Liliana Merizalde

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	<title>Liliana Merizalde</title>
	<link>https://lilianamerizalde2.cargo.site</link>
	<description>Liliana Merizalde</description>
	<pubDate>Thu, 14 Mar 2024 20:17:11 +0000</pubDate>
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		<title>Home</title>
				
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		<pubDate>Wed, 17 May 2023 22:31:14 +0000</pubDate>

		<dc:creator>Liliana Merizalde</dc:creator>

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		<title>About</title>
				
		<link>https://lilianamerizalde2.cargo.site/About</link>

		<pubDate>Wed, 17 May 2023 22:31:14 +0000</pubDate>

		<dc:creator>Liliana Merizalde</dc:creator>

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		<description>Information


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	Bogotá, Colombia, 1984. Fotógrafa documental y artista visual principalmente. También escribo (mi primera carrera fue literatura) y pinto. Tengo una productora audiovisual La vuelta al día, donde dirijo proyectos audiovisuales y creativos. Creo que todo hace parte de lo mismo y que la creación nunca es individual sino que se descarga de algún lado-espacio-red a la que todxs estamos conectadxs. Me interesan los temas de identidad, género, naturaleza, memoria y territorio y las prácticas artísticas colectivas. Mezclo la fotografía documental con la puesta en escena basada en historias de vida para profundizar la forma en que se documentan y comprenden las situaciones sociales, políticas y comunitarias. Creo que lo que hago se enmarca dentro de la fotografía expandida ya que siempre estoy probando difrentes materiales y mirando como hago que la imagen deje de ser cárcel y sea portal.Para mí la fotografía documental, pasa por el cuerpo, entendido como un dispositivo infinito que de cierta forma aterriza la experiencia, pero también la transforma, la dispara, la eleva, la catapulta, la abre. Creo en lo político desde lo poético, y en lo poético como las señales del mundo inmaterial donde 
habita el pulso creativo.&#38;nbsp;


  Más info
  He participado en exposiciones individuales y colectivas en Colombia (Galería La Cometa, Galería El museo, Galería Sin Título, Espacio Odeón) Perú, España y Estados Unidos. Mi trabajo personal o de comisión ha sido publicado en Americas Quarterly, Spiegel, Atmos, Where the Leaves Fall, New Internationalist, VICE Idendity VICE UK, VICE Colombia, VICE France, Photo Femme United, Hyperallergic, Moviemaker Mag, New York Times, Foto Féminas, El Tiempo, El Espectador, Cartel Urbano Semana Rural, entre otros.En el 2023 fui preseleccionada para el Premio Prince Claus CAREC. En el 2019 fui seleccionada en MOPLA (Month of Photography LA) organizado por Lucie Foundation. También ese año gané la residencia Time and Space de Women Photograph, y tuve la oportunidad de ir a Tennessee y trabajar en la casa de Stacy Kranitz. Fui preseleccionada por IPWA (International Women in Photo Association) en 2018. En el 2015 fui nominada al Premio Sara Modiano. Hago parte de los colectivos Women Photograph, Native Agency y The Journal Collective.He compartido talleres de cine y fotografía con el Festival Ambulante, Más Arte Más Acción, Fundalectura y la Universidad Nacional de Colombia, en diferentes partes del país y he trabajado en películas como El abrazo de la serpiente.


Gracias por leer y ver!


  English
  Bogotá, Colombia, 1984. Primarily a documentary photographer and visual artist. I also write (my first degree was in literature) and paint. I run an audiovisual production studio called La vuelta al día, where I direct audiovisual and creative projects. I believe it’s all part of the same thing —that creation is never individual, but rather something we download or channel from a certain place-space-network we’re all connected to.


I’m interested in themes of identity, gender, nature, memory, and territory, as well as in collective artistic practices. I combine documentary photography with staged scenes based on life stories, in order to deepen how social, political, and community situations are documented and understood. I feel my work often fits within the realm of expanded photography, as I’m always experimenting with different materials and looking for ways to make the image stop being a cage —and become a portal instead.


For me, documentary photography moves through the body —understood as an infinite device that, in a way, grounds experience, but also transforms it, triggers it, lifts it, catapults it, opens it. I believe in the political through the poetic, and in the poetic as signals from the immaterial world where the creative pulse resides.


  More info
  I have participated in solo and group exhibitions in Colombia (Galería La Cometa, Galería El Museo, Galería Sin Título, Espacio Odeón), as well as in Peru, Spain, and the United States. My work has been published in Americas Quarterly, Spiegel, Atmos, Where the Leaves Fall, New Internationalist, VICE Identity, VICE UK, VICE Colombia, VICE France, Photo Femme United, Hyperallergic, Moviemaker Magazine, The New York Times, Foto Féminas, El Tiempo, El Espectador, Cartel Urbano, Semana Rural, among others.


In 2023, I was shortlisted for the Prince Claus CAREC Award. In 2019, I was selected for MOPLA (Month of Photography LA), organized by the Lucie Foundation. That same year, I received the Time and Space residency from Women Photograph, which gave me the opportunity to work in Tennessee at the home of Stacy Kranitz. I was also shortlisted by the International Women in Photo Association (IWPA) in 2018, and nominated for the Sara Modiano Award in 2015.


I'm a member of the collectives Women Photograph, Native Agency, and The Journal Collective.


I’ve shared film and photography workshops with organizations such as Festival Ambulante, Más Arte Más Acción, Fundalectura, and the National University of Colombia, in various regions of the country. I’ve also worked on films including Embrace of the Serpent.Thank you for reading and watching!


☼☼☼

 
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		<title>Footer</title>
				
		<link>https://lilianamerizalde2.cargo.site/Footer</link>

		<pubDate>Wed, 17 May 2023 22:31:14 +0000</pubDate>

		<dc:creator>Liliana Merizalde</dc:creator>

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		<description>© 2025 Liliana Merizalde González.&#38;nbsp;All rights reserved.

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CARGO COLLECTIVE, INC. LOS ANGELES, CALIF. 90039—3414</description>
		
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		<title>El verbo pierde su boca</title>
				
		<link>https://lilianamerizalde2.cargo.site/El-verbo-pierde-su-boca</link>

		<pubDate>Wed, 17 May 2023 22:31:15 +0000</pubDate>

		<dc:creator>Liliana Merizalde</dc:creator>

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		<description>&#38;nbsp; &#38;nbsp; &#38;nbsp; El verbo pierde su boca 
	
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&#38;nbsp;

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Este proyecto es una reflexión sobre las estructuras jerárquicas, sobre lo piramidal, y en general sobre ciertas coreografías ocultas en los sistemas de poder. Es una búsqueda material y fotográfica por transformar lo impositivo en algo que quiere ser más hilo, más tejido, más colectivo, más verde, más cuerpo, más espiral. Ahí donde muere la boca del masculino hegemónico, de lo eléctrico, de algunas formas de lo vertical, de la razón, nace la vida. También busco cuestionar lo que se esconde en la forma del lenguaje, porque desde ahí se crea nuestra estructura de pensamiento y por lo tanto nuestra manera de entender el mundo. Nada es tan rígido como lo hemos creído, ni la 
misma forma de las palabras.


  English
  This project is a reflection on hierarchical structures, on the pyramidal, and more broadly, on the hidden choreographies within systems of power. It is a material and photographic search for transforming what is imposed into something that wants to become more thread, more weaving, more collective, more green, more bodily, more spiral. Where the mouth of hegemonic masculinity, of electricity, of certain forms of verticality and reason dies —life is born. I also seek to question what is concealed in the shape of language, because it is from there that our structures of thought are created, and thus, our way of understanding the world. Nothing is as rigid as we’ve believed —not even the shape of words themselves.


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Cada fotografía tiene una planta diferente (todas epífitas) y conforman juntas una obra que hasta cierto punto es efímera. La planta sigue creciendo y transformándose con la foto, si la planta no se riega, muere toda la obra. A su vez, al regar la planta la foto se va deteriorando.

  English
  Each photograph features a different plant (all epiphytes), and together they form a piece that is, to a certain extent, ephemeral. The plant continues to grow and transform alongside the photo; if the plant isn’t watered, the entire piece dies. At the same time, watering the plant gradually deteriorates the photograph.
 

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El proyecto también está conformado por algunos “tejidos tipográficos” que apelan a la intersección entre el trabajo manual y la automatización, haciendo que esta ultima adquiera un carácter manual. Así, entre juegos tipográficos y poesía concreta, se crean otras coreografías sutiles en el papel.

  English
  The project also includes several “typographic weavings” that explore the intersection between manual labor and automation, allowing the latter to take on a handcrafted quality. Through typographic play and concrete poetry, subtle new choreographies emerge on paper.


