M I L P A  

The Milpa was the aztec technique of agriculture and common in Central America based on collaboration, 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 the extractionist and capitalist-colonial forms of mono-culture. The milpa consists on a small parcel of land with mixed and entangled crops of corn, beans and pumpkin that grow together creating specific forms of collaboration based on its particularities and allowing other species to join producing further interrelations. In the milpa one thing connects with many others. One on/for/along/with/towards each other.

The milpa is a metaphore and model for collective forms of artistic practices/research, pedagogy and micropolitics.

It is based in developing a sense of porosity and inhabiting prepositional forms of relation,friction and contradiction.

We are concerned with investigating ecologies of care and repair; spaces and practices that foster that which is unpredictable, thinking-with others, exploring non-hegemonic forms of knowledge, making place and time in-common and surveying notions of well-being as the interrelationship between psychic, social and the environment.

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.

How might a gathering become a happening?” -Anna Lowenhaupt Tsing.

Making Milpa, a workshop that continued exploring collective forms of print (initiated together with Mauricio Herrero for SPAM) yet modifying and expanding it’s method towards listening, haptics and drawing, walking and talking, improvisation and the use of letterpress. This workshop was the first gathering and activity to start a collective process, create our own tools and start a weave. This workshop gave birth to a new process, new discussions with new participants towards thinking along the topic the topic of water, this concatenation we have named The Languge of Water.  

Making Milpa:Graphic workshop, was realized in collaboration with artists and students from Wroclaw: Emilia Gręziak, Ivan Juarez, Vinicio Libardoni, Dagmara Swietek and Varvara Tokareva at Mutant Letterpress studio.

Wandering and walking unaccustomed routes in the city.

Opening discussions and conversations around the city. 

Mapping by listening.

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 slabs
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.


paper currency, silkscreen, video
Installation, performance

2012.MTG Krakow Triennial 2012
Bunkier Sztuki Gallery of Contemporary Art 
Krakow, Poland.
2012.Kir Royal Gallery, Valencia,Spain. 

Authentic banknotes of €5 bank notes are silkscreened on one side with an photosensitive ink. The result is the progressive and complete darkening upon one side of the banknote when exposed to direct sunlight in an accumulative period of time (25min). The project questions value and legitimation within cultural production and economic systems, either by directly paying with these altered banknotes and inserting them into circulation or by a self-reflexive gesture that presents the struggle for legitimacy and value vis a vis the roll of the Jury that selects, evaluates and installs.

 36 authentic five euro bank notes, box.
Chine colle on kanawara paper, photosensitive silkscreen.
Dimensions 65 x 55 cm

36 authentic five euro bills silkscreened with a photosensitive ink submitted to competition (MTG Krakow International Print Triennal). When exposed to direct light, the ink starts a progressive and complete darkening upon one side of the bills for a period of aprox. 30-45 min. The piece is sent seal and unexposed to light inside a Black box accompanied with special Instructions: This lit must be open and removed ONLY by members of the JURY upon the moment of selection and decision process.

One channel DVD video
 Printed comercial paper receipts  corresponding to 20 "trans_actions" in  the city of Valencia, Spain.

25 single authentic five euro bills silkscreened with same photosensitive ink, are used to pay in comercial transactions on public space and inserted into monetary circulation system. This actions were documented on video as well as the silkscreening process upon the bills.