- Tune in English
- Reservation required
- 8 €, combined ticket 15 €
Performance Lecture: Chuquimamani-Condori (Elysia Crampton Chuquimia)
In this event Chuquimamani-Condori (Elysia Crampton Chuquimia) will share notes on memory and oral history that come together with her new moving image work Amaru’s Tongue: Daughter.
There will be a screening of the film beforehand at 7 pm, and the film will be exhibited in the South Gallery from the 8th to 16th October.
Haus der Kunst co-produces the first film commission by multidisciplinary artists Chuquimamani-Condori (Elysia Crampton Chuquimia) and Joshua Chuquimia Crampton, alongside Auto Italia and Centre d’Art Contemporain Genève. Amaru's Tongue: Daughter will be premiered at Haus der Kunst and simultaneously screened in London at Autoitalia during Frieze week.
Shot mostly on 8mm film and with a score composed and performed by the artists, Amaru’s Tongue: Daughter enacts a ceremony for their late grandmother, Flora Tancara Quiñonez Chuquimia. Underpinned by the Aymara nation’s abolitionist traditions as inseparable from the Black radical tradition, the project attests to different spacetimes and ways of imagining as ‘abolition geographies’ (Ruthie Wilson Gilmore, 2017).
Joshua Chuquimia Crampton: For Supay
Amaru’s Tongue: Daughter opens a series of multiple beginnings, that together hint at an experience of nonlinearity of time known in Aymaran as qhipnayra, in which the past is faced ahead and the future lays behind. Weaving together archival audio and visual recordings through the film, Flora is met by a dog, a condor and a hummingbird, central figures in the three-year transition of death, detailing Aymaran traditions. Flora's younger sister, the artists' great aunt Mercedes Tancara Quiñonez Montevilla, and the artists' mother, Fanny Tancara Chuquimia Crampton, narrate the film, sharing praxis and oral history, as well as re-reading one of the first Aymara chroniclers, Joan de Santa Cruz Pachacuti Yamqui. Flora's voice recordings are relayed by a silicone figure made in her likeness, whose features also resemble the artist's great-grandmother Juana Tancara Montevilla, great-great grandmother Rosa Tancara Quiñonez, and emblems of the pachamama, the spacetime grandmother.
Amaru’s Tongue: Daughter follows in a heritage of Aymaran abolitionist oral history tradition and adopts a fantastical tone, serving as an ‘invitation to otherwise’ (Eva Hayward and Che Gossett). The film maps ‘abolition geographies’ (Ruthie Gilmore Wilson) from the perspective that we are inseparable from the pachamama, inseparable from the water, the sea, the lake as wound that Pachacuti Yamqui called mamacocha, what theorists call ‘nowhere’, that home that is ‘no place’.