya no estemos aquí?
Katalina Oyarzo / Network point
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
She was born in Punta Arenas. Her training began from the plastic arts to the performing arts. She migrated to the Port of Valparaíso to continue her academic and artistic education. She is an actress with a Bachelor of Theater and a minor of Theatrical Didactics and a Stage Design Diploma
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
Actress, cultural manager and researcher. She works as an interpreter mainly in the audiovisual field, in various national film and television productions. Together with Catalina Aguilera, they created Colectiva Loca, an interdisciplinary research duo, focused on the study of the territory and its transformative agents.
Chilwe 2024
Hominidæ is a research project that consists of the territorial study of a specific city, from the collection of soundscapes and auditory testimonial records, based on the question: what is your struggle?
The intention is to observe the main transformative agents of the territory, since the research is focused on the capture of the present to generate an archival material as preservation of the territorial memory. Research is shared in two formats: Immersive audible installation in the territory and a cartography in web format.
ANDREA SOLANO (ECU)
¿DÓNDE SE FERMENTA LA CHICHA?
15, 16 y 17 de Enero 18:00 a 20:00 hrs.
Teatro AIEP
Bachelor of Arts, Pediatrician and Master of Visual Arts. Iquiqueña, pilgrim of the Fiesta de la Tirana. Her work ranges from material concerns to questions that point to the knots of his affective territories, crossed by her Aymara origin. She seeks to highlight the geographical contradiction of the northern Chilean region, its history drawn from multiculturalism and the construction of an identity and image, through the high contrast with the rest of the territory.
Jaguar in bloom
“I seek to dive into the use of a visual that refers to my territory of origin, the Northern Great of Chile – and at the same time – to refer to the connection that ancestors and their neighbors have had: how did they understand interspecies and world relationships?
·To do this, I wanted to explore the healing qualities of plants, starting with Bach’s flowers, mixed with stories and own memory about the use of power plants. This is like with a braid and the hair presented elements that could be a connector between worlds, and in turn, gather some of the knowledge of the journey. The body as a vehicle for encounter with other beings in a cooperative dialogue.”
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.
Actress, bachelor’s degree in performing arts. Diploma in theater teaching. She works creating pieces for the stage, in performance as well as teaching, with an emphasis on singing. Its creative processes are associated with practical research in artistic groups in the Valparaíso Region.
Expedición 180
Meet an elephant in the dark. Practical-theoretical research in process that is born from the desire to walk through the Chiloé archipelago, from north to south (200k) in 18 days, as if it were a “to Lo Vasquez” pilgrimage, to find the lost work.
This absurd walk holds an exercise in gathering nature sounds and stories: voices of the elderly enter into everyday conversation with two unknowns pilgrimizing in this underwater mountain range in a encounter with the body’s own memory: “Have you ever walked a lot?”
Medial and audible perfo-installation in the -failed - attempt to transmit Expedition 180, stressing the concepts of survival, myth and experience.
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Luzé - Hair and scarring
15, 16 y 17 de Enero 18:00 a 20:00 hrs.
Teatro AIEP
Artista transdisciplinar. Luzé cooks his creations in the translinguishing water inside the self-extinguishing fire pit. His voyages and inventions cross borders as he walks in the company of anti-colonial chanting. In addition to film courses, he has training in Theatre and Performing Arts.
From the first moment Luzé saw the photograph on the cover of the book "Pearl and Scars", he felt he had another great reference from Pedro Lemebel to boost his desire to perform on body hair. However, during his first stay in Chiloé, this desire was fueled by something else: the pelillo (a type of seaweed). Now, the artist also researches this Pacific algae, from its extraction in Chile to its consumption in Japan.
In addition to experimenting with its materiality, Luzé is developing an essay on the autophagic relationship with body hair.
Luzé - Hair and scarring
15, 16 y 17 de Enero 18:00 a 20:00 hrs.