&#60;img width="1871" height="2381" width_o="1871" height_o="2381" data-src="https://freight.cargo.site/t/original/i/659c4acc584a9ba4154175f5c5a8d4090e4e58a3c26404a8a4f0ac25e7b894b5/Liliana-Merizalde-El-verbo-pierde-su-boca-sin-capas-11.jpg" data-mid="181102943" border="0"  src="https://freight.cargo.site/w/1000/i/659c4acc584a9ba4154175f5c5a8d4090e4e58a3c26404a8a4f0ac25e7b894b5/Liliana-Merizalde-El-verbo-pierde-su-boca-sin-capas-11.jpg" /&#62;Ninguna planta es maltratada en la realización de esta instalación. Estas plantas comúnmente llamadas “plantas de aire” son epífitas, las raíces les sirven únicamente como sujeción. Toman el agua y los nutrientes del aire, a través de las hojas.
Esta búsqueda fue un proceso largo que se acabó de consolidar en un programa llamado “Pájaros en la boca”, que tuvo lugar en Espacio Odeón. Al final del programa, en el cierre, presenté estas 6 obras que aquí comparto, como un boceto. Ahora estoy trabajando en más piezas que se sumen a este proyecto y que son inéditas.

  English
  No plants are harmed in the making of this installation. These plants, commonly known as “air plants,” are epiphytes —their roots serve only for attachment. They absorb water and nutrients from the air through their leaves.
 

This search was a long process that came together in a program called “Pájaros en la boca,” which took place at Espacio Odeón. At the end of the program, during the closing, I presented these six works that I now share here, as a sketch or draft. I’m currently working on additional pieces that will expand this project —new and previously unseen works.


Bogotá. 2022-Ongoing.Exhibited as part of the group show Juntes haciendo cosas al mismo tiempo y en diferentes momentos.&#38;nbsp;
Curated by Pájaros en la Boca (Caliente, Caliente), Espacio Odeón,&#38;nbsp;
Bogotá, 2022.
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		<title>Dislocaciones Interiores</title>
				
		<link>https://lilianamerizalde2.cargo.site/Dislocaciones-Interiores-1</link>

		<pubDate>Thu, 14 Mar 2024 16:37:23 +0000</pubDate>

		<dc:creator>Liliana Merizalde</dc:creator>

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		<description>Dislocaciones Interiores

Featured︎Where the leaves fall&#38;nbsp;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;︎Vice Identity&#38;nbsp;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;︎Americas Quarterly

Dislocaciones Interiores (2015) es un proyecto colaborativo con mujeres de diferentes comunidades y etnias indígenas del departamento del Vaupés. A través de un acercamiento íntimo con cada una de ellas, partimos de sus biografías para construir juntas en cada uno de los casos una “prótesis” u objeto que extiende, limita, cubre, bordea o resalta el cuerpo o alguna de sus partes y dialoga con sus cuerpos y con sus historias personales. Convirtiendo de esta manera las prótesis en símbolos de algún dolor o pérdida y en materializaciones de vínculos internos, conexiones propias, sufrimientos y fortalezas. Son mujeres que han vivido el desarraigo de sus tradiciones, el desplazamiento de sus territorios, la violencia de los grupos armados, entre otras situaciones complejas y que han logrado transformar parte de lo vivido en semillas de reinvención. 
Maria Magdalena, Eloida, Doris, Sano y Sená compartieron sus historias y escogieron cada una, una parte de su cuerpo para representar la vivencia específica o proceso de vida. A partir de las siguientes preguntas: ¿Qué lugar de tu cuerpo sientes más fuerte? ¿Qué lugar de tu cuerpo sientes más débil? O ¿en qué lugar de tu cuerpo ubicarías esta memoria o la otra? De esta manera cada una de las mujeres escogía la parte de su cuerpo en la que nos íbamos a concentrar para compartir su historia desde ahí y ubicar la prótesis.
A continuación todas las fotos e historias:


  English
  Dislocaciones Interiores (2015) is a collaborative project with women from different communities and Indigenous ethnic groups of the Vaupés region. Through an intimate approach with each of them, we started from their biographies to co-create, in each case, a “prosthesis” or object that extends, limits, covers, borders, or highlights the body or one of its parts, and enters into dialogue with their bodies and personal histories. In this way, the prostheses become symbols of pain or loss, and materializations of inner bonds, personal connections, sufferings, and strengths.


These are women who have lived through the uprooting of their traditions, the displacement from their territories, the violence of armed groups, among other complex situations, and who have managed to transform parts of these experiences into seeds of reinvention.


María Magdalena, Eloida, Doris, Sano, and Sená shared their stories and each one of them chose a part of her body to represent a specific experience or life process. We began with questions such as: Which part of your body feels strongest? Which part of your body feels weakest? In which part of your body would you place this memory, or that other one? In this way, each woman chose the part of her body on which we would focus, to share her story from there and to situate the prosthesis.Up next, all the photos and stories: 


1. María Magdalena Reyes

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A María Magdalena la conocí en la montaña. Sus pies de 60 años caminaban con precisión y mucha velocidad. Cargaba en su cabeza un canasto con montones de yuca brava que sostenía desde la frente y en sus brazos llevaba otro lleno de cultivos recogidos en la chagra (huerta). Mientras yo trataba de alcanzarla, me contó que pertenecía a la etnia desana, y que era hija de un danzador y payé (chamán) que le rezó su nombre tradicional en secreto. Su padre murió cuando ella tenía 10 años. A sus 7 meses de edad, los curas la sacaron de su comunidad y quemaron absolutamente todo, desde los trajes tradicionales hasta la maloka. “Los abuelos murieron de pura tristeza”, dijo María Magdalena. Creció con las misioneras cerca de Brasil y pertenece a la comunidad de San Luis de Virarí. Su esposo era de etnia guanana y murió tres años atrás. Tiene tres hijos. El cuarto, que era líder comunitario, fue asesinado en boca de Ararás, comunidad situada a tres horas en avioneta desde Mitú y cuarenta días remando. Desde entonces, le pide a los payés que la recen con tabaco para borrarle el recuerdo de su hijo. Se considera una mujer fuerte porque desde pequeña “rozaba monte y tumbaba”. Aún se levanta todos los días a trabajar en el cultivo, a lavar y planchar ropa y a tomar cursos para dirigentes campesinas y mujeres ahorradoras. Se siente feliz de ser mujer ahora que, según ella, las mujeres son más libres. Le entristece que el conocimiento tradicional se haya ido perdiendo y que ya nadie crea que todas las etnias indígenas son hijas de la anaconda. Está orgullosa de pertenecer a los desanos mayores, los nietos de la luna.
Con ella decidimos proyectar desde la espalda y los brazos (las partes del cuerpo que siente más fuertes por ser las que usa para cargar sus cultivos), una gran hoja que funcionara como una estructura que se eleva hacia arriba para enfatizar físicamente un poderoso proceso interno de consciencia de su crecimiento personal y reinvención propia.


  English
  I met María Magdalena in the mountains. Her sixty-year-old feet walked with precision and great speed. On her head she carried a basket full of bitter cassava, held from her forehead, and in her arms she carried another one overflowing with crops gathered from the chagra (garden). As I struggled to keep up with her, she told me that she belonged to the Desana people and that she was the daughter of a dancer and payé (shaman), who secretly whispered her traditional name to her. Her father died when she was ten. At just seven months old, priests took her away from her community and burned absolutely everything, from the traditional outfits to the maloka. “The elders died of pure sadness,” María Magdalena said.


She grew up with missionaries near Brazil and now belongs to the community of San Luis de Virarí. Her husband, from the Guanana people, died three years ago. She has three children. A fourth, who had been a community leader, was assassinated in Boca de Ararás, a community located three hours away by small plane from Mitú and forty days by paddle. Since then, she asks the payés to bless her with tobacco to erase the memory of her son.


She considers herself a strong woman because, as she says, since she was little she “cleared brush and felled trees.” She still gets up every day to work the fields, to wash and iron clothes, and to take courses for peasant leaders and women’s savings groups. She likes being a woman, since she thinks women are freer now. She is saddened that traditional knowledge has been lost and that no one believes anymore that all Indigenous peoples are children of the anaconda. She is proud to belong to the elder Desanas, the grandchildren of the moon.


With her, we decided to project from her back and arms (the parts of the body she feels are strongest, since they are what she uses to carry her crops) a great leaf that would serve as a structure rising upward, physically emphasizing a powerful inner process of self-awareness, personal growth, and reinvention.

2. Eloida


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Eloida tiene 41 años, nació en Puerto Pupuña, en el Medio Vaupés y pertenece a la etnia kubea. No le gusta recordar su nombre en esta lengua. Hace más de 10 años perdió a su hija de un año y medio. Desde entonces, vive con su madre, su hermano y su familia en la comunidad 13 de junio, que queda cerca a Mitú, en la otra orilla del río Vaupés. Ella decidió trabajar su vientre como símbolo de la pérdida que vivió y como punto de partida de su propia reinvención, que la ha llevado a trasladarse y a redefinirse. Actualmente, Elo tiene su negocio independiente vendiendo dulces en un mercado indígena de Mitú.&#38;nbsp;


  English
Eloida is 41 years old. She was born in Puerto Pupuña, in the Middle Vaupés, and belongs to the Kubeo people. She does not like to remember her name in that language. More than ten years ago, she lost her one-and-a-half-year-old daughter. Since then, she has lived with her mother, her brother, and his family in the community of 13 de Junio, located near Mitú on the opposite bank of the Vaupés River.


She chose to work with her womb as a symbol of the loss she experienced and as the starting point of her own reinvention, which has led her to move, to shift, and to redefine herself. Today, Elo runs her own small business, selling sweets in an Indigenous market in Mitú.


