Some mountain sustains us today. Geological resistances.Description of a collective experience

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Alguna montaña nos sostiene hoy. Resistencias geológicas Descripción de experiencia colectivx (Spanish)
Published: Dec 27, 2021
Keywords:
some mountain, geological resistances

Main Article Content

alguna montaña
colectivx algunamontaña
Ariana Andreoli
colectivx algunamontaña
Patricia Álvarez
colectivx algunamontaña
Tania Bilbao
colectivx algunamontaña
Martín Bolaños
colectivx algunamontaña
Vanina Bradach
colectivx algunamontaña
Graciela Hermoso
colectivx algunamontaña
Marcela Cecilia Marín
colectivx algunamontaña
Luciana Mellado
colectivx algunamontaña
Pablo Paniagua
colectivx algunamontaña

Abstract

From a general theme that, in a first instance and provisionally, we have provisionally named as performative writing around our mountains, our work consists of playing, imagining, risking forms of writing crossed by a geology and genealogy of revolt and resistance in its defense against extractivism.


What mountains surround us, how do we name them?


 Just at the moment when the belly of the hills was lost, I felt fear. Walking there was not my thing. They were not there. It didn't take me long to go back. Although to go back, I go up; I live below, next to the river that is drying up.


Plateaus, walls -it seems that the wall is the edge of the plateau-, Sierras Chicas, hills. Cordón del Plata, frontal cordillera...every time I leave home and look to the west, it embraces me, sings, whispers, moves, shouts, blows What memories, what edges and overflows, what communal bards lodge these mountains?


Where are the ancestors? The Aymara language mused hankuqawa, white tunic.


Where are the ancestors? Look at the majesty of the aCONcAGUA; with water, with water. The ancestors woke up and walked Mendoza in a hot December 2019.


The relief body of the earth, a geographical fault. Between and with these unevennesses of the ground the rains are welcome, the suns expanded, the ocher autumns loved, the frosts appeasing. The macabre fires, the sinister clearing enrages the mountains, the sierras move, the guardians of the forest are alerted, they fly over, they roar. Poetry, lair and sorcery.


How to be singularized as a fragment of a topological rockiness? Discontinuities, fragments, mineral graphies that resist and make memory in cosmological traces.


 


 

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How to Cite
alguna montaña, Andreoli, A. ., Álvarez, P. ., Bilbao, T., Bolaños, M. ., Bradach, V., Hermoso, G. ., Marín, M. C., Mellado, L., & Paniagua, P. (2021). Some mountain sustains us today. Geological resistances.Description of a collective experience. Heterotopías, 4(8), 1-2. https://revistas.unc.edu.ar/index.php/heterotopias/article/view/36358
Issue
Vol. 4 No. 8 (2021): “Estética, política y naturaleza: lenguajes y experiencias ecopoéticas".
Section
Entrevista
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Author Biographies

alguna montaña, colectivx algunamontaña

"Some mountain sustains us today" is a collective that is anchored in three basic issues: the valuation of the activity as a concrete exercise of experiential, communal research, and located in a shared south; the interest in an activity that promotes amphibious, intersectional and multipertentions practices; and the possibility of dialoguing about one's own places from decentralized artistic polyphonies. Participating in this project allows reaffirming and deepening other epistemic and expressive modes alternative to the dominant protocols of academic discourse that often result in overadaptation and disciplining.

Ariana Andreoli, colectivx algunamontaña

I dance to remember, I write so as not to forget. This is how word and movement are intertwined in the mobile geographies of the body and the specific territories we inhabit. To be reliefs of the earth, to perceive again the fluorescent threads that bind nature. The written sonority, the movement of the written word, the magic words and the listening footsteps. The Sierras Cordobesas that I inhabit, the sensitive worlds that awaken me, the horizons of native forest that perseveres in the face of real estate perversity. Neighbors who organize a Brigade to protect the forest from fires, then to be part of the minimal, urgent and loving collaborations that this multiple fabric needs for our possible, utopian, healthy worlds. I join writing as a trace, as a reminder of life, for all of the above, for today and for the butterfly effects.

Born in 1976, she lives in Cabana Sierras Chicas Córdoba.

Dancer, actress-clown, creator, educator. Choreographer, Director of various dance works.

