Ecuador

Tawna & Oscar brings into dialogue two ways of listening to how worlds persist and are remade. Their practices engage relations that remain material and active in the present, where knowledge circulates and memory endures through use and return.

The Tawna collective works through video as a relational practice shaped by lived experience across Pan-Amazonian territories. In the films Llaki and Kawashima, moving image and sound operate alongside dreaming and ceramic making as technologies through which relations are sustained. Meaning emerges through proximity rather than explanation. In Llaki, sexuality structures affection and belonging, inseparable from territory and memory. In Kawashima, dreaming functions as a collective technology through which vessels formed from forest earth become sites of passage and return.

Oscar Santillán’s practice engages technological and epistemic systems from within their material limits. In Antimundo, speculative environments bring scientific and computational imaginaries into contact with bodies and materials. Matter appears charged, unsettling distinctions between the organic and the fabricated. Knowledge unfolds through exposure, entangled with uncertainty and desire.

Held in proximity, these practices retain their distinct logics. What emerges is a contested ground where worlds are inhabited, negotiated and kept alive.