3. Doris

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Doris se define como una mujer de río. Tiene 29 años y tres hijos. Es de origen kubeo y pertenece a la comunidad de Vacurabá, en la cabecera del río Cuduyarí. Es ama de casa y agricultora, trabaja en la chagra cultivando yuca y en la cocina preparando quiñapira (sopa de pescado). Doris siente que tiene un conflicto con la educación, pues ha querido terminar sus estudios pero no ha podido porque le ha tocado darle prioridad a sus funciones de madre y esposa. Además, no puede evitar relacionarla con un terrible recuerdo; en el 2008, uno de los grupos armados reclutó a su hermana menor Virgelina, que tenía 16 años. La sacaron del colegio junto con otros 13 niños y desde entonces no saben nada de ninguno de ellos. El marido de Doris es educador.Doris decidió trabajar el brazo derecho por ser el brazo con el que escribe y entre todas pensamos en construir algo que hablara de su bloqueo, pero que a la vez hablara de lo que se levanta, de lo que sigue, del continuo de la vida.


  English
Doris defines herself as a woman of the river. She is 29 years old and has three children. She is of Kubeo origin and belongs to the Vacurabá community, at the headwaters of the Cuduyarí River. She is a housewife and a farmer, working in the chagra cultivating cassava and in the kitchen preparing quiñapira (fish soup). Doris feels she has a conflict with education, as she has wanted to finish her studies but has not been able to, since she has had to prioritize her duties as a mother and wife. She also cannot avoid linking it to a terrible memory; in 2008, one of the armed groups recruited her younger sister Virgelina, who was 16 years old. They took her out of school along with 13 other children, and since then no one has heard from any of them. Doris’s husband is an educator. 
Doris decided to work with her right arm because it is the one she writes with, and together we thought of building something that would speak of her blockage, but at the same time speak of what rises, of what carries on, of the continuum of life.

4. Sano

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Sano (nombre tradicional) o Blanca Inés Yepes, es una mujer de la etnia tuyuca, tiene 62 años y es oriunda del municipio de Acaricuara. Doña Inés, como es más conocida, vive con su esposo Diapo (nombre tradicional) de la etnia bará desde 1976. Se comunican hablando cada uno su propia lengua. Hace 19 años dejaron Acaricuara para irse a Mitú en busca de trabajo y estudio para sus tres hijos. Unas de las cosas que más le duelen a Doña Inés es la pérdida de las tradiciones y la violencia arremetida contra las creencias de su pueblo. Extraña la wii pariwii, nombre tuyuca para maloka. Le tiene miedo al jaguar porque, se come las cabezas de las personas y porque a menudo los payés enemigos se transforman en este animal. Tuvo quistes en los ovarios y le operaron la espalda. Pero a pesar de esto, dice que mientras tenga fuerza en sus brazos para poder trabajar, ella se siente bien.
Sano nos dijo que quería convertirse en un pájaro por eso trabajamos la polaridad tierra-aire, pues ella es una mujer de la chagra, arraigada fuertemente a su tradición, pero a su vez se siente atrapada, porque la tierra que cultiva no es suya ni de su comunidad y desearía desprenderse de esta situación para tener más libertad.&#38;nbsp;


  English
  Sano (her traditional name), or Blanca Inés Yepes, is a woman from the Tuyuca people. She is 62 years old and originally from the municipality of Acaricuara. Doña Inés, as she is best known, has lived with her husband Diapo (his traditional name), from the Bará people, since 1976. They communicate by each speaking their own language. Nineteen years ago they left Acaricuara to move to Mitú in search of work and education for their three children. One of the things that pains Doña Inés the most is the loss of traditions and the violence waged against her people’s beliefs. She misses the wii pariwii, the Tuyuca word for maloka. She fears the jaguar because it eats people’s heads and because enemy payés often transform into this animal. She once had ovarian cysts and underwent back surgery. Yet despite this, she says that as long as she has strength in her arms to work, she feels well.


Sano told us that she wanted to become a bird, which is why we worked with the polarity of earth and air. She is a woman of the chagra, deeply rooted in her tradition, but at the same time she feels trapped, because the land she cultivates does not belong to her or to her community, and she longs to break free from this situation in order to have greater freedom.5. Sena
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Doña Cecilia Barrera o Sená (en tuyuca) es una mujer de 52 años que se describe a sí misma como alguien sin ganas de vivir. Tiene cáncer en la matriz y siempre ha sido estéril. Quería tener hijos y por lo tanto adoptó a una niña y dos niños que ya no viven con ella. Actualmente, cuida a una señora mayor y cocina para ella, pero ya no puede ir a la chagra, su actividad favorita, por causa de la enfermedad. Siente fastidio por los sueños y dice que si la vida fuera diferente, tendría pensamientos positivos, vida social y no vería todo con desilusión. Le gustaría ser una mujer sana y ve la enfermedad como un castigo constante que no logra comprender.
A pesar de lo que contaba Cecilia, sus ojos decían otra cosa: mostraban unas intensas ganas de vivir. Construímos una estructura alrededor de su cuerpo; una especie de jaula que hace alusión a su bloqueo autoimpuesto, pero que también puede convertirse en nido, en lugar originario de reinvención.Las prótesis fueron construidas en Mitú y sus alrededores, en diferentes comunidades a orillas del río Vaupés, donde se tomaron las fotos. Los materiales son en su mayoría orgánicos o encontrados exclusivamente en la región. La construcción y el desarrollo de la mayoría de las prótesis se hizo con la artista y diseñadora industrial Cristina Borda. Donal Edward Arango, artista de la región, hizo parte de la producción y el arte de este proyecto.


  English
Doña Cecilia Barrera, or Sená (in Tuyuca), is a 52-year-old woman who describes herself as someone without the will to live. She has uterine cancer and has always been sterile. She wanted to have children and therefore adopted a girl and two boys, who no longer live with her. At present, she takes care of an elderly woman and cooks for her, but she can no longer go to the chagra, her favorite activity, because of her illness. She feels annoyed by dreams and says that if life were different, she would have positive thoughts, a social life, and would not see everything with such disillusion. She would like to be a healthy woman and sees her illness as a constant punishment she cannot understand.


Despite what Cecilia said, her eyes told another story: they revealed an intense will to live. We built a structure around her body—a kind of cage alluding to her self-imposed confinement, but one that can also become a nest, an original place of reinvention.
The prostheses were built in Mitú and its surroundings, in different communities along the Vaupés River, where the photographs were taken. The materials are mostly organic or sourced exclusively from the region. The construction and development of most of the prostheses were carried out with artist and industrial designer Cristina Borda. Donal Edward Arango, an artist from the region, was also part of the production and artistic development of this project.

 
2015, Vaupés, Colombia.

Exhibited in:
-Lucie Foundation. Month of photography LA, 2019.&#60;img width="1280" height="860" width_o="1280" height_o="860" data-src="https://freight.cargo.site/t/original/i/c4f0cd547ada7b71c1159a0604d1d73e3bcc117ce810efc6ee5a0ab09a60ae1f/WhatsApp-Image-2025-09-04-at-4.01.44-PM.jpeg" data-mid="237841269" border="0" data-scale="30" src="https://freight.cargo.site/w/1000/i/c4f0cd547ada7b71c1159a0604d1d73e3bcc117ce810efc6ee5a0ab09a60ae1f/WhatsApp-Image-2025-09-04-at-4.01.44-PM.jpeg" /&#62;&#60;img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/fa887504de8f09577d1fc7818301d04d95ae2d93e4bd8c7bf917aa60b8b63f0a/WhatsApp-Image-2025-09-04-at-4.01.45-PM.jpeg" data-mid="237841268" border="0" data-scale="30" src="https://freight.cargo.site/w/1000/i/fa887504de8f09577d1fc7818301d04d95ae2d93e4bd8c7bf917aa60b8b63f0a/WhatsApp-Image-2025-09-04-at-4.01.45-PM.jpeg" /&#62;&#60;img width="1280" height="866" width_o="1280" height_o="866" data-src="https://freight.cargo.site/t/original/i/3ebe45db97c53fae3de251a24599261c220a7ae0f6a1c149ac3bda51d33e4670/WhatsApp-Image-2025-09-04-at-4.01.45-PM-1.jpeg" data-mid="237841267" border="0" data-scale="30" src="https://freight.cargo.site/w/1000/i/3ebe45db97c53fae3de251a24599261c220a7ae0f6a1c149ac3bda51d33e4670/WhatsApp-Image-2025-09-04-at-4.01.45-PM-1.jpeg" /&#62;-Colombia’s consulate in NYC, 2019.
-Lima Photo, Lima, Perú, 2018.-Exposición colectiva nominados premio Sara Modiano, Bogotá, 2015.-Exposición individual en Sin Título Galería, Bogotá, 2015.


