This exhibition presents the river not as a water channel, but as an intelligent territory composed of rocks, guardian spirits, sand, animals, plants, and human beings. The artist Seba Calfuqueo acts as a translator for these vital forces, arbitrating between their different modes of expression. In CAUTÍN, the languages of the river manifest in different forms and moments: zoomorphic ceramics decorated with contaminating materials; animated videos that revisit Mapuche origin stories; embroidered paintings that use historical records to rewrite the territory; and drone imagery that maps and reshapes our understanding of the river. Calfuqueo’s bridging body is also part of this intricate tapestry, inhabiting the exhibition as one more language within a champurria space—formerly a derogatory term used to refer to mixed Mapuche and wingka (foreign) heritage, but now redefined as a positive affirmation of a multiple and intertwined identity—.
CAUTÍN does not subscribe to the idyllic and moralizing perception—constructed by religious tradition and romantic imagery—of water as a space of purification; instead, it presents the river as a hybrid and choral place, a murky sacred space whose power resides in the celebration of impurity, a flowing current and stagnant marsh at once. That tension, the flow of heterogeneous and often contradictory forces, is the source of both resistance and balance, which bring creativity and life. The same tension permeates and structures this exhibition: a cyclical journey upstream where the river is more than water and does not spring from the mountains, the territory is dislocated but not fragmented, and the different languages feed each other without losing their voices.
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