Dedicated to practice, creation, research - body, movement, scene.

Practitioner of Pataphysics and Contact Improvisation.

Creator of Núcleo CLAP!, stage productions since 2006.

Creator of LILITH Project - contents and continents of dances and feminisms since 2013.

Winner of several awards, scholarships, grants in the development of artistic activity.

Professor of Dance at the UPC. Coordinator of the Area Management and Artistic Production and Design of the Faculty of Art and Design of the Provincial University of Córdoba.

Director of the Dance Cast Project "LA ORQUESTA DANZA INDÓMITA" - activity supported by the Secretariat of Extension and Student Affairs UPC since 2019.

Coordinator of the cast Tribu CHAPANAY, Director of the play Hembra del Desierto Caudilla Chapanay since 2013. Teacher of workshops, independent seminars in contemporary dance, improvisation, composition, organization of dance camps. Practicing teaching in formal and non-formal education since 1995.

Author of the dance book PRÁCTICAS FRACTALES procesos de aprendizaje y creación en danza 2021.

Links

www.arianaandreoli.blogspot.com.ar / www.nucleoclap.blogspot.com.ar

https://web.facebook.com/DanzaPracticasyBusquedasAriAndreoli/ / https://www.youtube.com/user/grupoCLAP

Ig @aridanzaandreoli / Face Ariana Andreoli

 

Patricia Álvarez, colectivx algunamontaña

She was born in Andalgalá, Catamarca. Teacher of Language and Literature. Writer Member of Mujeres del Silencio. Member of SAPIV Catamarca Literature Group. Argentine Women Award 2015, Rosa del Inca Award, Juan Chelemín Conventional Award, First Organic Charter of Andalgalá.  Published works: Ocho Puertas Historia de Andalgalá and several publications in Anthologies of the Literary Group Tantanakuy de Andalgalá.

I published in newspapers of the Capital of Catamarca. I have been writing since high school. I am a member of Neighbors for Life and Algarrobo First Neighbors in resistance against metalliferous mining in Argentina in defense of our hills.

patriciah20alvarez@hotmail.com

 

Tania Bilbao, colectivx algunamontaña

I studied Engineering in Renewable Natural Resources, UNCUYO (thesis) and a Diploma in Management and Conservation of Natural Resources (Reserva, Mx). Currently I coordinate the Environmental Education and Communication Program of the Environmental Sciences Institute, UNCuyo. Lecturer in Environmental Anthropology elective, FCA-UNCuyo. Director of the Project "Cuencas Vivas: integrating environmental and cultural knowledge through water". Member of the technical team of the project "Sumá Nativas, participatory ecological restoration in Potrerillos, Mendoza". Member of Sikuris collectives, community music and Andean cosmovision in Mendoza.

As an inhabitant of mountain landscapes, I recognize myself in them. They are the sustenance of water, biocultural diversity and a source of deep inspiration. Mountains have and provide identity, with them we are in permanent dialogue. From there I join the project, adding Andean music as a language.   

Mail: tania.ica@gmail.com

Martín Bolaños, colectivx algunamontaña

 

Degree in Philosophy (UBA). Specialist in Latin American and Intercultural Philosophy. Master in Contemporary Aesthetics. Lecturer in Introduction to Scientific Knowledge at Universidad Nacional de la Patagonia Austral and Universidad Nacional de La Matanza. Researcher in projects at UNDAV, UBA and UNPA.

My link with the project comes from the Master of UNDAV, where we addressed similar issues in relation to non-anthropocentric epistemologies, the mineral environment and extractivist colonialism.

Blog: filodoxia18.blogspot.com

Email: martinxgraf@gmail.com

Vanina Bradach, colectivx algunamontaña

Visual artist, craftswoman, apprentice carpenter, researcher. Her work investigates the logics of non-human existence, the links between art and craft and the power of non-formal materialities. Language, territory, the vegetal world and cartographies are intertwined in her artistic practices.

Since 2010 she participates in spaces of artistic production and thought. In 2017 she completed the Specialization in Epistemologies of the South (Latin American Council of Social Sciences) and is currently finishing her Master's Degree in Contemporary Latin American Aesthetics (National University of Avellaneda).