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		<title>El río bajo el río</title>
				
		<link>https://lilianamerizalde2.cargo.site/El-rio-bajo-el-rio-1</link>

		<pubDate>Wed, 17 May 2023 22:31:15 +0000</pubDate>

		<dc:creator>Liliana Merizalde</dc:creator>

		<guid isPermaLink="true">https://lilianamerizalde2.cargo.site/El-rio-bajo-el-rio-1</guid>

		<description>El río bajo el río
“Somos el visible pulso de lo posible”
-Cecilia Vicuña-“Hace tiempo, el adjetivo inglés alone (solo), equivalía a dos palabras: all one, es decir, &#38;lt;&#38;lt;todo uno&#38;gt;&#38;gt;. Ser todo uno significaba ser una unidad total, una unicidad, tanto con carácter esencial como transitorio. Este es precisamente el objetivo de la soledad, ser totalmente uno mismo... La soledad no es ausencia de energía o acción tal como algunos creen, sino una abundancia de provisiones salvajes que el alma nos transmite. En tiempos antiguos, tal como sabemos a través de los escritos de los médicos-sanadores religiosos y místicos, la soledad deliberada era no solo paliativa sino también preventiva. Se utilizaba para curar la fatiga y prevenir el cansancio. También se usaba como oráculo, como medio para escuchar el yo interior y pedirle unos consejos y una guía imposibles de escuchar en medio del estruendo de la vida cotidiana.”
-Clarissa Pinkola- “Mujeres que corren con los lobos”

 El río bajo el río es un proyecto en proceso parido hasta el momento a través de dos casas-cuerpo que aparecieron en momentos diferentes y se convirtieron en espejo. 

En la primera casa era el 2019 y había montañas, venados y seguidores de Trump. Las paredes de dry-wall recubiertas con madera me protegían de un mar vivamente verde y desconocido. No hubo días en esta casa, solo un gran bloque de eso que llamamos tiempo que se mezcló con garrapatas, serpientes y lechuzas (las de afuera y las de adentro). Habité vestidos repasados y máscaras de origen desconocido. Navegué en la noche cielos tan limpios que asustaban. Le performé a los espíritus de los árboles y bailé con una señora, la señora Frost, a través de un cuadro.

En la segunda casa coexistieron algunos meses del 2020 al 2022. Era una estructura alquilada y olvidada pero para mí siempre fue la casa viva. De día se veía enrejada y sin gracia pero de noche abría su naturaleza más profunda y me dictaba tormentas de palabras. Siento que esa casa es también otra señora que se percibe endurecida, pero que habita con fuerza profundidades fangosas y calienticas.

Cada casa hierve debajo de la otra, cada casa es un portal a mí.


 Mueve las fotos para descubrir los textos.


  English“Long ago, the English adjective alone meant two words: all one, that is, &#38;lt;&#38;lt;all one&#38;gt;&#38;gt;. To be all one meant to be a total unity, a oneness, both in an essential and a transitory sense. This is precisely the purpose of solitude, to be wholly oneself… Solitude is not the absence of energy or action, as some believe, but an abundance of wild provisions that the soul conveys to us. In ancient times, as we know through the writings of physician-healers, religious figures, and mystics, deliberate solitude was not only palliative but also preventive. It was used to heal fatigue and to prevent exhaustion. It was also used as an oracle, as a way to listen to the inner self and ask it for advice and guidance—things impossible to hear amid the clamor of everyday life.”—Clarissa Pinkola Estés, Women Who Run With the Wolves—
The River under the River is an ongoing project, birthed so far through two body-houses that appeared at different moments and became mirrors of each other.


In the first house it was 2019, and there were mountains, deer, and Trump followers. The dry-wall walls covered with wood sheltered me from a vividly green and unfamiliar sea. There were no days in this house, only one great block of what we call time, mingled with ticks, snakes, and owls (the ones outside and the ones inside). I inhabited re-worn dresses and masks of unknown origin. At night I sailed skies so clean they were frightening. I performed for the spirits of the trees and danced with a lady, Mrs. Frost, through a painting.


In the second house I coexisted from some months of 2020 until 2022. It was a rented and forgotten structure, but to me it was always the living house. By day it looked barred and graceless, but at night it opened its deepest nature and dictated storms of words to me. I feel that this house is also another lady, one who seems hardened, yet who dwells with force in warm, muddy depths.


Each house boils beneath the other, each house is a portal into me.


  Move the photos to uncover the texts.


&#60;img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/d0087e86065df5c6fb05f78c2a03ec465ebe8d647f88d0db0ff4d4511edd5ad2/El-rio-bajo-el-rio-40.jpg" data-mid="180583442" border="0"  src="https://freight.cargo.site/w/1000/i/d0087e86065df5c6fb05f78c2a03ec465ebe8d647f88d0db0ff4d4511edd5ad2/El-rio-bajo-el-rio-40.jpg" /&#62;
Hacer fotos que sean mares y luego adentro encontrar el sol.
&#60;img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/6b015d792ca6384cf734a86e8b432c7092792d4fe71066bd8d9ee01cd02b1b7f/El-rio-bajo-el-rio-01.jpg" data-mid="179200904" border="0" data-scale="46" src="https://freight.cargo.site/w/1000/i/6b015d792ca6384cf734a86e8b432c7092792d4fe71066bd8d9ee01cd02b1b7f/El-rio-bajo-el-rio-01.jpg" /&#62;&#38;nbsp;


&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e32596ef8b48f1d100cef15e900e764c683fcce2e99b81beb96a8306970ccbff/El-rio-bajo-el-rio-07.jpg" data-mid="179200898" border="0"  src="https://freight.cargo.site/w/1000/i/e32596ef8b48f1d100cef15e900e764c683fcce2e99b81beb96a8306970ccbff/El-rio-bajo-el-rio-07.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6fd9d90b36b28e3a5e88b6b9933213e6e96f78eef681324b491dff8d201b710b/El-rio-bajo-el-rio-05.jpg" data-mid="179200902" border="0"  src="https://freight.cargo.site/w/1000/i/6fd9d90b36b28e3a5e88b6b9933213e6e96f78eef681324b491dff8d201b710b/El-rio-bajo-el-rio-05.jpg" /&#62;

	&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Y sí, todo tiene un alma, palpitante la vida se cuela también por todo lo que hay,
 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; por cada hueco de lo inerte. Todoestáqueriendoseralgomástodoeltiempo.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;


Soñé que todo se repetía,que el agua se levantaba y se estremecía,que lo que suele estar arriba se desmentía,que íbamos bien.


&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d18835d07f7495f29a275850fa62efb8e2d99d778eba89173698c7717110c0fb/El-rio-bajo-el-rio-04.jpg" data-mid="179200903" border="0"  src="https://freight.cargo.site/w/1000/i/d18835d07f7495f29a275850fa62efb8e2d99d778eba89173698c7717110c0fb/El-rio-bajo-el-rio-04.jpg" /&#62;

&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/81f6c85341ef3bbd7f9dc46de9906dda4e3f3abe15699c2c3ed25a36e02affd0/mujer-salvaje-25-tif.jpg" data-mid="179224889" border="0"  src="https://freight.cargo.site/w/1000/i/81f6c85341ef3bbd7f9dc46de9906dda4e3f3abe15699c2c3ed25a36e02affd0/mujer-salvaje-25-tif.jpg" /&#62;
&#60;img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/b7b7428a8109d7cdcc05375452c9e47cb719cace06021d3b8bfec09185884703/mujer-salvaje-47.jpg" data-mid="179224891" border="0"  src="https://freight.cargo.site/w/1000/i/b7b7428a8109d7cdcc05375452c9e47cb719cace06021d3b8bfec09185884703/mujer-salvaje-47.jpg" /&#62;


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;La luz se cuela por todas partes y me&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 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&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;sobre &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;capa&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;sobre&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;capa.

&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/731b0e1ffe20ac79b26f166ac6cbc943c964415f2df3380cb6d0e8ec3d1399c1/El-rio-bajo-el-rio-02.jpg" data-mid="179200905" border="0"  src="https://freight.cargo.site/w/1000/i/731b0e1ffe20ac79b26f166ac6cbc943c964415f2df3380cb6d0e8ec3d1399c1/El-rio-bajo-el-rio-02.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/de69e9e2dbce233e97211b44c6da40ada942c7f5555aeb44c49fb64a14527a65/El-rio-bajo-el-rio-03.jpg" data-mid="179200906" border="0"  src="https://freight.cargo.site/w/1000/i/de69e9e2dbce233e97211b44c6da40ada942c7f5555aeb44c49fb64a14527a65/El-rio-bajo-el-rio-03.jpg" /&#62;


&#38;nbsp;&#38;nbsp;
El río se acelera en mí, me lleva y me trae.Es como tener otras vidas adentro.
Todo el tiempo estoy yendo y viniendo.Veo el pasto y estoy yendo y viniendo,veo el cielo y estoy&#38;nbsp; yendo y viniendo.


