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CLOVIS HORIZON

CLOVIS HORIZON

Three to five faithful beings—CLOVIS—navigate in and out of solar capitalism, they search for enclaves beyond the blinding rays of petrochemical surfaces and money, they arrive in Maria Hernandez Park, Bushwick.

Featuring: Marinherin, Mi Mama Me Mima, Surrupirinha, Encarnado, Rubronegro, Quinto Elemento

all materials licensed under Libidiunga Commons

BIOS

Cecilia Lisa Eliceche (Wallmapu/Argentina) is a dancer, choreographer and dance advocate, traversed by more than 500 years of colonialism. She is fascinated by the endless potential of the body and movement and conceives dance as a site to experiment and practice otherwise.

Leandro Nerefuh (Bertioga, Brasil) is an artist whose work deals with formal translations of historical narratives, with a special interest in Latin America. He is the founder of PPUB, a political party active in Brazil, Paraguay, and Uruguay, and supports Sonia Guajajara for the next president of Brasil.

Libidiunga Cardoso is a member of the Clovis culture.

Oren Barnoy (Brooklyn, New York) is a dance choreographer whose work amplifies the area just after the act of creating and before the result of meaning occurs in a post “ist” world where everyone gets equal pay particularly as a dancer vs. choreographer.

ORIGAMI TANGO

ORIGAMI TANGO

BIO

Born in 1941, Sylvia Palacios Whitman lived in southern Chile before moving to Santiago, where she studied painting and sculpture at the Universidad de Chile. In 1961 Whitman moved to New York and soon took an interest in dance and theater. She quickly became actively engaged in performance art, working with a number of artists, including Robert Whitman (b. 1935), whom she married in 1968. In 1970 Whitman performed with Trisha Brown at the Whitney Museum of American Art in New York and joined Brown's dance company three years later. Between 1974 and 1981 Whitman staged her own performance works at New York venues such as the Kitchen, Artists Space, and Sonnabend Gallery. Her pieces were typically performed by untrained participants and regularly incorporated found and manufactured props, which were frequently ephemeral, often made of paper or string, and discarded after the performance. In South (1979), presented at the Solomon R. Guggenheim Museum, Whitman animated an oversize envelope, carried by performers, and a giant whale, which circled its way up the Guggenheim's atrium. Through the inclusion of a Chilean wedding portrait, this piece, like many others, made both clear and oblique references to the artist's South American upbringing.

Occasionally set to compositions by the composer Steve Reich (b. 1936), Whitman's pieces share a simple yet surreal choreographic language. The artist's performances developed alongside and were informed by an active drawing practice consisting of notebook sketches, which detail performance ideas, and stand-alone pieces from the late 1970s and 1980s. These mostly small-scale works include a series of figurative pieces that explore the spaces and faces of her childhood in Chile as well as highly worked drawings with irregular geometric patterns and occasional figurative and collaged elements. Whitman's abstracted drawings allude to political concerns, yet any straightforward interpretation is obscured by her repeated application of ballpoint pen ink. She gave up her artistic practice in the 1980s but has recently garnered renewed attention. In 2013–14 her early performance work—including props, documentation, and restaged performances—was showcased in the exhibition Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama—Manhattan, 1970–1980 (2013) at the Whitney Museum of American Art, New York.

RED

RED

RED explores the relation and interaction between unstable acoustic feedback systems that consist of speaker wire weaved nets. It has been presented in a variety of scales and formats (installation or concert), in such a way that its components are always arranged with a site-specific regard. As a concert, RED constitutes an interactive electronic device that in a certain sense behaves autonomously and organically which hence defies the common correlation between electronic instrument and musician.

