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[0:10]

This visual article shares the experience of a creative research residency in collaborative audiovisual anthropology, conceived as a relational and situated research practice oriented toward audiovisual creation.

As anthropologists and audiovisual practitioners working at opposite territorial margins of Chilean academia, we understand the residency as a practice-based research process that unfolds through co-presence, collaboration, and audiovisual experimentation (see also Schneider and Wright 2013; Elfving et al. 2019; Craddock and Harris 2020).

The residency emerges from our long-standing engagement—developed separately over nearly two decades—with collaborative audiovisual practices alongside Indigenous and other grassroots organizations (Chamorro and Donoso 2006, 2012; Picaroni-Sobrado 2017, 2023). It is also shaped by the shared conditions under which we work as women from working-class backgrounds operating at the intersection of anthropology and film, within marginal universities, and within a neoliberal academic landscape that often devalues slow, relational, and care-oriented research practices (Stengers 2019).

The residency is conceived as a space of mutual support between us, and as a device for producing knowledge in formats and rhythms that attend to the interests and concerns of our research counterparts. It deliberately privileges forms of meaning- making that may not align with the priorities of academic managerialism (Graeber 2014) shaping contemporary Chilean universities.

Conceptually, it operates as a field device (Estalella and Sánchez Criado 2018): a simple but deliberate arrangement that enables intensive collaboration. At the same time, as a biannual initiative that alternates its location between northern and southern Chile, it functions as a gesture of connection across a long, diverse, and highly centralized country. We sought not only to create an intensive and focused break that fit our budgets and schedules, but also to open a space for imagining and sketching out future encounters.

Rather than analyzing, dissecting, or presenting the residency as a novelty, this visual article shares an experience that talks with many others—some known, others unknown to us—seeking affective resonance across diverse contexts and embodied viewing situations.

This video-article draws on footage recorded during the first edition of the residency in 2024 by Andrea Chamorro Pérez, Juan Pablo Donoso, Cristóbal García Toledo, and Natalia Picaroni Sobrado, including excerpts from the two short films produced, as well as original material recorded by the authors.

Edited by the authors.

Land, Women and Memory

Speaking Nearby and Making with Women in the Andes

Andrea Chamorro Pérez

Universidad de Tarapacá

and

Natalia Picaroni Sobrado

ULAGOS (until 2025)

Universidad Católica de Temuco

[Voiceover]

Como en otros lugares de América Latina, en Chile, la incorporación de mujeres en la academia ha sido el fruto de largos procesos de luchas democráticas que buscaron recomponer las ciencias sociales y humanidades frente el eclipse provocado por las dictaduras y regímenes autoritarios conservadores y neoliberales.

Nuestras voces aún resultan opacadas por violencias institucionales que se han anclado en cuerpos, discursividades y aularios como hábitos, al punto de que nuestras críticas, solidaridades y diálogos son oídos como quejas. Frente a ello nos parece que abrir colaboraciones interculturales es crear otras formas de escucha y corporalidades cuyas resonancias afectivas pueden fracturar la peligrosa temporalidad de una máquina de producción de índices que extrae nuestras pulsiones y deseos.

[Subtitles]

In Chile, as elsewhere in Latin America, the inclusion of women in academia has resulted from long democratic struggles to rebuild the social sciences and humanities after the eclipse brought about by dictatorships and conservative neoliberal authoritarian regimes.

Our voices remain overshadowed by institutional violence ingrained in bodies, discourses, and classrooms. As a result, our critiques, solidarities, and dialogues are heard as complaints. In response, we view intercultural collaborations as a means of fostering other forms of listening and embodiment. Forms that carry affective resonances and can fracture the dangerous temporality of an index-driven production machine that extracts our impulses and desires.

See Guizardi, Gonzálvez, and Stefoni (eds., 2025)

Ahmed (2021)

See Despret (2004) and Icaza Garza and Leyva Solano (eds., 2019)

[03:01]

Coming together

We have to learn, as the witches did, how to cast circles that protect us from our insalubrious, infectious milieu without isolating us from the work to be done […] Our pragmatic and empirical concern would then require cultivating, together with those we trust, an informed art of disloyalty, the art of discreetly dismantling academic habits, […] of regenerating ways of honouring whatever it is that makes us think and feel and imagine.

