eXcéntrico: dissidence, sovereignties, performance

The Hemispheric Institute’s 10th Encuentro, eX-céntrico: dissidence, sovereignties, performance, took place in Santiago, Chile from July 17–23, 2016. This digital catalog features video and photo documentation of the many performances, keynote lectures, street art actions, work groups, exhibitions, teach-ins, and roundtable discussions that animated the event.

The Xº Encuentro examined the eX-centric—that which stands apart, on the peripheries of power—as a site of identity, struggle, creativity, and political power. We understand the eX-centric as the dissident, that which stands apart, creating a space outside that makes possible other futures, subjectivities, and ways of doing and knowing. We seek to explore politics and aesthetics generated from without, from an outside that marks its distance and non-desire to be written in dominant codes, destabilizing common sense and disarranging the blueprints of the possible. We are drawn to the proactive and creative charge of these un-framings, to their capacity to generate sovereignties in bodies and territories that yield eX-centric subjects and collectivities—styles and poses, movements and nations, traversed by indigeneity, disability, queerness, blackness, as well as punk, trans, proletarian, and migrant sensibilities. These sovereignties resist and interpellate the centers of power with aesthetic ruptures, liberatory autonomies, and disobedient body politics. In this context, performance—performance art, theater, underground cultures, occupations of public space, digital corporealities, body art, drag, cabaret, the music that animates the nightlife of social movements—is a central tool both for the creation of new meaning and for the transmission of knowledge, memory, and identity.

Domestic Labor


Alejandra Herrera Silva studied in the U. de Chile, Valencia, and Belfast and co-founded PERFOPUERTO. Her performance and installation explore her body and the biological implications that it bears as a social and political being. She is now exploring motherhood and the domestic. Her work has been showcased worldwide and recognized by FONDART and DIRACs.

Alejandra Herrera Silva

On the Edge

Flowers encircle three small baskets filled with questions about who will take responsibility for dead trees, cloned humans, and other desperate challenges facing humanity. Participants are invited to make simple movements and to balance flowers on different body parts. They are asked to take questions and read them aloud, opening a dialogue.


Anadel Lynton works with her old, active, female, and feminist body. She is a communitarian and an ally of indigenous communities, believes in buen vivir (good living) as a human goal, aspires to a future without dominators and dominated people, a decolonized, depatriarchalized world of peace, dignity, and justice. She seeks to encourage creative experiences through movement in her communities.

Anadel Lynton

turttle // ele’fant: a solo performance diptych

turttle//ele’fant reflects new dance work created in response to current sociopolitical tensions manifesting within the corporeal and spiritual. As this performance diptych unfolds, time shifts, the body moves between subtle fluid isolations and nuanced gestures. The interdependent journey reveals the intertwined legacies of race and disability.


Barak adé Soleil makes dance, theatre, and performance art. An award-winning creative practitioner, he has been engaging diverse communities nationally and internationally for over two decades. His work speaks to the expanse of contemporary art; drawing upon legacies and aesthetics from the African diaspora, disability, and queer culture. Photo: Courtesy of Barak adé Soleil

Barak adé Soleil


This work reflects on the forced disappearances of more than 40,000 people which took place in Chile from 1973 until 1990, during Augusto Pinochet’s regime. Pit is an homage to the labor that took place during the years of the Calama women who searched incessantly for the rest of their families in the Atacama Desert.


Carlos Martiel (Havana, 1989) studied at the Cátedra Arte de Conducta between 2008 and 2010, led by Tania Bruguera. His works have been featured at the Havana, Pontevedra and Liverpool Biennials, as well as “La Otra” Biennial (Bogotá), the International Performance Art Biennial (Houston) and the 4th Thessaloniki Performance Festival (Greece).

Carlos Martiel

The Yellow Umbrella – An Unfinished Conversation

The Yellow Umbrella – An Unfinished Conversation involves twelve performers engaging with yellow umbrellas. The umbrella is a symbol of protection and resistance. This work seeks an intersection where aesthetics and politics ignite each other, exploring how situational behaviors impact on our perception toward social movements and activism.