&#60;img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/9e219960a93ab837685a34a929a5e46e55a3173ad149e4a05ae23edb5e9d9bfa/mujer-salvaje-87.jpg" data-mid="180583424" border="0"  src="https://freight.cargo.site/w/1000/i/9e219960a93ab837685a34a929a5e46e55a3173ad149e4a05ae23edb5e9d9bfa/mujer-salvaje-87.jpg" /&#62;


&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/976ce6993f7335e9bb93a60386669e5a93babb65ad9e939e6ed0d66a66c59e40/mujer-salvaje-94.jpg" data-mid="180583425" border="0"  src="https://freight.cargo.site/w/1000/i/976ce6993f7335e9bb93a60386669e5a93babb65ad9e939e6ed0d66a66c59e40/mujer-salvaje-94.jpg" /&#62;

&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/96c354a08233dd75264ad672ce14da20f9c02e045545f95dd13b478a86f7ba7e/mujer-salvaje-68.jpg" data-mid="179224892" border="0"  src="https://freight.cargo.site/w/1000/i/96c354a08233dd75264ad672ce14da20f9c02e045545f95dd13b478a86f7ba7e/mujer-salvaje-68.jpg" /&#62;


Soy una pequeñísima parte de un ser rizomático que se encuentra desconectado. Caóticos fragmentos que anulan la profundidad ritual de cada acto, que rompen con el orden porque quieren acabar con el misterio.

&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/5ce00c7125c49dabdacba07dc04fb834f809f7a0bb89144705a9d834c0ec1c83/El-rio-bajo-el-rio-09.jpg" data-mid="179200900" border="0"  src="https://freight.cargo.site/w/1000/i/5ce00c7125c49dabdacba07dc04fb834f809f7a0bb89144705a9d834c0ec1c83/El-rio-bajo-el-rio-09.jpg" /&#62;


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Encarnar las nuevas formas en un lugar lejano al silencio &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (y casi opuesto). &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Expandirse a través de nuevos cuerpos (laberintos).
&#60;img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/8728fc7632b74898e29411bf4e9b1ab927a9dc57dde7355eed4a13f8e55d92e3/mujer-salvaje-91.jpg" data-mid="180583423" border="0"  src="https://freight.cargo.site/w/1000/i/8728fc7632b74898e29411bf4e9b1ab927a9dc57dde7355eed4a13f8e55d92e3/mujer-salvaje-91.jpg" /&#62;

&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/4bf78b094fa28ab81f997bd11e5df3329e229e0c046eb785a15acd13599602d7/El-rio-bajo-el-rio-nuevas-08-para-shrpen-lista-sin-capas.jpg" data-mid="179224888" border="0"  src="https://freight.cargo.site/w/1000/i/4bf78b094fa28ab81f997bd11e5df3329e229e0c046eb785a15acd13599602d7/El-rio-bajo-el-rio-nuevas-08-para-shrpen-lista-sin-capas.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6fb6cf0d6627ee58737d00fb0dba3e3c0ed52292a0e7c5a33cc5ae144b5ef49a/mujer-salvaje-106.jpg" data-mid="180583432" border="0"  src="https://freight.cargo.site/w/1000/i/6fb6cf0d6627ee58737d00fb0dba3e3c0ed52292a0e7c5a33cc5ae144b5ef49a/mujer-salvaje-106.jpg" /&#62;


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&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;

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&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; Una vasija &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; dentro de &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; una vasija&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;dentro de&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;una vasija


Todo es un coro.
Leo eso en Instagram y escucho a la naturaleza confirmármelo.
De nuevo estoy en la casa viva, en la casa de las paredes que no son.
Estamos afuera y las chicharras hacen su canto en mi garganta.&#38;nbsp;

&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/aea1baf982ef783fc617b2f0584de7bb91374e11c4effa47de72c05cccfe3236/El-rio-bajo-el-rio-06.jpg" data-mid="179200901" border="0"  src="https://freight.cargo.site/w/1000/i/aea1baf982ef783fc617b2f0584de7bb91374e11c4effa47de72c05cccfe3236/El-rio-bajo-el-rio-06.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b8a4047767ef624ea04a14f2c4e1685f655a8bc8ce91933a4193593737d7a01b/mujer-salvaje-97.jpg" data-mid="180583435" border="0"  src="https://freight.cargo.site/w/1000/i/b8a4047767ef624ea04a14f2c4e1685f655a8bc8ce91933a4193593737d7a01b/mujer-salvaje-97.jpg" /&#62;
&#60;img width="3000" height="2031" width_o="3000" height_o="2031" data-src="https://freight.cargo.site/t/original/i/12e0c81c2ff3ae9c524e74bf1d30fd9360908fbde843227b5de157fe5bd6ac6e/El-rio-bajo-el-rio-32.jpg" data-mid="180583438" border="0"  src="https://freight.cargo.site/w/1000/i/12e0c81c2ff3ae9c524e74bf1d30fd9360908fbde843227b5de157fe5bd6ac6e/El-rio-bajo-el-rio-32.jpg" /&#62;
&#38;nbsp; &#38;nbsp;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/73a4b2077d0d4f8f8446eb056df9a5a6e6f94d91912c608e8e35467ab0b13c34/mujer-salvaje-100.jpg" data-mid="180583433" border="0"  src="https://freight.cargo.site/w/1000/i/73a4b2077d0d4f8f8446eb056df9a5a6e6f94d91912c608e8e35467ab0b13c34/mujer-salvaje-100.jpg" /&#62;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;A veces me pregunto qué tipo de muerta voy a ser.

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;También leo “The multiself of&#38;nbsp; words”&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; y pienso en mi amor loco por esta cosa&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; ser&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; animal&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; viento&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; chicle&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; fondo&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; casa&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; borde
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; laguna&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; llamada palabra.

&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a1f0f781f0e6298da1fd7b3b686533b0a1453a5ddb93b0c5655f2931f7596ccb/mujer-salvaje-30-.jpg" data-mid="180583427" border="0"  src="https://freight.cargo.site/w/1000/i/a1f0f781f0e6298da1fd7b3b686533b0a1453a5ddb93b0c5655f2931f7596ccb/mujer-salvaje-30-.jpg" /&#62;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; 
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a91cea73ccbfdcdb0c5354905861fc6ec144b4d76bca2ab2e6acdf6e0e62f584/mujer-salvaje-89.jpg" data-mid="180583436" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/a91cea73ccbfdcdb0c5354905861fc6ec144b4d76bca2ab2e6acdf6e0e62f584/mujer-salvaje-89.jpg" /&#62;


&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/ea339ffcca136efe85d81789d1b6c31c4959cb816a7352f30e4b7b3d875ef3fc/Mujer-salvaje-2020-117-def.jpg" data-mid="180583426" border="0"  src="https://freight.cargo.site/w/1000/i/ea339ffcca136efe85d81789d1b6c31c4959cb816a7352f30e4b7b3d875ef3fc/Mujer-salvaje-2020-117-def.jpg" /&#62;


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; La imagen fija no existe, los pelos atraviesan todo. Terreno, todo es terreno.


&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/11522c64b75d67bc5ed2e30ae7efb053dee5253a308ee0ea727ca36e4527966c/mujer-salvaje-70.jpg" data-mid="180583437" border="0"  src="https://freight.cargo.site/w/1000/i/11522c64b75d67bc5ed2e30ae7efb053dee5253a308ee0ea727ca36e4527966c/mujer-salvaje-70.jpg" /&#62;
&#60;img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/13d2ca463b830cf00af222f0614bc4b0dc52f5e4f6f0800c0df75ce27b4b6025/mujer-salvaje-67.jpg" data-mid="180583431" border="0"  src="https://freight.cargo.site/w/1000/i/13d2ca463b830cf00af222f0614bc4b0dc52f5e4f6f0800c0df75ce27b4b6025/mujer-salvaje-67.jpg" /&#62;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; La información está en la sangre&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;y más allá del lodo.

&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c12a1750a8b400e57f1af9ae32e226e2c972d98762cf9125f626d3e98678ccc5/mujer-salvaje-36.jpg" data-mid="179224890" border="0"  src="https://freight.cargo.site/w/1000/i/c12a1750a8b400e57f1af9ae32e226e2c972d98762cf9125f626d3e98678ccc5/mujer-salvaje-36.jpg" /&#62;
Accedo a la memoria oculta, a la reminiscencia auténtica.
&#60;img width="3000" height="1972" width_o="3000" height_o="1972" data-src="https://freight.cargo.site/t/original/i/7d19b661c864b01dc7543cd81a2577664ad22b2c957a2901c69f1ab661649a8f/El-rio-bajo-el-rio-41-1.jpg" data-mid="180583444" border="0"  src="https://freight.cargo.site/w/1000/i/7d19b661c864b01dc7543cd81a2577664ad22b2c957a2901c69f1ab661649a8f/El-rio-bajo-el-rio-41-1.jpg" /&#62;


Se disuelve el mundo y queda la imagen,se disuelve la imagen y queda la piel,se disuelve la piel y queda lo que somos: 
el auténtico ritual primigenio, la imagen del mundo infinito.


&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/209de86dc62a7c94c49f5ecd2149575c6c90ee1cfc08cbd1b9b41dac4dcdf461/Liliana-Merizalde--foto.jpg" data-mid="180702384" border="0"  src="https://freight.cargo.site/w/1000/i/209de86dc62a7c94c49f5ecd2149575c6c90ee1cfc08cbd1b9b41dac4dcdf461/Liliana-Merizalde--foto.jpg" /&#62;


&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/dd5b210c756d2599e903eb1a0758d580264f88ab342c961e2f9cabe77db25862/El-rio-bajo-el-rio-38.jpg" data-mid="180583441" border="0"  src="https://freight.cargo.site/w/1000/i/dd5b210c756d2599e903eb1a0758d580264f88ab342c961e2f9cabe77db25862/El-rio-bajo-el-rio-38.jpg" /&#62;
Y allá adentro, mi sol ardiente.