Isabelle Stengers

2018, pp. 131–132

[Voiceover]

Habitando un lugar tan frío, tan patriarcal

Me había sentido perdida, ajena, encerrada

Un día alguien puso un reja, una reja e mi puerta

Y entendí que era urgente escapar

Dame la mano, Sister Outsider

Hagamos juntas nuestro espacio, un puente de 3.000 km

No para hablar sobre ni de nadie, sino tan solo cerca de,

Cerca de quienes nos ensenan qué es investigar

Cada vez que logramos estar ahí y escuchar

[Subtitles]

Working in a place so cold and patriarchal

I felt lost, alien, confined

One day, someone put

a gate at my door

and I understood it

was urgent to escape

Take my hand, Sister Outsider

Let’s make our shared space a

bridge stretching 3,000 km

not to speak about, or for anyone,

but simply nearby,

those who teach us

what research is

each time we manage

to be there and listen

Audiovisual Lab ULAGOS

Office of Natalia Picaroni Sobrado (2022–2025)

Lorde (1998)

Trinh, T Minh-ha (1983)

Map of South America oriented with east (sunrise) at the top, following Indigenous cartographic conventions

Arica

Chiloé

3000 km

Chile, latitude 41° south

Chile, latitude 17° north

[Voiceover]

En territorios tan diversos y distantes así como conectados al sistema colonial-patriarcal extractivista global, desarrollamos una residencia de investigación y creación influenciadas por las tradiciones latinoamericanas de educación popular, cine compartido e investigación participativa.

Junto a colectivos sociales nos propusimos trabajar con una frecuencia bianual, un año en el norte y otro en el sur, en la creación de una pieza audiovisual que recogiere sus intereses y trayectorias sociales y culturales.

En la práctica, conformamos dos equipos para trabajar durante un periodo intensivo de unos 15 días. De esta manera, buscamos crear un espacio protegido de creación que se ajuste a los acotado presupuestos y agendas múltiples de quienes nos involucramos en estos encuentros.

[Subtitles]

In diverse, distant territories connected to the global extractivist system we developed a research-creation residency influenced by Latin American traditions of popular education, shared filmmaking, and participatory research.

We proposed working on a biannual basis with a social collective once in the north and once in the south to create an audiovisual piece grounded in their interests and social and cultural trajectories

We formed two teams to work intensively for about fifteen days to create a protected creative space that accommodates our limited budgets and tight schedules.

Among others, see Benacerraf (1959), Rodríguez (1966), Freire (1968), Fals Borda (1979),

Sandoval (2000)

What kind of knowledge emerges from researching through this field device?

[Voiceover]

En este artículo, reflexionamos en torno al tipo de conocimiento producido a partir de este dispositivo de campo cuya primera edición se tituló: residencia de investigación-creación “Tierra, mujeres y memoria”, que desarrollamos junto con la Asociación Aymara Chacha Warmi en marzo de año 2024, en Arica.

[Subtitles]

In this article, we reflect on the kind of knowledge produced through this field device during its first edition entitled creative-research residency “Land, Women, and Memory” developed with the Aymara Association Chacha Warmi in March 2024 in Arica

Arica is a Chilean province bordering Peru and Bolivia, part of Aymara territory and the Atacama Desert

latitude 41° south

latitude 17° south

Calbuco Volcano, latitude 41° south

Tacora Volcano, latitude 17° south

[05:58]

The residency

Its first edition took place in March 2024 in Arica, northern Chile, in collaboration with the Aymara Association Chacha Warmi, Imillas y Yuqallas de Precordillera Marka. It was coordinated with Doris Aguilera Santos, president of the association, with whom Andrea had collaborated for over eight years.

Initial encounters between the authors and members of Chacha Warmi to discuss the possibility of hosting the residency took place in September 2023 in Arica and in the precordillera mountains. During these meetings, the approach to the residency was gradually shaped.