BIO

Cecilia Lopez is a composer, musician and multimedia artist from Buenos Aires, Argentina. Her work explores perception and transmission processes focusing on the relationship between sound technologies and listening practices. She works across the media of performance, sound, installation and the creation of sound devices and systems. She studied composition with Carmen Baliero and Gustavo Ribicic. She holds an MFA from the Milton Avery Graduate School of the Arts, Bard College and an MA from Wesleyan University in composition (2016). Her work has been performed and exhibited at Museo de Arte Moderno de Buenos Aires (AR), Center for Contemporary Arts (Vilnius, Lithuania),Festival Internacional Tsonami de Buenos Aires (Argentina), Roulette Intemedium (NY), Issue Project Room (NY), Floating Points Festival (NY), Ostrava Days Festival 2011 (Ostrava, Czech Republic), MATA Festival 2012 (NY), Experimental Intermedia (NY), Fridman Galley (NY), Kunstnernes Hus (Oslo, Norway) and Ende Tymes Festival (NY), Festival Punto de Encuentro organized by the Asociación de Música Electroacústica de España (Spain), among others. She was a Civitella Ranieri fellow in 2015 and has participated in various residency programs such as: Atlantic Center for the Arts, Ostrava Days Institute, Harvestworks and Rupert Residency. She has collaborated in projects with Carmen Baliero, Carrie Schneider and Lars Laumann, among others.

STEFA*

STEFA*

Taking inspiration from her classical music background and the desire to decolonize her euro-centric training, STEFA’s work honors her ancestrxs, allowing her to question her own existence and navigate her multidimensional identity. Using harmonies, looping, and improvisation, she creates sonic worlds where her and her audience can live together for a brief moment.

Her solo work has led her to perform at National Sawdust (Sepalina EP Release, opening for Madame Gandhi), Brooklyn Museum (Radical Women Latin American Art: 1964-1986, Cuerpxs Radicales special programming), Weinerfestwochen's 'Performeum' (Vienna, 2017) Museo del Barrio, Nublu, Rough Trade, Elsewhere and more. As part of TrueQue Residencia Artistica (Ayampe, Ecuador 2017), she facilitated her first voice workshop, Cantos Primitivos//Primitive Songs, after 20 years of studying voice. She is part of NYU Hemispheric Institute of Performance and Politics' EmergeNYC 2019 cohort.

Her debut EP 'Sepalina' was released via Figure & Ground Records on September 14. You can support her by purchasing it at stefa.bandcamp.com.

DJ ALBERTO LUGO

DJ ALBERTO LUGO

BIO

Alberto Lugo is a talented instrumentalist, produces his own music, and DJs at venues all over New York City like The Metropolitan Museum of Art and Governor’s Island. His work has been featured in several podcasts such as "The Relentless" and "Caught" on WNYC. He has been in radio stations like Hot 97.1 and interviewed on podcasts such as “The Longest Shortest Time”.

Alberto works with a non-profit organization called Building Beats, a program that sets up workshops around New York City that provides DJing and music programs that teach entrepreneurial, leadership, and life skills to underserved youth.

You can follow him on Instagram @djsynchro.

MUÑE

MUÑE

I know how to fix things!

​USA, 2019, 16mm, 15 min
Written, directed and produced by Catalina Jordan Alvarez in her hometown

​CAST: Elizabeth De Razzo (Eastbound & Down, The Greasy Strangler, The 33), Clare Gundersen, Estela Ingles, David Roby and Grace Holtz

CREW

Producers: Rebecca Feldbin & Elizabeth De Razzo
Assistant Director: Rebecca Feldbin
Director of Photography: Michael Wellenreiter
Assistant Camera: Brian Branam
Sound: Althea Mengxi Rao
Production Design: Grace Holtz
Music: Courtesy of Dandelion Fiction (a former project of Daniel Fishkin's)

Catalina Jordan Alvarez (USA/Colombia) grew up in rural Tennessee with a Colombian mother and an American father and in her early career studied Experimental Theater in New York City and Film Directing in Berlin.