Chun Hua Catherine Dong is a visual artist. Her work has been performed and exhibited in North America, Europe and Asia. She is the recipient of a Franklin Furnace Award for avant-garde art in New York. Her performance was featured at the Marina Abramović Institute and listed amongst the Top Nine Political Art Projects of 2010 by Art and Threat magazine.

Chun Hua Catherine Dong

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The performance explores the experiences of immigrants in Santiago within their context. The material for this piece will be a world atlas which will be taken over by the participants to generate posters, which will be displayed on the atlas.


Colectivo DNI is a group of visual and sound artists with a particular interest in formal and narrative experimentation. Their focus is on the artistic processes developed in the public space through various media and strategies. The collective believes interventions in the social environment trigger political effects as well as a strong ideological stance.

Colectivo DNI

Echoes: North… North

CONSTELACIONES performs a rite of return continuing a journey that began with Martinez’s family’s exile in 1974. Moving from frozen Lake Winnipeg through the landscape of the Atacama Desert to Calama, the collective lays down vibrant forms in a ritual of remembrance. In Santiago, they create performative tableaux reflecting on their journey.


CONSTELACIONES is shifting; fluid and multiple. They are stardust. They share the same sky. They speak through borders with gesture, with languages of time, memory, and connection. They practice the art of magic, of care. Artists M. Martínez, R. Crowe, D. Difarnecio, C. Hajjar and H. Vosters form CONSTELACIONES, born of exile, configurations of light.


Sunlight Is the Best Disinfectant

Many see government, business, and media as the faces of power, but artists are the real problem. As a keeper of galactic order, the artist will surveil other artists and post proof of their chaotic nature on his website, corporaloutis.com, every night.He intends to reveal the perilous truth about art, guiding the public back to the comfort of the state.


Corporal Outis, an otherworldly figure in shiny white sci-fi armor, performs at festivals, conferences, and random events around the world, from the USA to Finland to New Zealand. He usually appears just to watch what other people are doing. As a servant of the Empire he is dedicated to providing a public good in whatever way he can.

Corporal Outis


Weddings is an urban intervention that looks at the classic image of the Christian wedding with poetical and critical estrangement and questions the imposition of the heteronormativity and the monogamous standard as an instrument of social control of relationships and the notion of family that creates bigotry, exclusion, and violence. The performances will take place in sites chosen for being related to some sort of gender violence in order to expose a partial map of the sexual bigotry and love diversity.

  • Execution: Desvio Coletivo and Laboratório de Práticas Performativas da USP
  • Creation and production: Desvio Coletivo
  • Performers: Fernanda Perez, Marcelo D’Avila, Marcelo Denny, Marie Auip, Marcos Bulhões, Priscilla Toscano and Sylvia Aragão
  • Designer: Rodrigo Spavanelli


In order to do the performance we will present a workshop with the presence of our guests: artists, activists, art students, actors, dancers, performers, and people from the community that are interested in learning and experiencing our urban intervention. For more information see https://www.facebook.com/events/1620795948235176/ and facebook.com/DesvioColetivo


Desvio Coletivo is a network of contemporary Brazilian theater creators that work on the border zone between the theater, performance, and urban intervention. Since 2011, the group researches collaborative scenic creation considering experimentation of different types of sensorial participation, dialogue, and creative audience, the digression of its conventional role.

Desvio Coletivo


Triunfadela is an analysis of imaginaries and behaviors that point to the singularities of Cuban existence from the 1960s onwards. It focuses on the psychosocial response to the official progress rhetoric. On stage it seeks to confront viewers’ common sense and generate debate around national issues, creating tensions between reality and discourse.


El Ciervo Encantado (1996, La Habana) was founded by Nelda Castillo. Its conceptual framework is enacted in performances and public interventions that explore national identity and its margins, works that engage without concessions with current emergencies and that seek to unveil invisibilized aspects if the memory of being Cuban.