She has worked as an assistant to artists in the writing, presentation and management of cultural projects. She coordinates workshops of experimentation in visual arts, particularly from the practice of drawing. Together with Pao Lunch and Mauro Rosas she is part of Plataforma Piquete, a collective of xerophilic artistic practices.

He lives and works in Neuquén city, in the middle of walls, winds, jarillas, two rivers that meet. Human and non-human actors are intertwined in resistance to the extractivist practices characteristic of the area. This interweaving and the proposal of a collective writing is what motivates her to be part of this project.

vanina.bradach@gmail.com

Graciela Hermoso, colectivx algunamontaña

Degree in Sociology (UNCcuyo), Professor of Sociology (UNCuyo). Teacher of Higher Education. Trajectory with social and educational projects. And managerial position in non-university higher education in previous years. Member of the Asambleas Mendocinas por el Agua Pura (AMPAP) and of the Pibas del Agua (ecofeminist collective).

The destruction of a mural with the phrase: THE 7722 IS THE PEOPLE'S, in the city of San Martín, Mendoza, originated a great dispute between the political power, which erased it, and the popular power, which felt that it was not a simple mural, but the sovereign expression of the community that was captured on the walls before the delivery that the political class wanted to make in 2019 of the most important common good: water.

By a decision of the City Hall, the mural, the largest in Mendoza, made by Autoconvocados por el Agua and the Asamblea Socioambiental Zona Este from the mobilizations of December 2019 in defense of Law 7722, was whitewashed. No graffiti was erased. We are talking about the union of memory, resistance and mandate of the people; who found in the streets the means to express what the power did not want and does not want to listen. 

It is the murals that caught the truth. It is the social art that does not remain silent and tells stories of emancipation, something that power does not tolerate. So, eliminating these representations was not only an act of cleaning to beautify a space or to be used for other purposes, but an act so that the stories of the walls that tell the defense of the people for the water could be replaced by other stories, woven in the heat of the extractivist interests.

From this situation comes the relationship with the project.

Today the restored mural expresses the history of the people, the true history that today continues to cry out:

THEY HAVE NO SOCIAL LICENSE

7722 BELONGS TO THE PEOPLE

THE WATER OF MENDOZA IS NOT NEGOTIABLE

gracehermoso@gmail.com

 

Marcela Cecilia Marín, colectivx algunamontaña

Literary proofreader, BA in Modern Letters (FFYH-UNC) and PhD in Letters (FFYH-UNC- CONICET). Postdoctoral fellow CONICET (2018-2021). She is currently pursuing a Master's degree in contemporary Latin American aesthetics (MECL-UNDAV). She is an assistant professor in the chair Theories of social discourses II (FFYH_UNC) under Dr. María Soledad Boero -Profesora Titular. Together with Belisario Zalazar and Marcelo Silva Cantoni have worked, during 2021 and 2021, in the seminar Narratives of the End and Artistic Imaginations. Currently, together with them, we are working on an artistic research project Imaginaciones artísticas en torno a los fines y resurgimientos (CEPIA-FA-UNA) with the external collaboration of Pablo Méndez.

Mail: marcecimarin@gmail.com

IG: @marcecimarin

Luciana Mellado, colectivx algunamontaña

 

Lives in Comodoro Rivadavia, Chubut. Poet. University teacher and researcher. Professor and Bachelor of Arts, Universidad Nacional de la Patagonia SJB. Master in Spanish and Latin American Literature, University of Buenos Aires. Regular professor of Latin American Literature I, Patagonian Literature and Discursive Theory and Practice, in the Arts program at the Universidad Nacional de la Patagonia SJB. Director of the Southern Cultures, Literatures and Communication Research Group. Coordinator, for the biennium 2021-2023, of the Interuniversity Network of Studies of Literatures of Argentina. She has directed scholarship holders and thesis students, from Argentina and abroad, and has been evaluator of graduate and postgraduate theses, research projects, and academic journals. She has given poetry readings and lectures on southern geocultures in different cities in Argentina, Chile, Spain and Germany. He received numerous grants for research and artistic creation: from the Spanish Agency for International Cooperation (2000); from the National Fund for the Arts of Argentina (2006, 2008, 2008, 2009, 2011); and from the Patagonia Thematic Network based at Friedrich Schiller Universität (2015-2018). He obtained the "Academia Argentina de Letras" Award (2000) and the Fondo Editorial de Chubut Award, in Literary Criticism (2015).