Tennessee, 2019- Villeta, 2020.

Proyecto realizado gracias a la residencia Time and Space de Women Photograph y a Stacy Kranitz, quién me compartió su casa, su ropa, su mundo.&#38;nbsp;♡&#38;nbsp;


EnglishProject carried out thanks to the Women Photograph
Time and Space residency and to Stacy Kranitz, who kindly shared her home, her clothes, and her world with me.

&#38;nbsp;Exhibited in La fragilidad de lo vivo&#38;nbsp;Herstoria latina, Bogotá, 2022.


</description>
		
	</item>
		
		
	<item>
		<title>Yolanda</title>
				
		<link>https://lilianamerizalde2.cargo.site/Yolanda</link>

		<pubDate>Wed, 17 May 2023 22:31:16 +0000</pubDate>

		<dc:creator>Liliana Merizalde</dc:creator>

		<guid isPermaLink="true">https://lilianamerizalde2.cargo.site/Yolanda</guid>

		<description>YolandaFeatured︎Tsuki World &#38;nbsp;︎Fotodemic
 

&#60;img width="1857" height="2786" width_o="1857" height_o="2786" data-src="https://freight.cargo.site/t/original/i/351634558b89b88be27a5f099afbb380d484b5f0552ac436eec2eb9ac106465f/Yolanda-01.jpg" data-mid="181525043" border="0"  src="https://freight.cargo.site/w/1000/i/351634558b89b88be27a5f099afbb380d484b5f0552ac436eec2eb9ac106465f/Yolanda-01.jpg" /&#62;
&#60;img width="1820" height="2774" width_o="1820" height_o="2774" data-src="https://freight.cargo.site/t/original/i/3dde4a7992ea0f8e0cd544d3243e5172d937f2887d55f920a10561baa9dc5074/Yolanda-02.jpg" data-mid="181525042" border="0"  src="https://freight.cargo.site/w/1000/i/3dde4a7992ea0f8e0cd544d3243e5172d937f2887d55f920a10561baa9dc5074/Yolanda-02.jpg" /&#62;
&#60;img width="1820" height="2714" width_o="1820" height_o="2714" data-src="https://freight.cargo.site/t/original/i/f3e15d5d9b79594c4f451cfde5705fd6bd8b8d9588ea25a7240790754ec53a9e/Yolanda-03.jpg" data-mid="181525041" border="0"  src="https://freight.cargo.site/w/1000/i/f3e15d5d9b79594c4f451cfde5705fd6bd8b8d9588ea25a7240790754ec53a9e/Yolanda-03.jpg" /&#62;
&#60;img width="2382" height="1778" width_o="2382" height_o="1778" data-src="https://freight.cargo.site/t/original/i/7022ff70a7ceeb0586ac474445ac2b7404dd84cc45f00c7e3a9986ab69f40f83/Yolanda-04.jpg" data-mid="181525040" border="0"  src="https://freight.cargo.site/w/1000/i/7022ff70a7ceeb0586ac474445ac2b7404dd84cc45f00c7e3a9986ab69f40f83/Yolanda-04.jpg" /&#62;
&#60;img width="1642" height="2382" width_o="1642" height_o="2382" data-src="https://freight.cargo.site/t/original/i/a421f48bf1e5911c90d70045fd2720cbe2439cf190c700a246d60c9819067d27/Yolanda-05.jpg" data-mid="181525039" border="0"  src="https://freight.cargo.site/w/1000/i/a421f48bf1e5911c90d70045fd2720cbe2439cf190c700a246d60c9819067d27/Yolanda-05.jpg" /&#62;
&#60;img width="1642" height="2317" width_o="1642" height_o="2317" data-src="https://freight.cargo.site/t/original/i/27d50229efe043e8558928e0162e219721602735013c1a33dc4fc7c49263fd9b/Yolanda-06.jpg" data-mid="181525038" border="0"  src="https://freight.cargo.site/w/1000/i/27d50229efe043e8558928e0162e219721602735013c1a33dc4fc7c49263fd9b/Yolanda-06.jpg" /&#62;
&#60;img width="2304" height="1542" width_o="2304" height_o="1542" data-src="https://freight.cargo.site/t/original/i/17346612d3fd223da0e504c44da614b5759ab98e3237a72e013b8efd41da5563/Yolanda-07.jpg" data-mid="181525037" border="0"  src="https://freight.cargo.site/w/1000/i/17346612d3fd223da0e504c44da614b5759ab98e3237a72e013b8efd41da5563/Yolanda-07.jpg" /&#62;
Yolanda (2020) es un proyecto en el que exploro preguntas sobre la vida, la muerte y la memoria, inspirado en mi tía, quien murió cuando yo tenía 12 años. Antes de morir, mi tía estuvo en cama durante dos años y después de su muerte casi no se volvió a mencionar, a pesar de que era muy unida a toda la familia. Este proyecto surge en pandemia cuando vuelvo a la casa de mi familia y empiezo a abrir los álbumes y recuerdos y encontrar fotos de ella a la edad que yo tenía cuando ella murió. Esto, en una búsqueda por saber más sobre ella, por adivinar e imaginar lo que nunca me contó. Es también una exploración material de las posibilidades de la fotografía expandida, y abordar a través de ella, preguntas que no tienen respuesta, sobre la vida, la muerte, el tiempo, etc.
Cada nueva imagen que construyo para este proyecto, me trae una sensación de vacío en el estómago y al mismo tiempo, un alivio. Presencia y ausencia coexisten, así como lo hacen también “lo vivo” y “lo muerto”, lo orgánico y lo inerte. Es como si con cada imagen mi tía naciera de nuevo pero también muriera de nuevo. La presencia y la 
ausencia se necesitan y se alimentan. Entre más trato de comprender a mi tía, más 
se me escapa. Y es este juego el que me atrapa, la ilusión momentánea de responderme materialmente alguna de esas preguntas trascendentales irrespondibles.A veces quisiera recordar desde el cuerpo la tristeza que sentí cuando ella murió. 
Entender cómo me dolió, qué se sentía, qué extrañaba, quién me hacía ser su ausencia. Claro que al mismo tiempo quisiera seguir blindada de todo ese dolor, de esa carga de sentir lo que un día está y luego deja de ser. Pero no me dejan de sorprender estos procesos de memoria, lo que de alguna manera le tenemos que hacer a nuestra psique para seguir adelante, los lugares invisibles a donde llevamos el amor para seguir con él sin que nos frene.Escojo entonces volverme materia, archivo, papel, tierra, grano, flor, algo desprendido y a la vez enraizado, para entrar en la grieta del tiempo y tocar ese balance entre la dualidad de este plano; y tal vez por un segundo, solo por un segundo, permitirme pensar todo, incluso la muerte, como algo relativo.


  English
  Yolanda (2020) is a project in which I explore questions about life, death, and memory, inspired by my aunt, who died when I was 12 years old. Before she died, my aunt was bedridden for two years, and after her death she was scarcely mentioned, despite having been very close to the whole family. This project emerged during the pandemic, when I returned to my family’s house and began opening albums and memories, finding photographs of her at the same age I was when she died. It became a search to learn more about her, to guess at and imagine what she never told me. It is also a material exploration of the possibilities of expanded photography, and through it, an attempt to approach unanswerable questions about life, death, time, and more.


 Each new image that I build for this project brings me an empty feeling in the stomach and at the same time, brings me a relief. Presence and absence coexist, as well as the living and the deceased, the organic and the inert. It is as if with each image my aunt was born again but also she dies again. Presence and absence need each other and nourish each other. The more I try to understand my aunt, the more she slips away. And this is the game that ties me, the momentary illusion of materially answering some of those transcendental unanswerable questions. 
Sometimes I would like to remember with my body, the sadness I felt when she died. Understand how it hurt me, what it felt, what I missed, who her absence made me be. Of course, at the same time I would like to continue shielded from all that pain, from that burden of feeling what one day is and then ceases to be. But these memory processes do not cease to amaze me, what we have to do to our psyche to move forward, the invisible places where we take love to be able to continue with it, without stopping us. 
So I choose to become matter, archive, paper, earth, grain, flower, something detached and at the same time rooted, to enter the crack of time and touch that balance between the duality of this plane; and maybe for a second, just for a second, allow myself to think of everything, even death, as relative.

