︎︎︎ LISTENING TO A STEM.  ESTEFANÍA SANTIAGO.

Listening to a Stem (2023) is the second part of the project Taking the Form of a Bird is a Form of Longing. Like the first part, it consists of the production of four costumes and the recording of a video performance. The construction of the costumes suggests the creation of a carnival in the middle of the Spanish winter, which is why elements of the popular Argentine carnival are used in their design. Through the wearing of the costumes, drifting and a specific interaction with a context, the aim is to construct an emotional encounter through artistic practice. And to reflect on migration and the ecological and community issues involved in certain movements of appropriation and commercialisation.
In the first part of this project, I explore the figure of the green parrot (from the Southern Cone) or Argentine parakeet (as it is called in Spain). This bird was brought to Spain as a pet in the 1980s and is currently the victim of an extermination plan by the Community of Madrid due to noise pollution, without any accurate research into whether there are specific problems between these birds and native birds.

In this second part, the research focuses on Conyza bonariensis, also commonly known as black nightshade. This plant arrived in Europe from Buenos Aires through the importation of wool in the 18th century. In other words, its seeds travelled on sheep's wool, crossed the ocean by ship and spread across the continent hundreds of years ago. This plant is currently classified and combated as a weed and invasive species in Spain and Argentina. However, in Argentina, in the coastal area, this plant is currently being studied for its resistance to glyphosate, a herbicide (currently banned in Europe) that is used in the fields before sowing and is a major cause of cancer in the region.

The listening to a stem was carried out within the framework of the ‘Jardín de todo’ Residency. The proposal was to work around the broad concept of weeds and how this translates to dissidents and migrants in Madrid and in a context such as the Vallecas neighbourhood (where the residency is located). This is why, in the first instance, costumes were made. There are four costumes in total, based on the fragmentation of the plant: flower, seed, stem and leaf. They were made with precarious/school materials such as cardboard, paper, chopsticks, EVA foam and felt.

Subsequently, the drift and its filming were planned. For the drift, four migrant women participated and we carried out a drift through different private plots in the Entrevías neighbourhood (where this spontaneous flora and others are found). For the video, Santiago Gershánik worked on the camera and editing, focusing on the roughness of these characters or their combative appearance on stage; at the same time, the body sought to go against the movements of the Argentine carnival, incorporating erratic or slow movements. Finally, the soundtrack developed by Julia Rossetti seeks to fragment the instruments typical of the carnival (drums, cajita and ralladores) of the coast, and dismantle the possibility of a festive rhythm, accentuating the presence of the characters in the space: their journey, movements, encounter and final stillness.

Final video: https://vimeo.com/899304786?fl=pl&fe=sh

Costume design and video production
Camera and video editing: Santiago Gershánik.
Soundtrack: Julia Rossetti.
Performers: Luisa Ordóñez, Hella Spinelli, Maité Ledesma and Estefanía Santiago.
Video assistance: Cecilia Candiani and Jo Muñoz.
Costume construction assistance: Dana Bajalovsky and Sandra Marco.