Members of Chacha Warmi framed the residency as an opportunity to explore the lives of Aymara women. The project was articulated both as a tribute to Andean women—who have long faced discrimination, limited opportunities, and demanding living and working conditions (Carreño 2021; Chamorro 2022; Gundermann et al. 2014)—and as a political statement advocating gender equality within the local Aymara movement.

During the residency, we produced two short films, each emerging from a distinct but interconnected collaborative process. One film was developed by Andrea and her long-time collaborator, audiovisual anthropologist Juan Pablo Donoso, with Eva Marca Gutiérrez, a vendor of agricultural products at the Mercado Agrícola. The other was developed by Natalia and her long-time collaborator, independent filmmaker Cristóbal García Toledo, with Doris Aguilera Santos and Nancy Quispe Quispe, both independent textile workers at a commercial gallery. These audiovisual encounters were shaped by proximity, trust, and the embodied rhythms of everyday work.

The residency incorporates collective viewing as part of the research process. First cuts of the films were screened and discussed on the final day with the protagonists and other members of Chacha Warmi. This feedback informed the final edits, developed through ongoing communication via WhatsApp and telephone.

The films were first publicly screened in December 2024 in Arica and Vienna, extending their circulation across local and transnational contexts.

Since 2007, Chacha Warmi carries out activities with artists, professionals, and cultural practitioners, aimed at recognizing their territories and cultural legacies

Doris Aguilera Santos

President of Chacha Warmi, co-coordinator

of the residency, and protagonist

[Doris Aguilera Santos]

La Asociación Chacha Warmi, Imillas y Yuqallas de Precordillera Marka significa Hombres, Mujeres, Niñas y Niños de la Comuna de Putre.

Hmeos logrado mantener un grupo, de muejeres, mayoritariamenet son mujeres y ellas se sientes orgullosas, dicen que haber pintado, los trabajos de psicología comunitaria, los trabajos de escritura, la oralitura. Ellas se sienten grandes, dicen: “hemos crecido”.

[Subtitles]

Chacha Warmi, Imillas y Yuqallas de Precordillera Marka means Men, Women and Children from Putre’s precordillera communities.

We have managed to sustain a predominantly women’s group, fostering a sense of pride. Painting, community psychology workshops, writing, and oralitura (oral–written creation) workshops have helped them grow.

In September 2023, the authors and members of Chacha Warmi gathered to frame the residency. It was envisioned as a tribute to Andean women.

[Doris Aguilera Santos]

No solamente lo bonito, no hay que ver solamente la belleza, la abundancia, mujeres que tienen buena posición, buenos trabajos, buenos sueldos. No, aquí hay que ver a aquellas mujeres indígenas que en su simpleza tienen mucha memoria, mucha memoria y esa memoria solamente se da a conocer cuando hay confianza. Y yo creo que el trabajo que hicimos con ustedes fue el de confianza, de confiar y cuesta confiar.

[Subtitles]

We shouldn’t look only at what is beautiful, at abundance,

at women with status, good jobs, good salaries.

We need to look at those Indigenous women

who have a deep memory in their simplicity.

That memory appears only when there is trust.

I believe the work we did with you was about trust

And trusting is hard.

eleven days

between Arica and the mountains

two teams

direction - production - sound - camera – edition

two short films

with/about/from Andean women

Andrea Chamorro Pérez

production - sound – edition

Juan Pablo Donoso

camera - edition

[Voiceover]

Uno es anfitrión

conoce el territorio

a las protagonistas

guía le proceso

confía

[Subtitles]

One team is the host team

knows the territory

the protagonists

leads the process

and trusts

Cristóbal García Toledo

camera - sound - edition

Natalia Picaroni Sobrado

production - camera - edition

[Voiceoer]

El otro, llega desde lejos

mira con asombro

se entrega

confía

[Subtitles]

The other team arrives from afar

looks on in wonder

lets go

and trusts

Eva Marca Gutiérrez

Doris Aguilera Santos

Nancy Quispe Quispe

[Voiceover]

Las protagonistas

disponen sus tiempos

construyen sus historias

confían

[Subtitles]

English subtitles:

The protagonists

set their own pace

build their stories

and trust

[Voiceover]

En los encuentros iniciales habíamos acordado trabajar con mujeres andinas por lo que la residencia tuvo como premisa explorar las historias de vida de integrantes de Chacha Warmi siendo tres mujeres adultas quienes se constituyeron, por decisión e interés propio, en las protagonistas de las obras.

