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Para vivir mañana todavía: Reconfiguraciones de la mirada y la memoria en el proceso de creación presencial y virtual de Aliento y Vacío.
(Pontificia Universidad Católica del Perú, 2022-11-02)
The collective creation in performing arts presents new challenges in virtuality. Intermedials creations propose the reorganization of the creative processes, of the body and the gaze of the performing artists. Based on the situated experience of Aliento y vacío, short film, whose process continued in a virtual and individual way due to the pandemic, we analyze the relationships that are established between the performing artist and his creative material in virtuality, taking as references concepts such as body memory, the rewriting of materials and collective weaving. At a methodological level, this work has involved reviewing the documentary material of the research process and conducting interviews with the performing artists. Part of the proposal incorporates the conversations between the authors as devices to generate a co-perception of the experience we analyze as well as the writing process.
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¿“Feminismo razonable” o “nuevo cinismo”? Encuentros y desencuentros entre Judith Butler y Susan Haack
(Pontificia Universidad Católica del Perú, 2024-12-10)
The aim of this research is to make possible a dialogue between Susan Haack’s philosophy of science and Judith Butler’s queer theory. In order to do so, we will, in the first place, talk about the most important events in the history of feminism. Secondly, we will how this could have led to the emergence of queer theory. We will then take the problem of the body and of objective evidence as a guide for our analysis, in the third section of Butler’s position and in the fourth of Haack’s. As a conclusion, we will try to propose a dialogue between the two by giving a concrete example: the case of intersexual people.
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La mujer armada
(Pontificia Universidad Católica del Perú, 2023-10-16)
In this article I reflect on the form and function of everyday female objects in my work Mujeres Armadas (2009-2019). Starting from the creation of a singular garment, I extend this proposal to photography and sculpture using the idea of the object from its heterogeneous condition. In this way, I propose a plastic language in which the woman’s body is the support to the extent that it exposes content linked to gender identity and the various themes that arise from it and questions the contemporary image. Likewise, I collect some definitions about the everyday object, ranging from its reason for “being” to its relationship with the work of art, and I review different disciplines and historical moments to, as a Swiss army knife, display some components that explain the importance it has among us.
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Qué hay detrás de las nubes, antes que el sol
(Pontificia Universidad Católica del Perú, 2025-11-05)
This visual essay stems from a series of works that pictorially interpret the sky, accompanied by poems, which emerged from observations and meditative reflections on the human-environment relationship. In this proposal, the act of “looking up” evolves from a casual gesture to an opportunity to question existence, time, and mortality. The sky presents a constantly changing natural scene of colors, shapes, and lights; a rich yet silent visual space, often taken for granted. This intangible realm allows for expanding the imagination regarding ways to understand the world and how we appropriate a territory framed by cultural and symbolic notions (Covarrubias et al., 2018). Based on Maurice Merleau-Ponty’s ontological concept of the flesh, we assume that our body acts as a mediator, both as an object and an interlocutor of our existence. Thus, intuition becomes a key artistic tool to experience the invisible aspects of the body and explore our smallness through sensitive ethnography (Moscoso, 2021). Free from references to traditional scales — sun, earth, horizon, figures — the landscape reveals its own dimension through nuances, textures, layers, and transparencies. This results in an artistic medium and creative methodology for sensorially understanding this landscape, the world, and the aesthetic experience: an act of imagination.
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El diablo, el cuerpo y las emociones en la ética pentecostal en un distrito popular de Lima, Perú
(Pontificia Universidad Católica del Perú, 2026-07-15)
This study analyzes Pentecostal ethics in relation to the concept of sin in a Pentecostal church in San Juan de Lurigancho, Metropolitan Lima. Pentecostals interpret sin as an expression of their socioeconomic, religious, and cultural background and as the source of all their ills. Using ethnographic methods, the study observes how the Pentecostal's body becomes a battleground between good and evil, spirit and flesh, the material and the worldly, and the devil and the Pentecostal himself. The fear of being recaptured by the devil and his malevolent entities, and thus returning to the world from which they came, becomes the catalyst for learning Pentecostal norms and beliefs. The study concludes that Pentecostal conversion and identity result less from learning and internalizing doctrines and rules than from emotions of fear and dread regarding the presence and threat of the devil, a belief they assimilated from their popular Catholic background.
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