The Body as Seismograph: Reflections on Estratos de Resistencia

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The performance "Estratos de Resistencia" (Strata of Resistance) was not merely a spatial action, but a tectonic event. By anchoring my skin to the earth's walls through hundreds of elastic bands, my body ceased to be an individual entity and became a nexus of tensions: the exact point where the pressure of the territory and the resistance of the flesh collide.

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The choice of elastic as a material was intentional. Its capacity for stretching and violent recoil serves as a metric for the extractivist paradigm. Tautly drawn toward the edges of the open earth, my body embodied the subordination of the landscape to the forces of production; a raw image of how civilization stretches both resources and bodies to their breaking point. The "stark struggle" I experienced—that physical and very real pain—is the somatic translation of a violence that is often invisible in theoretical discourse, yet absolute on the ground.

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The most revealing aspect of the work lies not in its initial immobility, but in the metamorphosis of the void. Through torsion and a choreography of effort, my body began to reconfigure the geometry of the excavation.

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In Estratos de Resistencia, survival manifested as a shared practice. The release of the bands by the audience transformed domination into autonomy. In the end, what remained in the air of that open earth was not just the echo of a physical struggle, but the certainty that change is only possible when tension is distributed and the spectator accepts their role as an agent of liberation.

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My body was the epicenter of the conflict, but it was the community that allowed the space to breathe once more.