NO SOY UNICORNIO [I’M NOT A UNICORN]. Martica Minipunto
This unicorn retraces the streets of Havana. This animal discovers itself in other bodies and pleasures, in other mythologies and captivities. No soy unicornio [I’m not a Unicorn] is a performative lecture that explores the relationships among biography, power and utopia. Based on a film that documents the grammar of the crowds at the city fair, poems with the same title and an eccentric collection of unicorns, it examines the obsession through which it symbolises an intact or amputated horn. No soy unicornio is an act of protest through an imaginary species; the desire to free oneself of the persecution of the red bull, which is the form taken by all fears.
Martha Luisa Hernández Cadenas (Martica Minipunto), (Cuba, 1991). She is a writer and performer who graduated from the Universidad de las Artes, ISA, with a specialisation in Theatre Studies. She has published several poetry collections: Días de hormigas (Ediciones Unión, 2018, and David Poetry Award, 2017), Los vegueros (Colección Sureditores, 2019) and El Palacio de las Ursulinas (Ediciones La Luz, 2021). Her novel, La puta y el hurón, published by Sabina Urraca in Caballo de Troya, 2023, earned the Franz Kafka Novel Award in 2020. Her creations include the performances Nueve (2017), No soy unicornio (2019) and Escribir con la lengua (2022). No soy unicornio won the ZKB Acknowledgement Prize at the 2022 edition of the Zürcher Theater Spektakel festival. She is the founder of the independent publishing house Ediciones Sinsentido.
PHOTO Joanna Montero
@_martikminipunto
THE SKY IS HERALDING RAIN FOR TOMORROW. Lucrecia Masson
The wind teaches how to read; the sky manifests itself. The wind buffets songs and the sky is a messenger. Both invite us to a cosmopolitan, sensorial conversation where we are hosted by a terrace and an evening. It is an anticolonial experiment in writing and body(s), in theory and imagination, in investigation and invention. We start with a ruminant epistemology, where the move from one stomach to another summons a process that occurs in a slow, non-linear fashion, where slowness is the hostess. And the popular languages and ancestral knowledge teach us how to listen to the voices of companion entities, like the wind, like the sky. We summon the expanse with the intention of looking around, not forward, striving through this act to unlearn, to once again walk through places, to see what was already there and chew on it again, the way ruminants do.
It is an invitation to activate ways of paying attention, of attending. Attending, which is also caring. An invitation to the encounter with/among songs and oral literatures for contemplation.
Lucrecia Masson Córdoba. Committed to impurity, she moves between the fields of art and philosophy. Her main topics of inquiry are bodies, animalities and sexual and corporal dissidences from an anticolonial vantage point. She experiments with different registers, especially with forms of writing. What interests her about theory is the imagination, and she doggedly believes that we cannot think without our bodies. She has been researching with ruminants for years. She is a member of the Ayllu Collective.
PHOTO iki yos piña narváez funes
@lucrecia_mc
POTO CON ROCOTO. Nayare Soledad Otorongx
Poto con Rocoto is the sound project of Nayare Soledad Otorongx, a transvestite, transdisciplinary Andean-descendant artist living in Madrid, who uses writing and music to evoke the echoes of pleasure, contradiction, the power of life and the beating of sexual dissidence. Poto con Rocoto is the noise proposing a nostalgic, joyful order where memory and the ancestral future can move to the beat, drawing from a set of rhythms and lyrics from a range of styles like cumbia, perreo, guaracha and Latin core.
Nayare Soledad Otorongx. She is an Andean-descendant transvestite, writer of spells and memories that have not yet happened, an accidental illustrator of flyers, a courier and a disc jockey. Her projects occupy the visual and sound planes to bring back the transvestite ancestrality and memory that shape today’s reality, suggesting different ways of diverting imposed futures from that place. She has participated in projects at Matadero Madrid, CA2M, El Círculo de Bellas Artes, the National Anthropology Museum, La Parcería, Espacio Afro and others. She self-published her poetry collection Bendiciones Travestis y algunas maldiciones in 2021 and has participated in literary projects with Juf Project, in addition to being the co-author of Matria Poética along with many other brilliant poets.
PHOTO Anna Fux
Instagram: @paellaypaelle