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Aileen Gavonel

Visual artist specializing in ceramics.
In my material exploration, I focus on the reconsideration and recreation of techniques and forms of artistic production, whose foundation responds to the imperative circumstances of the place and time in which I live.

The impulses that animate my artistic expression unfold around a conceptual matrix that addresses issues from fragility as an intrinsic condition of human existence, to the transcendence of the recovery of affection as a restorative phenomenon. My work reflects on the healing and ritual dimension of everyday ornaments.

aileengavonel.com

Irazema H. Vera

Sound artist and musicologist, sound engineer and music producer. My artistic practice is deeply rooted in the relationships and connections between the territory and its communities through memory, music and listening; and how these face the environmental crisis and challenge hegemonic discourses.

I develop soundscapes from auralities through recordings in territory, testimonies and traditions, and the interaction between them; to later complement them with approaches to cartographies that propose a look at these connections and relationships as a call for climate justice.

irazema.xyz

Las Serenas

We are Serenas, a feminist support network for women and non-binary people in situations of abortion in Peru. We are a space for community training and political creation.

We are committed to direct, decentralized and voluntary actions, in response to the unjust criminalization of our right to decide. We create from the city, from the hamlets, the communities, the streets, the riverbanks, the neighborhoods and the squares.

www.serenasperu.com

Eliana Otta

Eliana Otta Vildoso (Lima, 1981) has a degree in art and a Master in Cultural Studies by the Universidad Católica del Perú. She graduated as PhD with the project Lost and Shared: Approaches to Collective Mourning Towards Affective and Transformative Politics from the Phd in Practice at the Academy of Fine Arts, Vienna. She cofounded the collective Mouries in Athens and the artist-run space Bisagra in Lima.  She coordinated the curatorial team for the permanent exhibition at Lugar de la Memoria, la Tolerancia y la Inclusión Social. Eliana is also the (eternally amateur) Dj Flaquita.

eliana-otta.com/

Noqanchis

Art collective founded by Alipio Melo, Danitza Willka and María José Murillo. Rooted in the essence of Andean weaving, their purpose is to intertwine their worldviews and experiences as contemporary textile artists. Noqanchis, in Quechua, translates as 'we all.' It is an inclusive we (+), which differs from noqayku, or restrictive we (-). Unlike Western languages, Quechua retains the same root for 'I' [noqa] as for 'we' [noqanchis / noqayku], thus evidencing the inseparable link between the individual and the community in the construction of the Andean identity.

Paloma Ayala

Paloma Ayala (b.1980, Matamoros, Mexico) is a visual artist interested in empowering the relationship between domestic living strategies and political contexts. She is a diaspora mother and a mestiza daughter whose work fictionalizes historical, ecological or social problematics as means of analysis and critique. Paloma´s projects nourish visions of connection between human and more than human spheres, they dream of emancipation from marginalizing dominant structures, and emphasize practices of care across different topographies and borders.

palomaayala.com

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On caring for the smallest entity possible

by Paloma Ayala

Because we exist in constant interaction with others and with our environment, because all human and non-human beings are relational, inevitably interconnected in our planetary existence, for this reason, each movement we make is not carried out by one, but by many or all. Let's imagine that every time we move, we pull braids and ropes and entire looms, in the direction of our movements. Movements that had an origin, were initiated by other movements, in turn have effects on the future.

We all accompany each other all the time and everywhere.

We can thus imagine unions in spaces and times; in environmental, generational or even evolutionary relationships. We can imagine great connections on human scales and macro scales: with ancestors, with plants and pets, with grandchildren not yet born, with the skies of the political future, with the waters of our erotic dreams... so many things that unite us with everything and everyone.

But what about the others? What about those connections possibly made invisible by the experience of our own body, skilled when it comes to seeing, touching, smelling, tasting things in our own spatial or temporal planes, but useless when trying to understand the beings or knowledge that exist outside of ourselves, in the present?

What happens if our body is not hegemonic, but is non-white, rural, neuro-atypical, with different motor skills, older...?

What if we try to take care of the smallest possible being? 

Not a literally tiny being, being micro is a metaphor to reflect on what we cannot perceive and, consequently, we cannot connect with, or accompany.

For example:
Today when you hear the annoying bzzzzz of the mosquito in your room, offer it your leg and observe it for a few days. What does the mosquito do with your blood? Have you already Googled and learned about their life processes? 

Today when your plant on the window looks a little thirsty, instead of pouring water on it, spit on it. This is how you introduce it to the microbiota that you have inside. What happens to your plant after a few days of spitting on it? 