Her narratives explore the cultural and composed movements of bodies across social and geographical boundaries. Ranging in genre from "Bergfilm" to science fiction and deriving from literature, community research, and gender studies, her films have screened at over forty film festivals, including Slamdance, Los Angeles, New Orleans, and Palm Springs and at venues including The Museum of the Moving Image, the San Diego Art Institute, and ArcLight Hollywood.

Her publication, “Towards Another Cinema” (Cinephile, issue 11.3, 2017) analyzes the creative strategies for portraying non-western characters to a western audience, employed by filmmakers Ulrike Ottinger and Kidlat Tahimik, in their fantasy ethnographies, Joan of Arc of Mongolia and Perfumed Nightmare. Catalina was recently a Fellow at the 2018 Flaherty Film Seminar and a Resident Artist at Flux Factory in Queens. She is currently a Visiting Assistant Professor of Media Arts at Antioch College in Yellow Springs, Ohio.

TRENZACIÓN

TRENZACIÓN

In Trenzación, we address identity processes from different forms of knowledge production and different holders of intelligence such as nature, body, traumas and dreams that are capable to absorb, generate and express continuous transformation. We consider hair and mostly braided hair as a medium that inspires us to new ways of knowledge production, to reflect on processes of transformation, to rethink on its social and political implications and to connect with our indigenous ancestral heritage. In this work we inquire into the concepts Nepantla by Gloria Anzaldúa and Ch’ixi by the Bolivian sociologist Silvia Rivera Cusicanqui.

CREDITS

Camera: Verena Melgarejo
Camera assistant: Belén Resnikowski
Edition: Maque Pereyra
Concept & performance: Verena Melgarejo & Maque Pereyra

BIO

Verena Melgarejo Weinandt studied at the Academy of Fine Arts in Vienna and at the Instituto Universitario Nacional de Bellas Artes in Buenes Aires. She currently writing her master thesis to a colonial contextualisation and decolonial critique of white queer art. Her artistic practice is interwoven with latin american, decolonial and feminist theory and was especially formed by works of Maria Lugones, Yuderkys Espinosa und Gloria Anzaldua. She works in photography, video performances, collages, screen printing and installations and created two alter egos, in form of “Pocahunter” und “Bolita Berlinesa”.

In 2015 she was awarded with a kültür gemma! Fellowship at the city library of Vienna, during which she will focus on the works of Anzaldua.

Maque Pereyra is a Berlin based artist, performer, dancer and spiritual activist. In 2018 she finished the MA SoDA program at HZT. A DAAD scholarship in the field of performing arts was granted to her from 2016 until 2018. In her home country, Bolivia, she obtained a BA degree in Psychology in 2014. Her work was prized two times (2013-2014) with the arts award “Premio Plurinacional Eduardo Abaroa” and was shown in different festivals and venues from: Bolivia, Perú, Argentina, Germany, Mexico, Austria, Poland, Croatia and Norway.

She is currently invested in spreading the practice of YOGGATON which is a movement practice she developed, that aims to work at a physical, spiritual, mental and emotional level under the guidelines of the awakening and healing of sexual energy that is creative energy that deserves to be acknowledge and shared in a respectful, loving and consensual way.

TRAVESSIA

TRAVESSIA

With poetic language, Travessia searches for the photographic memory of black families. The film adopts a critical stand in the face of the stigmatization and the near absence regarding the portrayal of black people.

Production credits
Directed, written , produced, edited, and audio capture by Safira Moreira
Production Assistant: Caíque Mello and Tuanny Medeiros
Director of photography and camera operator: Caíque Mello

BIO

Safira Moreira is a black woman from Bahia. She has written, directed and edited Travessia (2017), her first short-film, which has been distributed in Vitrine Petrobás sessions. Travessia has been screened at many national and international festivals and it was featured at the opening of the Rotterdam Festival in 2019. She has also worked as photography director for the short-film Eu, minha mãe e Wallace, and feature films Hixikanwe, and A Matéria Noturna.

