Artistic Statement

I’m a chilean choreographer, sound artist and independent researcher currently based in Amsterdam. Through my work – ranging from dance performance, somatic practice and sound art– I propose practices of affective proximity and auditory imagination, as a way to investigate the transformative and emancipatory potential of body, movement and listening to enact changes and challenge hegemonic-monotonic thinking.

With a focus on the performativity of human and more-than-human bodies, I investigate the relation between matter and sound,  the poetic and political, organic and synthetic, virtual and actual, integrating experimental and speculative approaches of art and technology. I envision choreography as a porous living environment that holds a space for various techniques and media, creating conditions in which the body resonates and echoes the broader socio-political, natural and climatic contexts. 

I propose hybrid formats of sound performances, embodied concerts, installations and guided experiences, with an interest in creating liminal spaces to reconfigure the status between performance and spectatorship, and to speculate about different realities, with fantastic, random, alternate and impossible factors. 

My work is driven by a deep fascination in crafting eco-systems that integrate organic materials, electronic media, free and DIY-DIWO technologies, through which I can bridge methods of intimacy, attunement and touch, interweaving post-human feminist ethics of care and concern. I’m interested in how objects and space take part in the events, activating underlying structures and forces that are not part of the visible or graspable domain of our perceptions, interconnecting a circuit of materiality, agency, memory and desire.

I develop practices of listening, of learning by doing, working collaboratively with artists and intersectional techno-feminist collectives, creating tools for subversive, imaginary, marginal sounds, where what we hear is what we hear ‘in sound’, inseparable from the space we inhabit. Where the sound is happening in the body fluids, in the cellular memory, in the bones and where listening is about tuning with ‘others’ and with the possible reparations that bring acknowledgement.

In my current research practice I work with the notion of sonic choreography, encouraging possible worlds to emerge from restorative and subversive qualities of sound, considering re-existence as embodied technology for a futuristic practice. My interest is set on exploring how bodies and materials are bonded by specific frequencies’ relations, activating voices, desires and memories that have been lost, dismissed, or not acknowledged. I develop practices of performativity based on a process of voicing, resonance, amplification and transduction, in which I seek the activation of minor gestures and changes that grow exponentially, allowing me to explore inaudible frequencies, rhythmic dimensions of noise, voices and senses, in which we can -be moved by-, -move through-, and -listen in- sound.