El Ciervo Encantado

If you look at me I exist

The piece is one of signaling that works on the dichotomy between margins and centrality. It questions and inverts the gaze on the standards that determine what is the center and what is peripheral, by decentering the centralized subject in a dichotomic play of displacements and temporary and parodic positions.


Eli Neira is a writer and performer. She has participated in poetry and performance gatherings in Latin America and Europe. She has led art-action workshops in Mexico, Ecuador, Chile, and Argentina. As a producer, she organizes poetry and performance events and coordinates artist residencies in the CasAcción project, in Valparaíso, Chile.

Eli Neira

Too Much Sexual Freedom Will Turn You Into Terrorists


Ernesto Orellana is a theater artist and CUDS activist. He seeks to create counter-cultural productions at the intersection of theatrical speech and sexual dissidence, questioning through performing arts the hegemony and normativity ruling over corporal and sexual behaviors. In 2015, he started an investigation called Transescénica with the collective Furia Barroka.

Ernesto Orellana

Flower Pot

This action seeks to establish a dialogue between the performing arts and the city, thus enabling poetical landscape compositions in the urban environment. The action becomes e/a-ffective as the performer relates to the public space, leaving room for the bystanders’ own interpretations, in multiplicity.


Felipe Cunha is an artist, researcher and professor. He holds a BA in Performing Arts and a Master’s Degree from the Postgraduate Performing Arts Program in Line 2: Contemporary Scene Processes and Poetics, both from Universidade Federal de Ouro Preto.

Felipe Cunha


This series of multidisciplinary performative rituals is a new collaboration between Fredman Barahona & Guillermo Sáenz (Nicaragua), and 2boys.tv, & Alexis O’Hara (Canada). These durational works performed outdoors act as a metaphorical cleansing of American lands contaminated from centuries of occupation and larceny


Fredman Barahona and Guillermo Sáenz are artists, activists, and producers living and working in Managua, as well as founding members of the collective Operación Queer. 2boys.tv (Stephen Lawson, Aaron Pollard) and Alexis O’Hara are transdisciplinary artists based in Montreal who perform and tour internationally as well as create installations, videos, music, and workshops.

Fredman Barahona, Guillermo Sáenz, 2boys.tv, and Alexis O’Hara

Stirring: Transmission

Gambletron creates a live transmission of improvised noise, heavy beats, and distorted vocalizations wearing a mobile FM radio station/synthesizer suit. Dressed in drag, Johnny Forever hands radios to audience members, encouraging them to move Gambletron’s transmission down city streets, augmenting public spaces with the sound of pirate radio.


Gambletron and Johnny Forever create immersive performance environments exploring queer resistance through radio transmission, video, and experimental noise infused with deep drones and heavy beats. Their largely improvised public work is informed by community concerns and stems from queer feminist critique of states and systems.

Gambletron and Johnny Forever


If the traditional center, left, and right are still the cause of much unrest, then something must be wrong. We know the origin of what reeks: repeated offers of satisfying futures, the return of the party apparatus as the only pathway to salvation. There is a global disgust with traditional politics. “Neo recipes” only lead to old habits with new faces. The time has come to explore new spaces that are yet to be imagined, and we are the creators.


Gonzalo Rabanal is a performance and visual artist. He is a former member of the collective Ángeles Negros, who created art-actions and performances in urban spaces. He is currently collecting autobiographical testimonies for a performance piece in which his father is a source of action and memory. Other works include El cría cuervos, Mal decir la letra, and El cuerpo indecible.

Gonzalo Rabanal

X-Céntric/o: Spoken Word Spanglish Stories about Bohemians, Sexual Misfits, and Social Monsters

In X-Céntric/o, Gómez-Peña will perform a piece that draws from both his living archives and his contemporary work. The piece will be in the form of sampling, and cutting and pasting text from brief monologues and radical storytelling into Spanglish, gringoñol, and robo-esperanto poems, his trademark language experimentation.