He published and compiled numerous books of literary criticism and anthologies. Some titles are: Cartografías literarias de la Patagonia en la narrativa argentina de los noventa (2015); Lecturas descentradas. Studies in Latin American Literature from the South (2018); La Patagonia habitada. Experiences, identities and memories in the artistic imaginaries of the south (2019) and Literary Patagonia VI. Antología de poesía del sur argentino (2019), among others. As a poet, he published: El coloquio de las plantas (2021), Animales pequeños (2014), El agua que tiembla (2012); Aquí no vive nadie (2010); Crujir el habla (2008); and Las niñas del espejo (2006). He is part of, among other anthologies, those entitled Desorbitados. Poetas novísimos del sur de Argentina (2009), edited by Cristian Aliaga; Poeplas, antología poética para chicos (2013), compiled by Valeria Cervero; La memoria de las tizas (2018), edited by María Cristina Ramos; and Camellia. Mujeres que toman té (2021), compiled by Marisa Negri. She has been invited to numerous literary festivals, including the Buenos Aires International Poetry Festival (2009), and the "Five Senses" Festival, in Jena (2015). Since 2008 she co-directs, with Jorge A. Maldonado, the artists' collective "Peces del desierto". With this group he has organized more than thirty book presentations, performances, public readings and poetry and art education workshops in different cities of Patagonia and the country. 

The idea of joining "Some mountain sustains us today" is based on three basic issues: the valuation of the activity as a concrete exercise of experiential, communal research, and located in a shared south; the interest in an activity that promotes amphibious, intersectional and multipertentions practices; and the possibility of dialoguing about our own places from decentralized artistic polyphonies. Participating in this project allows reaffirming and deepening other epistemic and expressive modes alternative to the dominant protocols of academic discourse that often result in overadaptation and disciplining. Personally, on several occasions, in order to do research, I tied my hand as a poet. I annulled a central part of my body, one of the parts that also writes. Thus, I denied its interpretative and transformative power. I minimized its epistemic and discursive power. That is why participating in this project is part of a constant untying that occupies me, so as not to validate any institutional, political, epistemic and discursive model that forces me to deny, minimize or correct who I am, in my completeness, ambivalence and becoming.

lucianamellado@gmail.com

Pablo Paniagua, colectivx algunamontaña

  • Specialist and master in combined artistic languages.
  • Teacher in visual arts and elementary guitar.
  • Trashumantes Workshops. E-learning platform for artistic education.
  • paniaguapablo.com

 

LATEST ARTISTIC ACTIVITIES:

COLLECTIVES:

  • "Dislocada/dislocated" Video performance festival. "Who is the virus?"
  • United States, Colombia, Mexico and India.
  • Invisible Territories. Group show with Colectivo Tinkuy (Peru) and Carolina Balmaceda Toscan (Mendoza, Arg.). Curated by Sol Marcelloni. Presentation of "This is not a sound map of the Chubut River", sound map, photographic records and testimonies of specialists and assemblies for the No to mega-mining in Chubut. Camargo 1020, Espacio de Arte. Autonomous City of Buenos Aires.
  • 2020-2021. "Towards a topographic socialism". Platform of creation and collaborative work around Cerro Chenque (Com. Riv.). Coord: Archivo Tuna and Proyecto Visitantes. Chubut.
  • "36 views to Piltriquitrón Hill". Participation with "Piltri Rojo". Visual poetry/video. Edition and coordination: Proyecto Visitantes. Chubut.

 

INDIVIDUALS:

  • "A survivor for another is always a mirage". Video installation, poems and photographs. Paco Urondo Cultural Center. CABA.
  • "Everyday Thing." Video-poetry, photographs, sound sculptures, performance recording. Municipal Museum of Visual Arts. Puerto Madryn, Chubut.