Durante la residencia combinamos períodos colectivos de trabajo en la precordillera con momentos reservados para los equipos independientes. Así quisimos propiciar la intimidad y el cuidado del proceso junto a las protagonistas aproximándonos desde sus espacios cotidianos a los territorios-cuerpo que las constituyen.

A su vez, queríamos explorar diferencias y similitudes en las miradas de quienes se acercaban audiovisualmente por primera vez al territorio, y de quienes llevan años trabajando allí.

Construimos dos cortometrajes documentales.

“Eva” es el retrato de una mujer Aymara en la ciudad de Arica dedicada al comercio de orégano, papas y frutas de la cordillera. Como hija de pastores y agricultores aymara que residen en la cordillera, ella quiso compartir sus memorias familiares y nosotros resonamos con ello dando cuenta de sus tránsitos urbano-rurales, así como de su enorme agudeza y sensibilidad respecto del cuidado de la tierra.

“Qhapaq Ñan”, en tanto, relata las historias de vida de dos mujeres que van transcurriendo en paralelo hasta que se encuentran. Quiere hablar más del encuentro entre ellas que de las vidas particulares de cada una. Para ello recurrimos a mostrar sus manos y pies en el trabajo de costura y solo al final sus rostros en pantallas paralelas y en lugares significativos para cada una.

[Subtitles]

In the initial meetings we agreed to work with Andean women. The residency was therefore conceived to explore life stories of members of Chacha Warmi. Three adult women, by their own decision and interest, became the protagonists of the works.

During the residency we combined periods of shared recording in the precordillera with moments of independent work with the protagonists. We sought to provide the intimacy and care needed to explore, from their everyday spaces, the body–territories that shape them.

At the same time, we wanted to explore differences and similarities between those approaching the territory audiovisually for the first time and those who have worked there for years.

We thus made two documentary short films

“Eva” is a portrait of an Aymara woman in the city of Arica who trades oregano, potatoes, and fruits from the highlands. As the daughter of Aymara herders and farmers living in the mountains she chose to share her family memories and we resonated with this interest tracing her urban–rural movements and her sharp sensitivity to caring for the land

“Qhapaq Ñan” tells the life stories of two women who move in parallel until they meet. It seeks to stress their meeting more than their individual trajectories

To do so, we show their hands and feet sewing and only at the end their faces on parallel screens and in places meaningful to each of them.

Photographs documenting the residency, 1–11 March 2024, Arica

Early work with biographical methods in anthropology and cinema significant to us includes Gómez (1964), Varda (1967) and Prelorán (1969)

For the growing presence of artistic residencies in anthropology, see Schneider and Wright (2013), Elfving et al. (2019), and Craddock and Harris (2020)

For the concept of territorio-cuerpo-tierra (territory–body–land), see Cabnal (2019)

Qhapaq Ñan refers to the extensive Andean road network that once connected much of South America

[11:40]

Sites of knowledge production

[Voiceover]

En el proceso de creación nos enfrentamos a tres preguntas relacionadas a los tres aspectos que conforman el título de la residencia y de este artículo. Cada equipo las resolvió en la propia obra que entendemos como sitios de producción de conocimiento.

[Subtitles]

During the creative process, three key questions emerged linked to the elements that give the residency and this article their title. Each team addressed these questions within their film which we understand as a site of knowledge production.

Land

[Voiceover]

¿Cómo lograr que los lugares en los que transcurre una vida y los seres que los habitan sean protagonistas de una historia de vida audiovisual?

[Subtitles]

How can the places where a life unfolds and the beings who inhabit them become protagonists of an audiovisual life story?

