My work focuses on developing a performative transdisciplinarity that establishes situations of civic critique within culture as a social whole. Therefore, utilizing artistic strategies and functions, I operate beyond aesthetic culture and the field of art, dissolving 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 resocialized liberal ethic is my main creative challenge, and my greatest difficulty in achieving it, which leads me to understand performance beyond the narrow confines of performance art predominant in the contemporary art financial system .
In recent years, my artistic projects have resumed dialogue with the specialized field of art, but from practices not limited to it, gradually relying less on recognizably plastic, visual, or performance art media, and increasingly resorting to processes in transition toward 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 alien to the bodily staging so sterilely persistent in the performance art academy.
Along these lines are我们都有吃饭的权利 / Todos los que existimos tenemos derecho a comer (Germany, 2020 - 2022), Cultivar Trilce / Trilce Tarpuy (Peru, 2022 - 2027) and Ramtun / Hebitur / Tapuy (Chile, 2024 - 2042), the latter co-created with Mauricio Vargas Osses and in collaboration with other Chilean artists, educators and scientists. These are agricultural art and performance projects featuring non-human biological bodies (European, Chilean, and Peruvian potatoes) that, through andragogical practices and long-term processes, counter chauvinism, geopolitics, agribusiness, and financialism with intercultural dialogue between Western languages, knowledge, and technologies and those of the Aymara, Quechua, Kunza, Mapudungun, and other indigenous peoples.