Moreira is currently working on writing and directing the documental series “Iyas Idanas - Mulheres da Cozinha”.

CEVICHE

CEVICHE

Ceviche is an experimental film which aims to reveal the hidden emotions behind meal preparation. Six women from different generations are assigned specific cooking stations and tasks, collectively preparing a bowl of shrimp ceviche. They glorify process over product, exposing the underworld that hides inside a ceviche cart.

CREW

Directed, produced, and edited by Doménica García
Director of photography: Paula Cury
Production designer: Noor Bseiso

BIO

Doménica García es is an Ecuadorian video and performance artist based in New York.

She spent her early years in Mexico City and moved to New York, in order pursue her Filmmaking studies at the School of Visual Arts.
Her work dives into a process of introspection, deconstructing the personal and discovering the universal. With the use of a hyperbolic language and the juxtaposition of the radical and the ordinary, she gives greater relevance to the day-to day experience.

TACTICAL SCARCITY

TACTICAL SCARCITY

Tactical strategic

Scarcity lack of

What happens when the psychological phenomenon of Scarcity seeps into all areas of our lives?

This lo-fi performance piece explores survival under capitalism. Through body movement exploration we visually see how the restriction of popular production works hand in hand with artificial abundance in order to form a mentality of scarcity.

credits: Made with support from Alonso Gorozpe and the East Harlem Culture Collective Studios, & XFR collective.

BIO

Aru Apaza (she/they) is an interdisciplinary artist who favors working in performance, installation, and analog film media. Based in Lenape territory, Aru is Aymara, connecting her to the sacred lands of so called Bolivia. Currently, Aru explores late stage Capitalism through the lens of a space ndn, portraying the myriad of experiences surrounding Urban Indigeneity. Aru's work is situated in the crux of modernity and traditional knowledge, placing the two in a sometimes uncomfortable dialogue.

Aru works at the American Indian Community House and is the curatorial resident at Abrons Arts Center, curating a 3 day indigenous arts festival on Sept. 5-7th.

Maque Pereyra

Maque Pereyra

ARTIST STATEMENT

“In my work I deal with personal material as means for engaging with a wider understanding and production of practice, knowledge and theory in order to connect with a broader social frame full of colonial woundings in which the enjoyment, growth and sharing of oneself in body-mind-soul-spirit, the exercise of memory, the practice of rituals, the awakening of consciousness, the embracement of sexuality, sensuality, emotions, sensations, affections and intuitions and the notion of deserving love and pleasure, are constantly diminished and/or threatened and therefore I see them as modes of resistance, knowledge production and a healing decolonizing rebellion facing the different oppressive structures.”

BIO

Maque Pereyra is a Berlin based artist, performer, dancer and spiritual activist. In 2018 she finished the MA SoDA program at HZT. A DAAD scholarship in the field of performing arts was granted to her from 2016 until 2018. In her home country, Bolivia, she obtained a BA degree in Psychology in 2014. Her work was prized two times (2013-2014) with the arts award “Premio Plurinacional Eduardo Abaroa” and was shown in different festivals and venues from: Bolivia, Perú, Argentina, Germany, Mexico, Austria, Poland, Croatia and Norway. She is currently invested in spreading the practice of YOGGATON which is a movement practice she developed, that aims to work at a physical, spiritual, mental and emotional level under the guidelines of the awakening and healing of sexual energy that is creative energy that deserves to be acknowledge and shared in a respectful, loving and consensual way.

SAYA AFROBOLIVIANA

SAYA AFROBOLIVIANA

BIO

Saya Afroboliviana is a Bolivian non-profit organization based in NJ whose mission is to honor and promote AFROBOLIVIAN culture through music and dance.

DJ AGUAPANELA MAMI

DJ AGUAPANELA MAMI

BIO

Hailing from Jackson Heights, Queens, DJ Aguapanela Mami fuses her cumbia roots with femme-perreo vibes to make you shake your ass all day and night.