Tacora Volcano, latitude 17° south

Excerpt from Qhapaq Ñan (2024)

[Voiceover]

En ese tiempo, en nuestro pueblo, Belén, llovía mucho 
sentíamos el ruidos del relámpago, del rayo. Sabíamos muy bien cuando se acercaba la lluvia
siendo muy niños. Entonces nosotros teníamos que salir corriendo, preparar todas nuestras y bajar corriendo la montaña hacia el pueblo, porque si no bajaba el río y no nos dejaba pasar al pueblo.

[Subtitles]

At that time, our town, Belén, had heavy rains

We would hear thunder and see lightning

Even as children, we could

tell when rain was coming

we prepared quickly and

ran down the mountain

toward the town, before

the rising river blocked our way

Women

[Voiceover]

¿Cómo mostrar la inscripción de los múltiples labores asumidas por las mujeres a lo largo de su vida en sus cuerpos?

[Subtitles]

How can the multiple labors that women take on throughout their lives be shown as inscribed in their bodies?

Excerpt from Qhapaq Ñan (2024)

[Voiceover]

Tenía nueve años, emigramos a Azapa y ahí empecé a ir a la escuela, iba a primero básicos, me constó, me costó, me costó, nueve años imagínese y no tenía ni idea qué es lo que eran las letras y todo eso

[Subtitles]

I was nine when we moved to Azapa

There I started school

I was nine, in first grade—it was hard

I had no idea about letters.

Excerpt from Eva (2024)

[Voiceover]

Por los estudios mi papi nos trajo. Mi papi decía “no van a ser cómo yo, o tu mamá, poco estudiamos, nada casi”. Entonces, nos dejó acá para ir al colegio.

[Subtitles]

My father brought us to the city for school. He used to say, “You won’t be like me and your mom, we didn’t go to school.”

He left us here to go to school.

Excerpt from Qhapaq Ñan (2024)

[Voiceover]

Entré al programa del Plan del Empelo Mínimo, peor la gente que dirigía todo esto porque eran puros militares, eran discriminadores, eran abusivos, a uno la humillaban.

[Subtitles]

I joined the Minimum Employment Plan. The people running it were all military

They were discriminatory and abusive, they humiliated us.

Memory

[Voiceover]

¿Cómo mostrar el tiempo infinito (pasado, presente y futuro) inscrito en los cuerpos y en los paisajes?

[Subtitles]

How can infinite time, past, present and future, be shown as inscribed in bodies and landscapes?

Excerpt from Eva (2024)

[Voiceover]

Entonces yo me quiero imaginar precordillera lleno de niños y de gente que está cultivando lo que más pueda.

[Subtitles]

I like to imagine the Precordillera Mountains

full of children and people cultivating as much as they can.

Excerpt from Qhapaq Ñan (2024)

[Voiceover]

Antiguamente los abuelos tenían sus armas, sus escopetas, pero no, le quitaron todo. Igual ellos pilchaban la coca y me acuerdo que mi abuelito tenía harto él para que no le falte. Mi mami tuvo que ir a enterrarlo porque si no se la llevaban presa.

[Subtitles]

Back then, the grandparents, used to have their weapons, their shotguns

They took everything away from them. They also used to chew coca leaves

I remember my grandpa had plenty so that he wouldn’t run out,

and my mom had to bury it or they would’ve taken her to jail

[Voiceover]

Muchas personas ya se habían ido de los pueblos y volvieron y cuando volvieron s reencontraron con ellos mismos. Como que habían olvidado y al recordar, volvieron a nacer.

[Subtitles]

Many people had left the villages and returned

and in returning, they reconnected with themselves

It was as if they had forgotten, and

in remembering, were reborn.

The stories shared in the films address experiences of gender-based, political, and structural violence; forms of resilience grounded in dignity and sorority; and deep relations with more-than-human worlds.

The films invite viewers into an embodied engagement that exceeds explanatory narration. In this sense, they operate not as illustrations of analysis but as sites of knowledge in their own right.

The constraints and intensities of the residency as a field device challenge ethnographic and creative habits, requiring a suspension of authorial egos and foregrounding the

sympoietic (Haraway 2016) character of audiovisual fieldwork—that is, a collaborative, relational, and more-than-human process of making with.

