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listened to what the participants of the exercise shared and experienced from their bodies. The most personal encounter (the “third”) was when we went to Priscilla’s house and all four of us were finally together. Priscilla received us splendidly. She prepared a delicious meal that ended with Vicky’s star dessert and our initiative of having some wine to accompany this culinary experience of encounters and exchanges. There, I met the women, not only the creators; with dimensions of time, different generations in dialogue. I found traces of their stories leaving their mark on their work. Eating, sharing, listening in the everyday is also mediating between the person, the artist and their work. The personal somehow spans us in very different ways through what we do as artists, each using our own languages, aesthetics and poetics. Mariela and I had already lived together for three years, we had been companions at work, in theater, in performance, in teaching and in life. Now, from our own stories, bodies and subjectivities, we encountered these two women. Two women of different generations talking to each other thanks to Miguel’s curatorship, who saw potential on this dialogue between their works, which had not been together before, and with works that perhaps were not very well known to the general public. The confrontation between us and their works was intense, but never violent. Even when some of their pieces put us (and the viewers) in places bordering violent energy, by force and by what they sometimes put there, in front of our bodies and our gazes.
The invitation to the mediation exercise was a possibility to generate networks of exchange, interdisciplinary dialogue, an exercise of translation, mirroring and meeting. Of putting the body in front of their pieces. Bodies present in the flesh, in front of bodies, objects and material traces that record presences or absences. Presences that are insinuated through their pieces. Bodies that dialogue with these pieces from other sensory levels, seeking to