NICOLAS NOREÑA

NICOLAS NOREÑA

BIO

Nicolas Noreña is a Colombian theater director and actor based in Brooklyn. He is the artistic director of THE MILLION UNDERSCORES, an experimental theater company through which he has developed and directed

Morning to be Changed from the Morning to the Morning, or Belly of the Whale (2012-2013), Punto de Fuga (2013), 1,2,3...HAWAII FEVER!(2014), Souvenir or Death of Yeti (2015) FOUR FOURS (2016), (8) Memories of this Atlantis, or No Place(2016), TELE-VISION on spiritual displacement (2016, 2017), The Third Man (2018-2019) and 1001SUR (2019).

His work has been presented at MoMA, Target Margin's Doxsee Theater, The Exponential Festival, Fringe NYC, Dixon Place and Cave home of LEIMAY. Nicolas has worked as a performer with Richard Foreman, Mary Overlie, The Talking Band, Jess Barbagallo, and Object Collection among others. He was a resident artist with Mabou Mines 2015-2016, was a lab artist with Target Margin in 2019 and has been a LEIMAY fellow since 2015.

lopez / achugar

lopez / achugar

BIO

Mariangela Lopez is a Brooklyn based choreographer and performer from Caracas, Venezuela. 

Her work is known for enabling the participation of performers from various disciplines and backgrounds to take part of her creative process.
In 2004 after the presentation of Wonders of Progress she began to call her group of 18 performers Accidental Movement, hoping that this name would serves as a platform for the realization of her experimental works.

luciana achugar is a Brooklyn-based choreographer from Uruguay who grew as an artist in close dialogue with the NY and Uruguayan contemporary dance communities. She has been making work in NYC and Uruguay independently and collaboratively since 1999.

Her work is concerned with the post-colonial world, searching for an undoing of current power structures from the inside out.

Efraín Rozas

Efraín Rozas

BIO

Efraín Rozas is a Brooklyn based Peruvian performer/composer and robotics/software developer interested in new paradigms of cognitive technologies and mythologies.

In 2018 he released “I Enjoy the World”described as “A psychonautic deep dive” by Wire Magazine, “Engrossing and creatively brilliant on every count” by The Hum, “A lysergic, high level sonic engineering piece” by Zona de Obras (Spain), and “A superb example of electronic experimentation” by Indie Guides.

His work has been featured at CNN, BBC, Washington post, Wire magazine, Daily News, and NPR Soundcheck.

KAINA

KAINA

KAINA is a first-generation Latina, born and raised in Chicago. KAINA creates generational music that surpasses borders, a unified expression of her native Chicago, coupled with her Venezuelan and Guatemalan heritage. This cultural fusion is best illustrated on the lead single “Green” from her debut full-length album Next To The Sun (Sooper Records). In the Jean Deaux-directed visual, we see people of all ages and backgrounds breaking bread with each other — a colorful, blended representation of what family means for the singer.

DJ MICKEY PEREZ

DJ MICKEY PEREZ

BIO

Mickey Perez was born in Chicago, IL in 1978 to an Ecuadorean woman & Cuban man. The music Mickey heard growing up ranged from Donna Summers, Jackson 5, Michael Jackson & James Brown to Celia Cruz & Beny More. When he moved to Miami in the summer of 1990 those influences would eventually morph into The Beatles, The Doors, Jimi Hendrix, Gangstarr, Wu-Tang Clan & 2Pac.

In 2002, Mickey moved to New York City to pursue a career in Filmmaking. After working in Reality Television & Advertising as a Producer for 5 years, Mickey became disillusioned with his career path and his passions rapidly turned from Filmmaking, Directing and Editing to learning to DJ full time. His goal was to incorporate all the great Latin & African music from the 60's & 70's into his sets along with the Funk, Soul, Rock & Roll, Disco of that era along with Hip Hop & House. He figures that's what Levan or Hardy woulda done if they were alive and jammin' today.