Short summary of the project.

This project entails the realization of a large-scale Land-Art Sculpture that in sinergy with the NASA Indigenous community from Cauca, we have named ‘LA MINGA ESPIRAL’. This call for a massive gathering is commonly called “La Minga”, which means ‘a collective work towards a common objective’. The intention of this project is to deploy this social and political dispositive as a mobilizing human force, working this time towards the realization of a large-scale social sculpture. Taking for reference the ancestral geometry of Indigenous imaginary, the practice of this large-scale sculpture resonates with the Nazca’s Geoglyphs in South Peru. On this occasion, the excavation and construction of the Sculpture will take place in a sacred Indigenous territory of the Colombian land, to operate as ritual space for the community in the future. Through the project “La Minga Espiral” we wish to knit from this conception of art, a dynamic facing the urgency of a new Ecological paradigm.

‘Dancing with the wind to summon the Rain.’

One of the ceremonies of the NASA community, is to summon the rain by entering into a conversation with it through a repertory of collective actions. It entails a relational mode of thinking that the contemporary anthropologist Eduardo Viveiros de Castro describes as the opposite dynamic of objectification in Western dialectics, a system that works through personification, a space in where “jaguars and men were still the same”, a space in where talking to the thunder is talking to a person, a space in where ‘becoming jaguar’ is not a metaphor.

In the Amerindian context, we will explore how personification is embodied in the construction of spatial deployments, a space in where the synchronization between Cosmos and Architecture is a foundational conversation. In a more recent context, the art movement of Land Art resonates with the afore-mentioned relational model since its foundations are deployed through geological dimensions, reopening to us [now through art] the notion of the art object not being the painted image of the landscape; but the landscape itself on which we draw reality through the transformation of the landscape. How could we think what we have resolved as Art in Western culture from a decolonial prism as perspective? How to relate to those constelations without Art as frame to ressolve those questions? We could say then that the recovery of the Land is not a Museum.

The potency of this conversation within the NASA context is that there is no word for art in the NASA YUWE language, allowing us the possibility to think art without art as the movement to come.