We understand this first residency as reaching what Suely Rolnik (2019) describes as a threshold for unleashing vital creative energy: a collective, pulsional reappropriation that remains partial, temporary, and unfinished, much like life itself.

[Natalia Picaroni Sobrado]

Más allá de las diferencias de estilo y en la construcción de la narración, me parece interesante señalar las convergencias. Las dos obras combinan imágenes y sonidos de las mujeres trabajando con imágenes de los lugares y los seres que constituyen sus memorias y sus vivencias. Las voces de las protagonistas guían el relato atravesadas por el sonido intenso del viento, pájaros, el bullicio del mercado, de las calles, el fluir del río y del mar. Me parece que ambos equipos procuramos respetar el ritmo y el fluir de los sentipensares de las protagonistas en la construcción del relato visual y oral.

[Subtitles]

Beyond differences in style and narrative construction we are interested in the convergences. Both works combine images and sounds of women at work with images of the spaces and beings that shape their memories and experiences. Their voices guide the narrative crossed by the strong mountain winds, birds, the bustle of the market, of the streets the flow of the river and the sea. I believe both teams sought to respect the rhythms and flows of the protagonists’ sentipensares (thinking–feeling) in the visual–oral narrative.

[Andrea Chamorro Pérez]

Si bien el formato temporal de la residencia limitó las posibilidades narrativas y expresivas de las obras. Por ejemplo, la generación de planos inmersivos en ciertos contextos, recreaciones u otros tipo de evocación que habrían requerido mayor tiempo de rodaje. Nos parece que la potencia de una residencia de estas características fue favorecer la cocreación de un espacio de encuentro antropológico basado en la experiencia. Con ello ponemos acento en la posibilidad de establecer conversaciones y entrelazamientos que nacidos de la convivencia contribuyen a la generación y propagación de conocimientos situados en torno a una preocupación compartida por el bienestar de la tierra y de los seres vivientes.

[Subtitles]

The timeframe of the residency did constrain expressive and narrative possibilities. For example, it limited the generation of immersive shots in certain contexts, recreations or other forms of evocation that require longer filming periods. Yet the strength of a residency like this lies in fostering the co-creation of an anthropological encounter grounded in lived experience. We emphasize the possibility of weaving conversations and entanglements born from co-presence, that contribute to the generation and circulation of situated knowledges around a shared concern for the well-being of the land and all living beings.

Participan:

Asociación Indígena Chacha Warmi

Universidad de Tarapacá

Universidad de Los lagos

Tierra, Mujeres y memoria

Lunes 11 de marzo de 2024

Sala Multiuso Centro Cultural Junta de Adelanto (Ex-Casino)

A las 18hs

First-cut screening, 11 March 2024, Arica, Chile

[Voiceover in tandem]

Ofrecimos una obra llena de amor

de imperfecciones

tan mía y tan tuya

ni mía, ni tuya.

Y esperar tu reacción

Y multiplicar las reacciones

a tres mujeres en los Andes

tres historias de dignidad y de violencia

que son una

y son menos y más que una

[Subtitles]

We offer a work full of love

of imperfections

So mine and yours

Neither mine nor yours

And then wait for your reaction

And multiply the reaction

To three women in the Andes,

Three stories of dignity and violence

That are one

And are more and less than one

major revisions

minor revisions

approved

Public screening, 11 December 2024, Vienna, Austria

[18:01]

[Doris Aguilera Santos]

Yo creo que esta experiencia para mi en un comienzo fue como con miedo, ¿no? Mostrarme, porque yo siempre he estado como oculta, haciendo cosas pero, me cuesta mostrarme, me cuesta. Pero esta vez no, porque bueno, yo al conocerlos a ustedes tanto tiempo confío, ustedes son profesionales, y mostrar esta realidad era, era como difícil. Porque es un tema que a nosotros nos afectó mucho hasta el día de hoy. La sociedad no comprendo lo que uno vivió, pero nosotros en carne propia vivimos todos estos eventos dolorosos hasta el día de hoy. Entonces, verlo plasmado en un documental me parece muy interesante, sobre todo de mujeres, testimonios de mujeres, que son las mujeres las que han llevado una carga el doble de pesada que los varones, porque s eles ha discriminado, y el sistema patriarcal que viene imponiéndose siempre, porque hasta el día de hoy hace que las mujeres no crean en su potencialidades.

