M I L P A 

The Milpa was the aztec technique of agriculture based on collaboration, diversity, entanglement and concatenation between different plant species and social groups.

It stands for sustainability and biodiversity providing food and multiple harvests throughout the year without degrading the soil as opposed to extractionist and capitalist-colonial forms of mono-culture. The milpa consists on a small parcel of land with mixed and entangled crops of different plants and critters that grow and live in the same space creating specific forms of collaboration based on its particularities and allowing other species to join producing further interrelations. The milpa is an open form where one thing always connects with many others.

One on/for/along/with/towards each other.

The milpa is a metaphore and model for collaborative forms of artistic practice/research, creating learning environments and micropolitics.

Our times demand collective effort. MILPA is and collective attempt  towards diversity, imagination and creativity.

It is based in developing porosity and inhabiting prepositional forms of relation.

We are concerned with investigating ecologies of care and restoration, models for learning and exchange,spaces and practices that foster that which is unpredictable, thinking and making with others,exploring non-hegemonic forms of knowledge, making place and different times, surveying what is in-common and notions of well-being among others.

MAKING MILPA. Graphic workshop. 

October 2020. Mutant Letter Press. Wrocław, Poland
Collaborative print and graphic workshop
Commisioned as part of the publication Za* Zin edited by Za Group and Krytika Polityczna.

We started Making Milpa with a graphic workshop that continued exploring collective forms of print (initiated together with Mauricio Herrero from SPAM) yet modifying and expanding it’s method by combining listening practices, haptics/drawing, walking/talking, improvisation and the use of letterpress.

This workshop was a chance for creating a collective and ongoing process of weaving relations, new alliances and collaborations towards thinking and making with others. 

Making Milpa graphic workshop, was realized in collaboration with Dagmara Swietek, director of Mutant Letterpress studio and artists and students based in the city of Wroclaw: Emilia Gręziak, Ivan Juarez, Vinicio Libardoni, Varvara Tokareva.

Wandering and wondering through unaccustomed routes in the city. 

Opening discussions and conversations around the city. 

Mapping by listening. Picking up a space and listening to the surrounding sonic landscape, then reflecting on the sounds by drawing maps.  

Touching. Haptics and drawing.  


(what a body can do?)

9 day performance, map/installation, conversation, listening.
Eugeniusz Geppert Academy of Art and Design
Wroclaw, Poland.

I´ll enter the space without knowing exactly what I´ll be doing or showing during the time of the exhibition.

Not knowing will be the continous starting point. I might do something or not. If I do nothing that will be something anyway. If I do something that could be nothing as well. I know there are expectations from the audience and the space might look empty, this will be fine even though it may seem disappointing...The space awaits to transform and empty itself in the continous attempt to frame, reframe, unframe its activity. 

If I do something this will be in correspondance to the place,the interaction with the audience and the time being.


The power of ignorance
must be given credit for its activity

A temple to the God of Ignorance
And guardian creator of confusion
should be built. -Sun Ra

A body can...learn to stand still.
My mind tries to anticipate to itself out of anxiety for doing. 
S:¨No time...sorry.¨ A compulsive flight to elsewhere.

  Text and masking tape.

L. approaches the space, we are alone. Seems a bit accelerated and confused as the space is ¨empty¨. Asks me if Im installing or preparing a exhibition, I go on to say this is the exhibition. I offered a cup of tea to start conversating. His thoughts seem to be somewhere else but here.   

A body can...listen.

 A body can...wonder for the place of the place.

A body can...breathe. 

M. approaches with curiosity and sits to have a conversation. He says the contemporary can be assumed as the space for possibility and building context for the present, for what is here and now to continue coming forth. For things to happen without imposing any specific purpose.  

S. came in today. He asked me if he could draw on the walls as he likes to draw on any posible surface. Tnen pulled a thick graphite pencil and drew one single dancing line across the space touching every wall and corner.

Children protest workshop. A group of children in a school field trip pass by. I invite them to use the space for a protest. The came in and started discussing on a common issue to make the protest.

S:¨Can´t tell if it is building or collapsing?¨

M. comes and we read randomly different theatre scritps until we start to have a conversation.


Conceived by Diego Gutierrez Valladares and Mauricio Herrero

digital print, network, exhibition and workshops.
Casa 49. San José, Costa Rica.

ƧPAM is a collaborative network for thinking through maps and mapping. An digital archive of cartographies is available for all participants. By accessing the online archive participants can download and modify the cartographies in the archive. We ask each participant to please modify/intervene at least one cartography with techniques of their choice. Once modified the new image must be uploaded in a digital format back to the online archive. Finally the participant must share the link to the folder with other contacts to continue the process.

1. Access the online archive 2. Select one or more cartographies, copy and modify them.Technique remains open to the participant.  For images keep resolution at 300 d.p.i. and .jpg format.
3. Upload the modified cartographies back to the online archive.
4. Share access with other contacts along with these instructions.

CASA 49.

San José, Costa Rica.


Images collected from global participation were printed to conform one single cartography made with digital prints and lasercutted matrixes. Following this montage a workshop was organized to collectively intervene the prints by drawing on them a collective printing process. The result was a new set of cartographies and exhibition where the audience is allowed to take pieces of the Map under the condition to continue intervening the images and send it by postal service to new recipients and repeating the action.

Artists and collaborators: Ioannis Anastasiou, Ivan Juarez, Pawel Drabarczyk, Sepa Sama, Jumana Hamdani, Varvara Tokareva, Alessandro Valerio Zamora, Luis Durán, Thomas O’ Grady / Calero Nation, Sergio Caballero, Mariela Richmond, Flavia Sánchez Cabezas, Kinga Bartniak, Majka Dokudowicz, Juan Pablo Meneses, Rafael, Audi Chamorro, Sonia Sánchez Avelar, Carmen Razo, Karen Clachar, Inova Walker.


Paleontology of the Present
(Fossils and Monsters)

laser prints on marble
dimensions variable

2018.MTG Krakow Print Triennial, Inmersed in images.Bunkier Sztuki, Krakow, Poland.

From Chauvet and Altamira to electric screens and the internet, the history of comunication could perhaps be considered as the progressive enlightening of the stone.
Its inversion creates a different time, an interval much more opaque and dilated. Congealed and heavy. Silent noise. A ragpicker that collects an impossible accumulation from the daily debris; a fossilised beehive or an arqueological archieve that rests for a future after the cease of the internet.

MTG Krakow Triennial 2018. Immersed in Images Main Exhibition. Bunkier Sztuki. Krakow, Poland. July, 2018.


Drawing and chlorophyll

2019.Map and Territory Exhibition Centre for Applied Arts and Innovation. Wroclaw, Poland.