Teatro AIEP
Artista transdisciplinar. Luzé cooks his creations in the translinguishing water inside the self-extinguishing fire pit. His voyages and inventions cross borders as he walks in the company of anti-colonial chanting. In addition to film courses, he has training in Theatre and Performing Arts.
From the first moment Luzé saw the photograph on the cover of the book "Pearl and Scars", he felt he had another great reference from Pedro Lemebel to boost his desire to perform on body hair. However, during his first stay in Chiloé, this desire was fueled by something else: the pelillo (a type of seaweed). Now, the artist also researches this Pacific algae, from its extraction in Chile to its consumption in Japan.
In addition to experimenting with its materiality, Luzé is developing an essay on the autophagic relationship with body hair.
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 de una Casa en Ruinas es una performance creada a partir de los restos de una casa en la isla de Chiloé, al principio de la Patagonia chilena. La investigación cuestiona el significado de la casa y el hogar para el ser humano en los tiempos que vivimos. La performance se pregunta ¿Cuántas casas necesitamos destruir para terminar de entender lo que somos? ¿Tenemos la posibilidad de construir otro futuro con estas ruinas? "Minga de una casa en ruinas" juega con el pasado, el presente y el futuro de los restos de una casa para proponer un intenso viaje por el sentido de habitar y de la comunidad en un presente que parece preferir las casas desechables y los hogares efímeros.
15 y 16 de Enero 20:00 hrs.
Teatro AIEP
Malicho Vaca - Reminiscence
15 y 16 de Enero 22:00 hrs.
Galería Solar, Providencia
Artist with a career of 15 years, he first started drama and direction during his training process as an actor. Since then, there have been six works of his authorship and one in the process of development. Some of the topics he addresses are: sexual diversity, gender and human rights, crossed by research into Latin American narrative, memory, biography and technological tools.
Reminiscence
Through a delicate and seductive use of digital platforms, Mauro digs into his personal biography and at the same time into the city’s biography, in a recent memory and at the same time 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 we inevitably find ourselves in. In Reminiscencia, a unique and unique seal of research is installed, as a bet on a new genre, we encounter a very sensitive, political and intimate biographical documentary essay. What will happen to our footprints when we are no longer here?
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
A partir de testimonios y experiencias que brotan al margen de la supremacía de las imágenes, nace Última Esperanza, una puesta en escena que explora en la ceguera, tomando como punto de inicio, los relatos de individuos que perciben la realidad por medio de aproximaciones no normativas.
En una sociedad que explota el consumo de imágenes, ver es la norma, y aquello que no nombramos con los ojos parece revolución. Última Esperanza investiga en esos intersticios, donde la comunicación humana y no humana se manifiesta más allá del ocularcentrismo. Y dimensiones sensoriales como el sonido, el olor o la intuición, ganan espacio en una propuesta, que desafía hasta al mismo teatro, cuestionando el concepto “lugar para ver”, que descansa en la etimología de la palabra.
Última Esperanza es un ejercicio radical. Un destello de ruido blanco. Y también, una pregunta desbordada: ¿quién no ve, deja de ser visto?
Esta propuesta de teatro-performance contemporáneo es protagonizada por dos mujeres: Hilda Snippe y Ébana Garín. La primera, actriz amateur ciega que emprende un viaje iniciático por las artes vivas junto a Cuerpo Sur, resignificando la experiencia de habitar la diferencia. La segunda, actriz y performer del colectivo, que indaga en las últimas oportunidades de comunicación significativa, en un contexto neoliberal que insiste en el consumo desatado de imágenes. Hilda y Ébana dan luces de un vínculo que vibra en el terreno corporal y en el habitar de la palabra, proyectando memorias, mapas afectivos y trayectorias mundanas de quienes no pueden ver.
Última esperanza se presenta como una experiencia de carácter interdisciplinar, cuya escritura dramatúrgica adquiere cuerpo gracias a los encuentros y espacios de diálogo con Task Force, el grupo de trabajo en torno a la inclusividad de Hilda Snippe, conformado fundamentalmente por personas en condición de discapacidad.
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
