My work focuses on developing a performative transdisciplinarity that establishes situations of citizen critique in culture as a social whole. Therefore, using artistic strategies and functions, I act beyond aesthetic culture and the field of art, dissolving the boundaries between work, management and andragogy.
I address cultural, social, political and economic issues that challenge me, as a person of my generation and from my place in the world. The search for a resocialised liberal ethic is my main creative challenge, and my greatest difficulty in achieving it, which leads me to understand performance beyond the narrow limits of the predominant performance art in the contemporary art financial system.
In recent years, my artistic projects have resumed the dialogue with the specialised field of art, however, from practices not bounded within it, gradually relying less on recognisably plastic, visual or performance-art media, and increasingly resorting to processes in transit towards non-aesthetic culture. Specifically, in terms of performance, I gradually transition from a performativity in the absence of the body to one in the host body, among others outside of the bodily mise-en-scène, so sterilistically persistent in the performance-art academy.
Along these lines are 我们都有吃饭的权利 / All of us who exist have the right to eat (Germany, 2020 - 2022), Cultivar Trilce / Trilce Tarpuy (Peru, 2022 - 2027) and Ramtun / Hebitur / Tapuy (Chile, 2024 - 2042), the latter in co-creation with Mauricio Vargas Osses and in collaboration with other Chilean artists, educators and scientists. These are projects of agricultural art and performance of non-human biological bodies (European, Chilean and Peruvian potatoes), which from andragogic practices, and in long-term processes, oppose chauvinism, geopolitics, agro-industry and financialism, the intercultural dialogue between languages, knowledge and technologies of the West and of the native Aymara, Quechua, Kunza, Mapudungun and other peoples.