On April 18, 2026, the performance cycle "Atravesar el lago" (Crossing the Lake) took place in open spaces of Casa del Lago UNAM in Chapultepec Park, curated by Adonay Bermúdez. Artists Marilyn Boror Bor, Seba Calfuqueo, and Julieth Morales activated performances that destabilize dominant knowledge frameworks and confront narratives imposed by colonial modernity. Boror Bor's "Lo que el cemento no puede cubrir" turned the body into a living archive summoning ancestral memories; Calfuqueo's "Guardo mis semillas para el futuro" opened fissures in imposed borders; and Morales's "Enchumbarnos: Cuerpo, Norma y Territorio. Ritual para dos cuerpos" configured a threshold of listening and transformation. The article includes a curatorial text fragment exploring water as a dissident force, drawing on Silvia Rivera Cusicanqui's thought.
This matters because the cycle exemplifies how contemporary Latin American performance art uses the body and water as metaphors to challenge colonial legacies, extractivism, and fixed identities. By centering Indigenous and feminist perspectives, the artists and curator contribute to ongoing debates about decolonial aesthetics, environmental justice, and the politics of memory in the region. The publication of the curatorial text in a specialized art magazine like Artishock Revista helps disseminate these critical discourses beyond the immediate event, reinforcing the role of performance as a tool for social and epistemic transformation.