Guillermo Gómez-Peña (US/Mexico) is a performance artist, writer, activist, radical pedagogue, and director of the performance troupe La Pocha Nostra. His performance work and 11 books have contributed to the debates on cultural & gender diversity, border culture, and US/Mexico relations.

Guillermo Gómez-Peña

Unbecoming Nationalisms: A Queer Labour of Unproduction

Unbecoming invites participants to deconstruct—seam-by-seam, thread-by-thread—a 5 x 8 foot US flag. Part mourning ritual, part meditation on the warp and weft nationalisms’ fabric, Unbecoming explores the queerly productive potential of unbecoming as a vehicle for embodied, and sustained critical engagement.


Helene Vosters is an artist, activist, and scholar. She holds a PhD in Theatre and Performance Studies, and is a Postdoctoral Fellow at the Canadian Consortium for Performance and Politics in the Americas.

Helene Vosters

Song for the Beloved

Song for the Beloved is an interactive performance honoring those who have died from urban violence in Kingston, Jamaica linking these experiences to other forms of violence in communities around the world. Through visual arts and performance, participants negotiate contested memories across differences as an act of re-creating and repairing the past in the present.


Honor Ford Smith, Anique J. Jordan, Hannah Town Cultural Group, Camille Turner, and Kara Springer independently and collectively create and research around memory, the body, and sites of protest.

Honor Ford Smith, Anique J. Jordan, Hannah Town Cultural Group, Camille Turner, and Kara Springer


Minka explores a collaboration between Isabel Torres Molina (choreographer-performer) and Yeny Barría (low vision massage therapist – performer) in the gathering of different ways of exchange and creative coexistence with technology as a third performer, the body as a learning channel and voice as a choreographic tool.


Isabel Torres Molina works with video and performance and is interested in community collaborations, territory and political loyalties. Yeny Barría Solis is the first director of the sports club La Máquina, first director of the Federation for People with Visual Disabilities, and president of the Center for Ex-Alumni of Helen Keller College.

Isabel Torres Molina and Yeny Barría

La Mamutcandungo

La Mamutcandungo is a multimedia performance based on the novel La Novelabingo by Manuel Ramos Otero, an audacious Neo-Avant-Garde Puerto Rican author. La Mamutcandungo explores the narrative “non-sense” and the irreverent queer optics of the author, by the attempt to map an island/novel at the mercy of hazard and misfortune.


José Pepe Álvarez Colón is a dance, theater and performance artist and researcher. His most recent works are the theatrical piece Lamamutcandungo (2015), Land(e)scape (2014-15) and This is NOT a piece by viveca vázquez (2013). His unipersonal pieces have been presented around Argentina, Colombia, and Puerto Rico.

José Pepe Álvarez Colón

Tucumán Kills Me. Action #3 “The Event”

Teresa Guerrero disappears in 1976 in the hands of the military junta. Almost 40 years later, a femur and a bullet-pierced hip are found in a mass grave. Her family gathers to welcome her during an anti-vigil, anti-party, and anti-burial which they call “the event,” while they hope for the recovery of the rest of her body.


Adriana Guerrero is the leader of CLADEM, a feminist organization, and a human rights activist. She works in the Human Rights Secretariat of Tucumán, Argentina. Julio Pantoja is a photo documentalist, a research professor at the Universidad Nacional de Tucumán, and an activist. He is a member of the Hemispheric Institute Council and a Hemi Senior Fellow.

Julio Pantoja & Adriana Guerrero


Kalapurca is a dish in the Andean tradition. This performance presents Andean legacy through this dish, which is offered to the audience in the rituality of the performance. Through this performative action, various interpretations are interrogated, actively creating ties with the spectator in an artistic context.


Karina Prudencio Álvarez, born in Santiago, Chile in 1979, is a performer and an Arts professor from the Universidad Metropolitana de Ciencias de la Educación. She has shown her work in performance biennales in Buenos Aires, Cusco, Santiago and Valparaíso. She is a Master’s student in Visual Arts at the Pontificia Universidad Católica de Chile.

Karina Prudencio Álvarez

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