Today when the ghost of your deceased dog appears in your dreams, put a plate of food out for him. Make sure you place that plate in a place where other dogs can access it. Use tarot cards or ask the nearest witch/visionary: do you know if my dog liked her food?

The day before yesterday one of the most aggressive Israeli attacks on Palestine occurred in Rafah. Close your eyes and ask your ancestors to accompany so many murdered people. Ask the ancestors what they did to accompany it. Did they accompany with words, with their presence, or how? Try to do the same with the people who are still on this plane and who lost their loved ones, their community and their living spaces. Even from a distance.

Etc.
Etc.
Etc.

You will surely have better ideas! 

This is a speculative exercise. Based on our imagination, how can we exercise relationships outside of our own personal and cultural understandings, as part of the human species?

Personally, I think that exercising these imaginations helps us to be less anthropocentered and to extend community care. What do you think?

 

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The –ntin / –nintin suffix

by Noqanchis

Our Runasimi (Quechua) is a family of languages ​​that was born in Nature and is always in Nature. It is vital, therefore, to know it. 

For the Andean world rain is life!

ROQHOQOQOY… tremble… 

Runasimi (Quechua) is onomatopoeic, it imitates the sounds of nature.

It is also very social and cultural, where the community plays a role of vital interconnectivity.

It is composed based on suffixes; It is a binder.

The suffix –ntin / –nintin, differentiating itself from the suffix for companioning –wan (“with” in Spanish), denotes a different kind of companioning that involves a transmission of knowledge and values.

…PAQOCHANTIN, LLAMANTIN, PUSHK’ANTIN MICHIQ PURISHANI…
The shepherdess walks in the company of her alpaca, her llama and her spindle.
Estefa Irco, mother of Alipio Melo, with her alpacas and llamas in Pampananta, Pitumarca, Cusco, Perú.

This is how they graze in the highlands, where, in addition to growing fiber, a relationship of companionship and exchange is cultivated. The weaver walks with her alpaca and her pushka (drop spindle), sharing and transmitting knowledge and values ​​to each other.

It is through this ecosystem of reciprocal care that the fibers of the fabric, as well as the cells of the body, store information that, as the textile production chain progresses, materializes in information and woven memory.

Can you observe where the suffix of companionship –ntin / –nintin is present in your daily life?

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Accompanying our bodies

by Eliana Otta

Let's pay attention to our bodies. To the bodies that we are.

Stop to feel and observe yourself for a few seconds: 

Which part feels more present to you and which, in some way, less a part of you?

Let's keep a diary to accompany our bodies. Let's write down a couple of lines every day (or more if we want) about how certain parts of us are a constant companion, and how perhaps we perceive others as absent. Maybe we don't let them accompany us as much or we don't accompany them as much?

Let's write freely, let's also draw and try to pay attention to different parts of our bodies every day. Let's touch them, smell them, listen to them, observe them, we can also lick them and find out what parts of them taste like that we may never have tasted. 

Let's try to understand how they accompany each other, how they help and serve as mutual support. Let's pay attention to those that are always active, in use, do they enjoy their role? Do they need to rest? Let's identify those who don't seem to know what to do. Will they feel passive, bored, neglected?

Let's explore what other similarities and differences we find between them.

At the end of a week of paying attention, write a short message for the entirety of the body that we are. Choose a song to dedicate to the body, and let's dance!

^^Send an email to saladelecturalima@gmail.com with your chosen song and we'll add it to the playlist.

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Displacements

by Irazema H. Vera

Every week and month and day we move. Routine movements or new detours and horizons.

observe some of these movements during this week

observe by listening and not vision.

“design” a walking/sound movement.

The exercise can be a drawing, a poem, a writing exercise or notes that result from listening.

Maybe a playlist you create to connect with the places you see.

Where would you stop to listen a little more? How does it make you feel?

Is there music? Noises? Other beings? What emotions do you feel and hear?

How do our environments accompany our movements?

Reading(with)

Liveable Worlds 31.07.24

Liveable Worlds was a small research group composed of artists, curators, and activists. Over a three-month period, the group engaged in collaborative thinking about practices and relations of accompaniment.

During the research season, the group members exchanged exercises and correspondences, with each participant practicing the exercises from their own location and context. These exercises became the first contributions to Notes for Liveable Worlds, which you can find here.

Between August and November 2024, each Liveable Worlds participant is hosting a meeting or gathering at sala de lectura, to share and reflect on their practices of accompaniment.

exercises

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