The phenomenon of having hills of different colors occurs in a few countries. Peru is one of them. In Cusco, near the Asungate mountain –a mountain which is also considered an Apu or a deity in the Andean world–, the Winikunka or Hill of Seven Colours  stands 100 kilometres away from the city of Cusco, located at an altitude of 5,200 meters above sea level. It is a mountainous formation dyed in various shades as a result of the complex compositions of minerals. The geographical area belongs to the people of Pitumarca who calls it the 'Cerro Colorado'.  The Hill of Seven Colours is located in the middle of the lands of the mine “Camino Minerals Corporation” (Canada). Three years ago, it was declared a Natural Historic Monument, preventing this natural landscape formation from disappearing. However, such protection was given due to tourism interests and not exactly because of its cultural significance.  On the other hand, the Hill of Seven Colours (sometimes also called the Rainbow hill) is a phenomenon that can be understood as a result of global warming. Global warming has considerable effects in the Andes. The glacial retreat from the Cordillera Vilcanota, where the Rainbow Mountain is located, has diminished substantially in more than a third. UNESCO has even warned in a statement released in 2018, of these worrying effects for Perú –one of most vulnerable countries in the world regarding climate change– which has seemed half of its glaciers gone in the last late four decades.  What would the coloured stratigraphic scale of the Hill of Seven Colours will look like in a thousand years from now?  How would it be modified by pollution and thaw? Through a visual software based on visual nodes, the colours of the scale are modified by three factors: thaw, oxidation and time. This generated data generates is then applied into a new textile pattern.  At the formal level I would work with a technique based on a 4-wheel loom, wired cooper and wool balls from natural dyes. My intention is to locate such ancestral knowledge within the present context, making it relevant today by reflecting on the devastating effects of climate change.ç   Measures: 3mx1.50aprox. Materials:Copper wire, natural alpaca wool, vicuña and artificial wool. Technique: 4-wheel fabric and waist loom. Year 2019.


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Proposed panel: Encounters and Translations Across Local-Global Divides

  Un-weaving the Republic [Post]Colonial Pasts, Presents and Futures

Carolina Estrada 2019

The paper will critically discuss the processes of collaborative creation between a contemporary visual artist and artisan collectives, problematising the integration of both languages and the making of meaning across their contextual spaces. I will draw from two collaborative experiences to address the local vision around peripheral aesthetics, the artistic negotiations that result from internal migration, and the possibilities of an egalitarian incorporation of “minor” and “native” hand crafted techniques into mainstream visual arts circuits. The first case study focuses on the co-creation and re-appropriation of a 19th century military uniform worn by the Libertadores (José de San Martín or Simón Bolivar). My idea was to re-elaborate the military uniform through the visual languages and creative possibilities of native handcrafted traditional techniques such as: weaving, embroidery, spinning and natural dyeing, and “retablos” figurines; all of which are considered minor because they are on the periphery of formal “aesthetic” and “ideological” values. It is was not only a question of re-signifying symbols of great historical value, but also of generating messages that respond to current racial problems, social inequalities, and discriminatory practices through the representation of communities, migration histories, and other non-hegemonic narratives of everyday life. I worked in a co-authorship and co-learning basis with traditional artists who were also politically engaged like Maxima Acuña, an environmental activist from the northern Peruvian highlands of Cajamarca who has been fighting against adverse effects of mining; Olinda Silvano, leader of the first Shipibo urban migrant community in Lima; and, Teodoro Ramírez, an artist from Ayacucho who uses the “retablo” to represent the Peruvian internal armed conflict. The second case study focuses on a relational project called Sensitive Cartographies where I worked with the Awaq Warmikuna Association—a group of migrant settlers located in San Juan de Lurigancho district in Lima— to create a textile map depicting an informal and self-managed highway uniting two peripheral districts in Lima. The waist loom—a native technique from Latin-America— was influenced by the colonial textile practices transforming its domestic use into a 4-wheel craftsmanship producing woven warps of up to 100 meters, making it an ideal device for a collective work. At a contextual level, the 4-wheel machines, which juxtapose South American and European influences, figuratively addresses some of the migration issues that echoed through the project.  


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La prenda de vestir masculina, el saco, genera la representación mental de un cuerpo oficial que aparece como símbolo de civilidad, asumiendo el posiblerol de un congresista, un ministro o un banquero o burócrata. El objeto concreto es un saco hecho de basura: chapas y negativos revelados con agua del mar del puerto del Callao un mar contaminado que contiene  registros de cloacas y desagüe industrial. El humano es el mejor productor  de basura en el mundo.  A nivel cultural la basura representa ese resto, que desechamos  diariamente de manera casi industrial, y cuyo uso y reuso revela que  parte de la arqueología del ser humano es su relación con lo que desecha.  El traje hecho de restos industriales por chapas y fotográficas de las playas más contaminadas del Perú como el Callao y Zarumilla. En cuanto al proceso , el material fotográfico paso por un procedimiento artesanal de revelado fotográfico. En la fase de revelado se incorporo el agua del propio mar del Callao por tanto cada impresión ofrece diferentes tintes sobre los rollos de negativos de slides.


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COLLECTIVE COUTURE It is an interdisciplinary project whose main objective is to promote the self-knowledge, self-care and empowerment of adolescent women, based on a collaborative experience of critical reflection and artistic creation around issues of identity, body and clothing. People cover our body daily to present it to the world. The clothing we use has various purposes, such as shelter, express, fit or disengage in certain social contexts. Adolescence is a stage in which women wonder who they are and meditate on their future, while they must deal with a series of gender stereotypes and roles that limit their chances of being and dreaming in freedom. The Descosiendo (nos) project will implement conferences with students of reflection on the body and the clothing, and of artistic creation, under a pedagogical format that is de-hierarchical, disruptive and focused on the pleasure to learn, which challenges traditional power relations in the classroom. For the implementation of the project, the curricular areas of art and culture are used, as well as that of education for work, two areas that historically have been reduced to being spaces of “crafts” and that with the new National Curriculum, take center stage as areas in which life skills must be developed. In order to give sustainability to the project, it seeks to generate capacities in teachers of both curricular areas.


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