-Exhibited in Mirological: the poetics of mourning, alongside the work of:
Jean Marie Casbarian, Leonardo Madriz, Dean Majd, Nicolay Karabinobych and Nathan Storey.Curated by Sophía María Takvorian, Brooklyn, Ny. 2025.
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/262cb1d94b4862a04ea0532d09fe72ee873de0df2a16d7fab654edec130b26f9/IMG_5634.jpg" data-mid="237832486" border="0"  src="https://freight.cargo.site/w/1000/i/262cb1d94b4862a04ea0532d09fe72ee873de0df2a16d7fab654edec130b26f9/IMG_5634.jpg" /&#62;
&#60;img width="2015" height="1343" width_o="2015" height_o="1343" data-src="https://freight.cargo.site/t/original/i/f4f7ec71cb3a7c845c596228518ee6dfd7b8de6a153054229957b82598dbec10/SophiaT_MTPM_002.jpg" data-mid="237832530" border="0"  src="https://freight.cargo.site/w/1000/i/f4f7ec71cb3a7c845c596228518ee6dfd7b8de6a153054229957b82598dbec10/SophiaT_MTPM_002.jpg" /&#62;
&#60;img width="2034" height="1356" width_o="2034" height_o="1356" data-src="https://freight.cargo.site/t/original/i/9d66d8f6a589f7027d382ac19d8d91f4a98128a3de16812cf90ccef68cccba0f/SophiaT_MTPM_008-copy.jpg" data-mid="237832611" border="0"  src="https://freight.cargo.site/w/1000/i/9d66d8f6a589f7027d382ac19d8d91f4a98128a3de16812cf90ccef68cccba0f/SophiaT_MTPM_008-copy.jpg" /&#62;
&#60;img width="677" height="898" width_o="677" height_o="898" data-src="https://freight.cargo.site/t/original/i/5170790958191c47e7bfd46e8180cbbd096b6a35f181f1e6883ba538dec23554/screenshot-expo-yolanda.jpg" data-mid="237834415" border="0"  src="https://freight.cargo.site/w/677/i/5170790958191c47e7bfd46e8180cbbd096b6a35f181f1e6883ba538dec23554/screenshot-expo-yolanda.jpg" /&#62;
&#60;img width="673" height="898" width_o="673" height_o="898" data-src="https://freight.cargo.site/t/original/i/b5c2c1051c8f394eba7e43670252ebe89b809ed1282d7275fb797b2f947505ab/screenshot-expo-yolanda-2.jpg" data-mid="237834416" border="0"  src="https://freight.cargo.site/w/673/i/b5c2c1051c8f394eba7e43670252ebe89b809ed1282d7275fb797b2f947505ab/screenshot-expo-yolanda-2.jpg" /&#62;
&#60;img width="1198" height="897" width_o="1198" height_o="897" data-src="https://freight.cargo.site/t/original/i/c373c58dedd4955314210e23ebf9583f5bc527749c183bece96bbb854786d080/Screen-Shot-2025-09-04-at-11.56.15-AM.png" data-mid="237834422" border="0"  src="https://freight.cargo.site/w/1000/i/c373c58dedd4955314210e23ebf9583f5bc527749c183bece96bbb854786d080/Screen-Shot-2025-09-04-at-11.56.15-AM.png" /&#62;

-Exhibited in Reflexiones de confinamiento en Galería La Cometa.
Alongside the work of: Lina Botero, Ovidio González, Andrés Orozco, Nathalie Ospina and Julián RL,Curated by Fotomeraki, Bogotá, 2020.


&#60;img width="878" height="588" width_o="878" height_o="588" data-src="https://freight.cargo.site/t/original/i/0908099683c9b11f144ceaa3bf607cf6c4aced45ee4f851f7fa7131ed9c636bb/Screen-Shot-2025-09-04-at-12.07.34-PM-copy.jpg" data-mid="237835904" border="0"  src="https://freight.cargo.site/w/878/i/0908099683c9b11f144ceaa3bf607cf6c4aced45ee4f851f7fa7131ed9c636bb/Screen-Shot-2025-09-04-at-12.07.34-PM-copy.jpg" /&#62;
&#60;img width="878" height="588" width_o="878" height_o="588" data-src="https://freight.cargo.site/t/original/i/883d368c4e2bc26f6329120a5a52f1a57d05d64d592f0e43d35b6e46412ca095/Screen-Shot-2025-09-04-at-1.11.20-PM-copy.jpg" data-mid="237835907" border="0"  src="https://freight.cargo.site/w/878/i/883d368c4e2bc26f6329120a5a52f1a57d05d64d592f0e43d35b6e46412ca095/Screen-Shot-2025-09-04-at-1.11.20-PM-copy.jpg" /&#62;
&#60;img width="878" height="590" width_o="878" height_o="590" data-src="https://freight.cargo.site/t/original/i/35fc525b7142dfac1ad4cdae52795962a0141a555515e375200fd78d44d1cabe/Screen-Shot-2025-09-04-at-1.11.08-PM-copy.jpg" data-mid="237835908" border="0"  src="https://freight.cargo.site/w/878/i/35fc525b7142dfac1ad4cdae52795962a0141a555515e375200fd78d44d1cabe/Screen-Shot-2025-09-04-at-1.11.08-PM-copy.jpg" /&#62;
&#60;img width="870" height="578" width_o="870" height_o="578" data-src="https://freight.cargo.site/t/original/i/9e06d4c8e843042773a0a5e7e3a5ca0b2386b3d0fae60fd5e1b90d1aa5c3f9db/Screen-Shot-2025-09-04-at-1.09.22-PM-copy.jpg" data-mid="237835909" border="0"  src="https://freight.cargo.site/w/870/i/9e06d4c8e843042773a0a5e7e3a5ca0b2386b3d0fae60fd5e1b90d1aa5c3f9db/Screen-Shot-2025-09-04-at-1.09.22-PM-copy.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Nobilior</title>
				
		<link>https://lilianamerizalde2.cargo.site/Nobilior-1</link>

		<pubDate>Thu, 14 Mar 2024 18:26:46 +0000</pubDate>

		<dc:creator>Liliana Merizalde</dc:creator>

		<guid isPermaLink="true">https://lilianamerizalde2.cargo.site/Nobilior-1</guid>

		<description>Nobilior
	"Yo soy el hombre de la selva,perfume, cántico y amor,pero encendido de relámpagos,pero rugiendo de huracanes.Yo soy un río de pie."Fragmento de Canto del hombre de la selva-Raúl Otero Reiche-Nobilior (2018) parte de una pregunta por la identidad, el territorio y los procesos de “aculturación” que los seres humanos ejercemos entre nosotros y sobre la naturaleza. Realizado en Concepción, en la Chiquitanía boliviana, el proyecto surge de una reflexión sobre la identidad de las culturas originarias de la región, en particular la del pueblo Monkóx, atravesada por las misiones evangelizadoras jesuitas y las dinámicas de imposición cultural asociadas a ellas.

La orquídea, flor emblemática de Concepción, funciona como eje conceptual del proyecto. Aunque nace de forma silvestre, ha sido cultivada, seleccionada y transformada por los seres humanos hasta convertirse en símbolo de lo ornamental y lo domesticado. En ella conviven aparentes opuestos: lo silvestre y lo cultivado, lo masculino y lo femenino.
Proyecto realizado en Concepción, Bolivia, en el marco del campamento de 20 Fotógrafos organizado por Colecivo +1, y patrocinado por National Geographic, Sony y otros aliados. Octubre, 2018.
Haz click en la imagen para verla grande. 
Mueve las fotos como quieras para interactuar con el proyecto.&#38;nbsp;


  English
  Nobilior (2018) begins with a question about identity, territory, and the processes of "acculturation" that human beings impose on one another and on nature. Created in Concepción, in Bolivia's Chiquitanía region, the project emerged from a reflection on the identity of the region's Indigenous cultures—particularly the Monkóx people—whose history has been profoundly shaped by Jesuit missionary activity and the dynamics of cultural imposition associated with it.


The orchid, Concepción's emblematic flower, serves as the project's conceptual axis. Although it grows in the wild, it has been cultivated, selected, and transformed by humans until becoming a symbol of ornamentation and domestication. Within it, seemingly opposing qualities coexist: the wild and the cultivated, the masculine and the feminine.


The project was carried out in Concepción, Bolivia, within the framework of the 20 Fotógrafos camp organized by Colectivo +1, and sponsored by National Geographic, Sony, and other partners. October, 2018.
Click each image to enlarge.Feel free to move the photos to explore the project.


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</description>
		
	</item>
		
		
	<item>
		<title>Aúlla</title>
				
		<link>https://lilianamerizalde2.cargo.site/Aulla</link>

		<pubDate>Thu, 14 Mar 2024 18:45:19 +0000</pubDate>

		<dc:creator>Liliana Merizalde</dc:creator>

		<guid isPermaLink="true">https://lilianamerizalde2.cargo.site/Aulla</guid>

		<description>AúllaFeatured︎Hyperallergic
	Olla: Recipiente para cocinar. Del latín aulla, que en el latín popular evolucionó a olla.

Aullar: Sonido agudo y prolongado.
Aúlla nació en el 2019 como una manera de habitar el Paro Nacional y transitar la calle en diálogo constante con lxs demás. Cruzando opiniones, preguntando por las razones de parar de cada unx, contando las mías y recogiendo estos registros que terminan siendo como una especie de mapas de las protestas de un país complejo y diverso. 
Luego siguió en el 2021 con lo que continúa siendo el estallido social colombiano. 
Ha sido construido con la ayuda de diferentes personas que aportaron con la intención de su protesta y la huella de su cacerola sobre el papel.