 

PRESENTATIONS AT CONGRESSES, SYMPOSIA AND CONFERENCES:

  • 2021 "Parlante. Cycle of master lectures". Speaker "Transhumance through the rivers of the Colombian Amazon rainforest". Coordinated by Arssonorus. Bogota, Colombia.
  • 2020 "Entropías". Dissidence between thought, art and territory. Micro festival. Speaker as part of the Esporas Collective. "Other ways of mapping. Why this is (not) a sound map of Los Girasoles". Villavicencio, Colombia.
  • 2020 "Thought and Imagination". Community, territory and future (Water Cycle). Speaker as a member of the Esporas Collective. "About This is not a sound map of the Chubut River". (CONICET. MESLA-UBA AND UNA). Autonomous City of Buenos Aires.

MAIN AWARDS AND DISTINCTIONS:

  • "Fondo municipal de las artes de Vicente López. Scholarships for artistic creation 2021" with "Ir a visitar" Sound performance. Vicente López. Buenos Aires.
  • "Gestionar Futuro 2021 Grant", together with Proyecto Visitantes, with "Reverberaciones de una cuenca. Arts, environments and processes of self-representation" Work in territory in the Lago Puelo Basin. Argentine Ministry of Culture.
  • "5th Festival of Videopoetry UNGS". Selected with "Brief symbolic reconstruction - symbolic reconstruction of Cerro Chenque", videopoem. National University of General Sarmiento. Buenos Aires, Argentina.
  • "Scholarship for the completion of master's and doctoral theses". Resolution UNA - 0068/2021. National University of the Arts. Secretariat of Research and Graduate Studies. Autonomous City of Buenos Aires.
  • "Libro de artista 20+1". Selection in the call for artists' books with "Exigirle música al tiempo". Tierra del Fuego Museum of Visual Arts.
  • "Abejas Tapioca". Selected for artistic residency in the Colombian Amazon. Coordinated by Corporación Tapioca. Villavicencio, Meta. Colombia.
  • 2020 Selected in "Kiosko Galería". Virtual exhibition. Santa Cruz, Bolivia.
  • "4th MACSUR Awards" to the visual arts. Selection.

paniaguapablotw@gmail.com

How to Cite

alguna montaña, Andreoli, A. ., Álvarez, P. ., Bilbao, T., Bolaños, M. ., Bradach, V., Hermoso, G. ., Marín, M. C., Mellado, L., & Paniagua, P. (2021). Some mountain sustains us today. Geological resistances.Description of a collective experience. Heterotopías, 4(8), 1-2. https://revistas.unc.edu.ar/index.php/heterotopias/article/view/36358

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Cohen, J. (2015). Stone. An ecology of the Inhuman. University of Minnesota Press. Minneapolis. Londres.

Dvořák, T y Parikka, J. (2021). Introduction: On the Scale, Quantity and Measure of Images en Photography Off the Scale technologies and theories of the Mass Image. Edinburgh University Press.

Fisher, A. (2012). Photographic Scale. En: Philosophy of Photography. Vol. 3, N. 2. Disponible en: https://www.researchgate.net/publication/274325118_Photographic_Scale.

Gudynas, E. (2009). Diez tesis urgentes sobre el extractivismo. pp 187-225, En: "Extractivismo, política y sociedad", varios autores. CAAP (Centro Andino de Acción Popular) y CLAES (Centro Latino Americano de Ecología Social). Quito, Ecuador. Noviembre 2009. ISBN 78 9978 51 024 7.

Haraway, D. (2019). Seguir con el problema. Genera parentesco en el Chthuluceno. Trad. Helen Torres. Ed. Consonni.

Haraway, D. (2021). TESTIGO_MODESTO@SEGUNDO_MILENIO .HOMBREHEMBRA©_CONOCE_ONCORATA®. Rara avis. Bs. As. Argentina.

Kohn, E. (2021). Cómo piensan los bosques. Hacia una antropología más allá de lo humano. Hekt. Bs. As.

Parikka, J. (2021). Una geología de los medios. Caja negra. CABA.

Svampa, M; Antonelli, M. (eds.) (2009). Minería transnacional, narrativas del desarrollo y resistencias sociales. Editorial Biblos. Buenos Aires.

Svampa, M. y Viale, E. (2014). Maldesarrollo. La Argentina del extractivismo y el despojo. Ed. Katz y Fundacion Rosa Luxemburgo. Argentina.

UACCH. (2019). Hablemos de megaminería. Disponible en: www.noalamina.org.

Vinciguerra, L. (2020). La semiótica de Spinoza. Cactus. CABA.