Illustration by Edson Ikê, 2019. Image courtesy of the artist.

Date:  Thursday, 10 December 2020
Time:  18:00-19:30 GMT
(13:00-14:30 EST)
Venue:  Online
Tickets:  Free

Ayni. Ahuecar. Crypsis, Kab’ej, solidarity. Language allows us to name the future by opening portals to other ways of existing in the world.

Join us for a discussion of the topics, provocations and imaginaries explored in the recently-published editorial project, Worldmaking Practices: A Take on the Future.

Hear the project’s editor Sara Garzón and three of the contributing artists – Alan Poma, José Luis Macas, and Patricia Domínguez – explore how these alternative forms of worldmaking can enable the possibility of the future.

Ongoing forms of oppression and multiple emergencies seem to threaten the very possibility of the future. In response to this, through a visual exchange, the panelists will consider how contemporary art from Latin America can foster a collective re-imagining of the future, through proposing new orientations for being and existing in the world.


This online conversation will be held in English with live closed-captioning. Simultaneous Spanish interpretation will be provided by Colectivo Babilla.


This event is a partnership between the Colección Patricia Phelps de Cisneros (CPPC) and Delfina Foundation, where writer and curator Sara Garzón is currently in-residence as part of Delfina’s thematic programme science_technology_society – a partnership with Gaia Art Foundation.

The editorial project Worldmaking Practices: A Take on the Future, was initiated by CPPC in August 2020. Published on their website, it features contributions from eighteen artists and curators from across Latin America, together with an introductory essay from its editor Sara Garzón.

Speaker Biographies

Patricia Domínguez was born in Santiago, Chile in 1984. Bringing together experimental research on ethnobotany, healing practices and the corporealization of wellbeing, her work focuses on tracing relationships of labor, affect, obligation and emancipation among living species in a cosmos that is ever more corporatized in nature.

Her major projects have been exhibited at CentroCentro (Madrid); Gasworks (London); Momenta Biennale (Montréal); Columbus Museum of Art (Ohio); Seoul Museum of Art (SeMA, Seoul); CentroCentro, The Future is Not What Will Happen, but What We Will Do, ARCO and Twin Gallery (Madrid); El Museo del Barrio, Bronx Museum, The Clemente, Yeh Art Gallery (New York); FLORA and Liberia (Colombia); Meet Factory (Prague); Centro Cultural España, CCU, MAC, MAVI and Galería Patricia Ready (Chile), among others.

Among her upcoming exhibitions are the Thyssen-Bornemisza Museum (Madrid) in 2020, Gwangju Biennale (South Korea) and La Casa Encendida (Madrid) in 2021 and The Wellcome Collection (London) in 2022.

Her studies include a Master’s Degree in Studio Art from Hunter College, New York (2013) and a Botanical Art & Illustration Certificate from the New York Botanical Garden (2011). She has recently been the recipient of the Fundación AMA Grant (2017), the Media Art Award from Fundación Telefónica and the 3rd Norberto Griffa Prize (both 2014), among others. She is currently director of the ethnobotanical platform Studio Vegetalista.

In 2020 Patricia will be an artist-in-residence at Delfina Foundation.

Alan Poma (Peru) is a multidisciplinary sound artist, whose work has focused on creating site-specific projects and spectacles. His presentations often integrate performance, video art, sound art and scientific research, creating productions that provide sensory journeys for viewers.

In recent years he has developed a series of live events and installations that reflect an investigation on the futurist Russian Opera Victory Over the Sun (1913) and the English vorticist play Enemy of the Stars (1914). He has worked with an interdisciplinary group of collaborators including anthropologists, historians and physicists. With their input, Poma has raised a close relationship between Russian futurism and Andean culture, drawn from their shared iconographies.

Poma studied Sciences and Arts of Communications at the Pontificia Universidad Católica del Perú. He has presented Enemy of the Stars installation at MATE Museum (2018) and Victory Over the Sun in several venues in Peru, including the Goethe Institute (2011), MAC Museo de Arte Contemporáneo – Lima (2014), as well as at the Museo Experimental El Eco in Mexico City. Victory Over the Sun won the Best Experimental Film Award granted by the Ministerio de Cultura del Perú (Culture Ministry) (2014). In 2017, he participated in a residency at Delfina Foundation (UK) and In 2015 he participated in the Nuevo Teatro Musical residency program organized by the Munich Biennale/Festival de Nuevo Teatro Musical in Buenos Aires, Argentina.

In 2016 Alan was an artist-in-residence at Delfina Foundation.

José Luis Macas Paredes lives and works in Quito. He is a visual artist, professor and researcher in the Department of Visual Arts at the Catholic University of Ecuador. He has studied the visual arts in Belgium, Ecuador, and Cuba. He holds a Master of Arts in Public Space and Multimedia from the Royal Academy of Fine Arts in Brussels. He is a member of the sound performance collective 0°1533, a contributor to the Kichwa artist collective Samakruray and coordinator of the Chawpi creative lab, a cultural space located in Quito.

In 2018 he received first prize at the X International Biennial of Art SIART in La Paz, Bolivia with the textile lab collective; he participated in the XIV Cuenca International Biennial, and in 2010 he exhibited in the X Biennial of Design in Saint Etienne, France. He was awarded the Wytsman and Papperts prizes from the Royal Academy of Fine Arts in Brussels in 2010 and 2011.

His research focuses on territorial memories and poetics, investigating the construction of the nation according to geographical, astronomical and cultural singularities, and bringing together the wisdom of the ancestral-historical legacy of the Americas with the strategies of contemporary art.

About: Host institutions

The Colección Patricia Phelps de Cisneros (CPPC) was founded in the 1970s by Patricia Phelps de Cisneros and Gustavo A. Cisneros and is one of the core cultural and educational initiatives of the Fundación Cisneros. Based in New York City and Caracas, the CPPC’s mission is to promote scholarship and enhance appreciation of the diversity, sophistication, and range of art from Latin America. The CPPC achieves these goals through the preservation, presentation, and study of the material culture of the Ibero-American world—ranging from the ethnographic to the contemporary. The CPPC’s activities include exhibitions, public programs, publications, grants for scholarly research and artistic production. The CPPC’s website is a platform for art and ideas from Latin America and a forum for critical debate on the issues of the moment.

Delfina Foundation, founded in 2007, is a London-based independent, non-profit foundation dedicated to facilitating artistic exchange and developing creative practice through residencies, partnerships and public programming. Delfina has hosted over 300 artists, curators and writers in-residence from around the world in it’s London home, and partnered with institutions such as Tate Modern, V&A, ICA, Frieze, Chisenhale and Art Jameel.

Delfina Foundation runs seasonal thematic programmes, which guide the residencies and public programmes of exhibitions and events, from talks, workshops, and performances. The thematic programmes provide a space for salient issues and ideas to be explored, and bring together artists, arts professionals and experts across civic society to engage and collaborate. Programmes include: science_technology_society, The Politics of Food, Collecting as Practice, and Performance as Process.

Related Content

Worldmaking Practices: A Take on the Future

How can contemporary art from Latin America help us foster a collective re-imagining of the future?


Season 2



Sara Garzón

London: 28/09/2020 — 18/12/2020