[Subtitles]

At first, this experience felt frightening to me because I’ve always stayed in the background. I’m always doing things, but showing myself is difficult. This time was different, though. Since I’ve known you for a long time, I trust you; you are professionals and… Showing this reality was still hard. It’s something that has affected us deeply, and still does. Society doesn’t understand what we went through in our own bodies We still live with all these pains. So seeing it expressed in a documentary feels very interesting to me, especially women’s stories, women’s testimonies. Because women have carried a burden twice as heavy as men’s. They have faced discrimination and the patriarchal system long imposed still makes women doubt their own potential

For ethnographic accounts of Aymara territory, see Carreño (2021), Chamorro (2022), and Gundermann et al. (2014)

[Voiceover]

Para cerrar, las resonancias afectivas activadas en el encuentro y ancladas en las historias largas de relación y colaboración permitieron que la residencia como dispositivo de campo lograra…

[Subtitles]

To close, the affective resonances

activated in the encounter,

grounded in long histories

of relationships and collaborations,

allowed the residency,

as a field device to…

create togetherness

without capturing each other

in our condition as living beings

out of our body-knowing

Rolnik (2019)

[Voiceover]

El tipo de conocimiento que emergió es ante todo un conocimiento situado, encarnado y eminentemente colectivo. Pensar y crear desde nuestra corporalidad, supone ponerse en cuerpo presente respecto de una arena académica que tiende a excluir nuestras voces, así como nuestros compromisos con la tierra y sus habitantes.

[Subtitles]

The knowledge that emerged is above all situated, embodied, and deeply collective. Thinking and creating from our bodies means being fully body-present within an academic arena that tends to exclude our voices and our sensitive resonances with the land and its inhabitants.

[Voiceover in tandem]

Con muchas otras y otros, comprendemos el cuerpo como el lugar existencial, donde nuestra propia fragilidad y afectaciones constituyen el vehículo de expresión e interdependencias que crecen como hierba a contrapelo del cercamiento de nuestros mundos.

[Subtitles]

Alongside many others

we understand the body as an existential site

where our fragility and affections

become vehicles of expression

and interdependences

growing like grass against the enclosure

of our worlds

20:35

Special Thanks

Eva Marca Gutiérrez

Doris Aguilera Santos

Nancy Quispe Quispe

Juan Pablo Donoso

Cristóbal García Toledo

Asociación Indígena Aymara Chacha Warmi, Imillas y Yuqallas de Precordillera Marka

Aricadoc

Laboratorio Audiovisual, Universidad de Los Lagos

Magíster en Antropología Universidad de Tarapacá

Reference list spans five pages.

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References

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Funding

Funding for the residency covered travel and food expenses. No participant received payment.

Natalia Picaroni Sobrado declares funding from Proyecto ANID CONVOCATORIA NACIONAL SUBVENCIÓN A INSTALACIÓN EN LA ACADEMIA, CONVOCATORIA AÑO 2021, Folio SA77210035

Andrea Chamorro Pérez declares funding from Núcleo Milenio en Culturas Musicales y Sonoras (CMUS), código NCS2025_65, de la Agencia Nacional de Investigación y Desarrollo (ANID)

Acknowledgements

Eva Marca Gutiérrez, Doris Aguilera Santos, and Nancy Quispe Quispe are aware of the submission of this article, are familiar with its argument and the images used, reviewed this version, and approve it. They contributed valuable reflections and are aware of their contributions; however, none of them considers herself an author of this article nor wishes to be listed as such.

Juan Pablo Donoso and Cristóbal García Toledo are aware that footage they previously produced is used in this article and have granted permission for its use.

AI use statement

ChatGPT (OpenAI) was used to assist with English language editing and proofreading.

The authors are fully responsible for the final content.