Arely Amaut Gómez Sánchez
(Cusco, Peru) Artist and researcher. She holds a master's in Art and Public Space from Oslo National Academy of the Arts - KHiO. She's a doctoral candidate at the Institute for Social Justice (GRSJ), University of British Columbia. She obtained her degree in Architecture from PUCP.
Arely was responsible for the memory of “Pumpumyachkan” 2024 in Urubamba, Cusco. She's a collaborator in “Sensing Salon” with Denise Ferreira da Silva and Valentina Desideri (2021-today). She designed the exhibition Reading with Echo at Galway Arts Centre in Ireland (2024), among others. Since 2021, she accompanies Casa Cultural Arena y Esteras in Villa el Salvador, an initiative that works toward restoring respect for the sacred path of the Lurin River through theater.
Her artistic practice is based on intercultural affirmation (Andean and Amazonian cosmovision) and transformative justice between communities/collectivities, with whom she works to exchange local and ancestral knowledge and learning towards restoring respect and 'buen vivir.' Since 2022, in collaboration with schools in Lima's southern periphery, Arely has been involved in the creation of community radio station Radio_Apu, in the fragile ecosystem of the Lomas de Lucumo in Pachacamac and the Lurin River, remembering that mountains, rivers, etc., are pedagogies/paths of healing from the territory.
Accompaniments between worlds
by Arely Amaut Gómez Sánchezaccompaniments between worlds
forced migrations, nurtured migrations
mutual affections
cultivation of watunakuy (the visits of affection, respect, and nurturing between ayllus)
I practice continuous accompaniments, in a rhythm of spirals that emerge from my small cosmoliving. I recognize that I belong and live within vast weavings that open the possibility for healing, remembrance, belonging, and multicultural affirmation, especially here, in Lima, a city that often seems to crush our indigenous and common ancestralities.
However, before, beneath, and within the modern urban constructions, the structures and memories of the inhabitants of the Ichma, Limaq, Huari cultures are alive, and later, the Incas and others whom we don't know how to name/remember. They cultivated a nourished valley around the temples/huacas and cities/ayllus.
Accompaniment between worlds returns us to the ayllu (human community, community of sacred entities, nature) allowing us to recover forms of organization anchored in our vital bonds with the earth. These ties guide us toward creativity, autonomy, and self-management, essential for rejecting the modern-colonial world to give us the possibility of living well, living beautifully, making beautifully.
I recognize a profound change in our being/existing, so it's vital to accompany each other in colonial de-anti-rejection. The oppressive, violent, and subtle urban system, from its multiple privileges, has cradled us since we were small. Even so, as we grow, the weight of constant disrespect toward our bodies and the earth we touch daily resonates in very strong and accessible calls to all. These calls are for me a braid of sometimes contradictory actions, feelings, and thoughts, which I feel are accompanied and organized by entities with bodies that inhabit different worlds (kai pacha, uku pacha, hanan pacha), like mountains, stones, waters, stars...
Who accompanies us on this path?
there are many siblings who share this path of revitalization with yakumama and the land to share with. despite this, we runas are deeply connected with the earth itself. it is pacha who accompanies me in those confused space-times or moments of not knowing how to remember —especially in Lima—, accompanying me through vitality, through persistence in the life cycle. their ecosystems, though fragile, are alive in the memory they share with us and with which we continue coexisting. they are ecosystems that continue conversing with water, with the world below, the one here, and the one above, like the lomas of lúcumo, the Lurín river... bodies that dialogue with yakumama.
accompaniment dissolves in ways I cannot describe with precise words or express in abstract ways. it leads us to heal the abstraction of our bonds, and is one more path, rather than a specific objective or project.
despite accompanying different processes, something dissolves again each time there's an attempt to grasp or objectify it. dreams support the conversation of those who send us images of affirmation and re-welcome to the earth, to the river, to the mountain where we walk, imagine, make offerings... again and again.