Gracias a conversaciones, lecturas y movimientos alrededor del paro, he llegado a entender que lo que nos reprime es también una coreografía, un performance, una estética. El aparato institucional que mata, censura y desaparece es también un conjunto de movimientos, de direcciones, de intenciones, de códigos, de bailes. Por eso el pequeño gesto, la pequeña intención individual o colectiva es también la revolución; generar otros lenguajes, otros códigos, otros registros, otras formas de dialogar entre nosotrxs y expandir la protesta para que sea onda, movimiento, vibración, temblor. 

Como dice Paul B. Preciado “...hablar (y en este caso lo extiendo a cualquier acción artística) no es simplemente resistir a la violencia del performativo hegemónico. Es sobre todo imaginar teatros disidentes en los que sea posible producir otra fuerza performativa”.

A continuación, una pequeña selección de los casi 300 registros que llevo hasta al momento.Puedes mover las imágenes para descubrirlas todas.


  English
  
    Olla: From the Latin *olla*, the popular form without diphthong of the word *aúlla* (howls).
    Aullar (to howl): A sharp, prolonged sound.

    Aúlla was born in 2019 as a way of inhabiting the National Strike and moving through the streets in constant dialogue with others. Crossing opinions, asking about each person’s reasons for striking, sharing my own, and gathering these records that end up forming a kind of map of the protests of a complex and diverse country. It continued in 2021 with what remains the Colombian social uprising. It has been built with the help of different people who contributed with the intention of their protest and the trace of their pot on paper.

    Thanks to conversations, readings, and movements around the strike, I have come to understand that what represses us is also a choreography, a performance, an aesthetic. The institutional apparatus that kills, censors, and disappears is also a set of movements, directions, intentions, codes, dances. That is why the small gesture, the small individual or collective intention, is also the revolution: generating other languages, other codes, other records, other ways of dialoguing among ourselves and expanding protest so that it becomes wave, movement, vibration, tremor.

    As Paul B. Preciado says: “...to speak (and in this case I extend it to any artistic action) is not simply to resist the violence of the hegemonic performative. It is above all to imagine dissident theaters in which it is possible to produce another performative force.”

    What follows is a small selection of the nearly 300 records I have gathered so far.

    Move the images to discover them one by one.
  

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    Bogotá. 2019-Ongoing.
    
    
    Exhibited in En la mira group show in
    Galería La Cometa.
    Alongside the work of: Luisa Aristizábal, Andrea Dominguez and Dámaxo Henao.
    Curated by Daniela Marín Arístizabal and Andrés Córdoba, Bogotá, 2022.

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</description>
		
	</item>
		
		
	<item>
		<title>Lumurá</title>
				
		<link>https://lilianamerizalde2.cargo.site/Lumura</link>

		<pubDate>Thu, 14 Mar 2024 20:17:11 +0000</pubDate>

		<dc:creator>Liliana Merizalde</dc:creator>

		<guid isPermaLink="true">https://lilianamerizalde2.cargo.site/Lumura</guid>

		<description>Lumurá
	
&#60;img width="1107" height="722" width_o="1107" height_o="722" data-src="https://freight.cargo.site/t/original/i/479b052f23f6f377d2d99917505564666a41e08d8ea91cf530f918de526583ef/Paisaje-borroso-1-mas-pequena-Jurubida.jpg" data-mid="206811446" border="0"  src="https://freight.cargo.site/w/1000/i/479b052f23f6f377d2d99917505564666a41e08d8ea91cf530f918de526583ef/Paisaje-borroso-1-mas-pequena-Jurubida.jpg" /&#62;&#60;img width="1107" height="689" width_o="1107" height_o="689" data-src="https://freight.cargo.site/t/original/i/fe40e320afba708a12386acd511ea11cb64bb8097e25233843cd07a879313500/Paisaje-borroso-2-Jurubida-para-pag.jpg" data-mid="206811445" border="0"  src="https://freight.cargo.site/w/1000/i/fe40e320afba708a12386acd511ea11cb64bb8097e25233843cd07a879313500/Paisaje-borroso-2-Jurubida-para-pag.jpg" /&#62;&#60;img width="1107" height="736" width_o="1107" height_o="736" data-src="https://freight.cargo.site/t/original/i/8288e424efecf4bf777374f94639de14269c84c8c22d0dc179881429e6f4d962/NINO-BORROSO-para-pag.jpg" data-mid="206811416" border="0"  src="https://freight.cargo.site/w/1000/i/8288e424efecf4bf777374f94639de14269c84c8c22d0dc179881429e6f4d962/NINO-BORROSO-para-pag.jpg" /&#62;&#60;img width="1109" height="755" width_o="1109" height_o="755" data-src="https://freight.cargo.site/t/original/i/795c47fa7e34555b9f37e0309e1425c890766b112309d70791d13b58f7c591f1/Juribida-3-para-pag-nueva-ptra-prueba.jpg" data-mid="206811440" border="0"  src="https://freight.cargo.site/w/1000/i/795c47fa7e34555b9f37e0309e1425c890766b112309d70791d13b58f7c591f1/Juribida-3-para-pag-nueva-ptra-prueba.jpg" /&#62;&#60;img width="1107" height="722" width_o="1107" height_o="722" data-src="https://freight.cargo.site/t/original/i/39bb4ae7abd2a228e3053969072768064078f7c46aa54939027205d46273cce8/senora-flores-con-hija-para-pag.jpg" data-mid="206811448" border="0"  src="https://freight.cargo.site/w/1000/i/39bb4ae7abd2a228e3053969072768064078f7c46aa54939027205d46273cce8/senora-flores-con-hija-para-pag.jpg" /&#62;&#60;img width="1107" height="717" width_o="1107" height_o="717" data-src="https://freight.cargo.site/t/original/i/a4c992d6da952df44a5cd2e61fb15ca6129842d6f8c19c9e335931d9b3886bbf/senora-flores-espalda-para-pag.jpg" data-mid="206811451" border="0"  src="https://freight.cargo.site/w/1000/i/a4c992d6da952df44a5cd2e61fb15ca6129842d6f8c19c9e335931d9b3886bbf/senora-flores-espalda-para-pag.jpg" /&#62;&#60;img width="1107" height="736" width_o="1107" height_o="736" data-src="https://freight.cargo.site/t/original/i/f0cf9c663979b12b487afa35895150f26198d47ad2185bb60c05dcb0810ce36e/Buenaventura-espaldas-para-pag.jpg" data-mid="206811444" border="0"  src="https://freight.cargo.site/w/1000/i/f0cf9c663979b12b487afa35895150f26198d47ad2185bb60c05dcb0810ce36e/Buenaventura-espaldas-para-pag.jpg" /&#62;Mi paso por Lumurá fue como un remolino de río: manglar, playa, verde todopoderoso, agua dulce y salada, desayunos en comunidad, duchas colectivas en chingue y balde en la alberca, trotar todas las mañanas con nuestros estudiantes, sol inclemente, barrigazos al agua con los niños, los morros mirándonos distantes e imponentes, cazar canchunches para luego compartirlos, rodaje, kayak, pescado fresco, jugar a la montaña rusa desde la lancha con las olas de la bocana, termales naturales y después: escuchar los disparos, no entender nada, angustia, llanto, un solo grito que oscurece la tarde —mataron a P—, hablar con la comunidad, preguntas, nos vamos o nos quedamos, nos quedamos, no, mejor nos vamos, salir corriendo, llegar al municipio más cercano, replantear el taller, recordar a P, escuchar los gritos de su esposa en las noches, sentir una gota así sea microscópica del miedo que acecha constantemente en Colombia, muerte, violencia, tristeza, sentirnos observados, —preguntaron por nosotros en el hotel—, alguien vio un cadáver en el río y creyó que era un dummy, continuar con el taller es resistir también, se nos van las ganas, se nos va la emoción, se nos olvida por momentos, uno de los estudiantes nos acompaña mientras editamos el cortometraje pues no es seguro que caminemos en la noche sin ser de aquí, continuamos…Fotos tomadas en Lumurá (un corregimiento ficticio). Podría estar en el atlántico o en el pacífico, podría estar al lado del río o de una ciénaga o del mar. Podría no existir.


  English
  My time in Lumurá was like a river’s whirlpool: mangrove, beach, overwhelming green, fresh and salt water, communal breakfasts, collective showers with chingue and bucket by the tank, running every morning with our students, scorching sun, belly flops into the water with the kids, the hills watching us from afar, distant and imposing, hunting canchunches to share later, filming, kayaking, fresh fish, playing roller coaster from the boat with the waves at the river mouth, natural hot springs and then: hearing the gunshots, not understanding anything, anguish, tears, a single cry that darkens the afternoon —they killed P—, speaking with the community, questions, do we leave or do we stay, we stay, no, better we leave, running away, arriving at the nearest village, rethinking the workshop, remembering P, hearing his wife’s screams at night, feeling even the tiniest drop of the fear that constantly stalks Colombia, death, violence, sadness, feeling watched, —they asked about us at the hotel—, someone saw a corpse in the river and thought it was a dummy, continuing the workshop is also an act of resistance, our drive fades, our excitement fades, we forget at times what is happening, one of the students stays with us while we edit the short film because it’s not safe to walk at night without being from here, we go on… 
Photographs taken in Lumurá (a fictional township). It could be on the Atlantic coast or the Pacific, it could be by a river, a lagoon, or the sea. It might not exist.


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