I only acknowledge that we will continue walking, healing, and sometimes struggling with or dissolving individualistic patterns that, one way or another, continue to put pressure on us, trouble us, and make us believe in the illusory reality of an "I."
it happens to us in fragments, beyond linear time, in a fractal way of cosmoliving, from a small warm space of mutual nurturing... and which emerges from organising between different actors like the recent cleaning faena and giving of thanks to Yakumama on Saturday the 12th of July, 2025 in the community of I.E. 6023 Julio C Tello Rojas in Lurín.
What we share can be activated at the local level in different cities, where we will always encounter living bodies (nature and the communities connected to it). When we walk through territories of life with persistence, resistance and strength, the urban environment doesn't always feel harmonious or healthy. Sometimes, standing in the river and breathing it in is unhealthy in ways both visible and invisible to us, as it receives clandestine drainage, debris, garbage, negligence, indifference. If bodies of water are not healthy, neither are we, due to multiple forms of systemic and structural disrespect, compounded by our own disconnection from life itself, only seeing water as a commodity when we turn on our taps at home for a shower, for cooking, for watering public spaces, etc.
Restoring respect and love for Yakuma, the Lurín River, means being healthy, irrigating our crops with pure water, and preserving food biodiversity – which also preserves our own diversity and existence. Yesterday we came together to hear from our friend and yachachiq Julio Valladolid (from PRATEC), who reminded us that for our Andean and Amazonian agricultural communities, before undertaking any task, the most important priority was and remains food self-sufficiency:
Mana pisikuy (may no one lack food)
plant all varieties, eat all varieties, shared among all [all beings] (nature, deities, humans)
Sumaq Kawsay Aylluntin (to live well together among all and with all)
So, how do we self-organise, what actions do we create together, between institutions, schools, local communities and all those who defend the territory, and popular, local, community and ancestral knowledge?
(in each image we share the path of the collective & community radio station RADIO_APU and allied organisations)
~^ continue the path of the mountain, hills or ecosystems both near and far from our neighborhoods. Question ourselves and overcome the abstract and vaporous ties to these places, in order to tune in to all they show us, nourish, shelter, communicate...
~^ walk the sacred path of the river, connecting with the illnesses, oral traditions, struggles and nurturing practices present in all bodies of water such as wetlands, rivers, seas, lakes, etc.
~^ upon reaching the interior of the river, we stand facing toward the sea, then we turn around to look at, remember, and visit the Andean communities – the water cultivators (who sow and harvest) that live at the headwaters of the water basin.
~^ a night of intense rain on the Huallaga River, during the exchange trip with indigenous communities who cultivate water, together with Arena y Esteras.
~^ to restore our harmony with the living beings within the urban environment—wakas, Apus, ecosystems—through earth gratitude ceremonies; we reclaim rituals of mutual healing at times designated by the Andean agricultural-astronomical calendar created by master Julio Valladolid.
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A note on the video amaut chaupin (Structures to remember chaupin)
The video Structures to remember chaupin is composed of two interwoven poems: one written in Spanish by Arely and another in Runasimi by her collaborator Irma. The work moves through a three-dimensional structure created by Arely as a digital map for traversing darkness and collaborative transformation between languages and worldviews and describes interior spaces where ordinary senses dissolve, making space for other forms of perception.
The piece centers on the Andean idea that "the future is behind us and the past is ahead," inverting Western temporal thinking. It explores the three pachas (interconnected worlds) through sacred sounds U, A, I, and poses essential questions about contemplating the invisible and transiting the intangible.
A direct translation of the work into English via subtitles seemed insufficient to honor the layered nature of this collaborative creation. Instead, a third collaborator - an English speaker - will need to undertake their own journey through this digital structure and create their own poem from their own cosmo-linguistics to be layered with the Spanish and Runasimi. Until then, the work remains deliberately untranslated, preserving the integrity of each linguistic and spiritual contribution while awaiting its next collaborative iteration.