A Collaborative Art Anthropology Project

(Paulina Carrillo, Sofia Fernandez, Regina Díaz)

This is a collaborative project that took place during the completion of the Certification in Art Anthropology at the Center of Social Anthropology Research (CIESAS). The project was drafted as initial research for future intervention in Iguala-Guerrero. 

The Delgado family approached Paulina, they have three properties in Iguala and want to do something for the community, so they gave us the opportunity to sketch some ideas and work with them in the planning.

We decided to experiment with art anthropology theories and perspectives through a transdisciplinary practice: video, sound, paint, music, body, poetry in Iguala. Here are some of the results of the first field research that includes a visit to Iguala and the properties, a gathering with the family and an interview with one of the family members.

“It's not that it isn’t there, I just didn’t have the eyes to see it”

The Name: Shadow/


Iguala de Guerrero is 190km away from  Mexico City it is known to be ‘Tierra Caliente’ (Hot Land), This is where the Independence Act was signed on February 24, 1821; and where the first National flag was made and presented, thus the saying that Iguala is the ‘crib of the national flag’.  The Independence Act entitled Iguala’s Plan sets the bases for the Constitution of 1917 which is the current constitution of the country. Iguala is also the place where in 2014, at least 43 students from the Normal School (Community Teacher’s School) were kidnapped by army forces. 

Iguala is known nationally as a hot land, and it refers to both the weather and the social movements that have occurred there. When speaking with one of the family members he mentioned that the shade in Iguala was much appreciated because of so much heat. We found that interesting as usually that which is dark is not always welcomed. In this context it meant relief. Also, we wanted to explore diving into the daily activities that sustain the town, those actions that tend to be overlooked, especially the activities performed by women and tend to be invisible or happen in the shade. That’s how we decided to name the project Sombra/Shadow.

field visit

Joining Intentions

Based and nurtured by the narratives, people, history, politics and our own presence in Iguala de Guerrero, Mexico. This project embodies our intentions, our relationships before, during and after our interactions with the territory of Iguala. The emergence of the project is the result of our encounter with the Delgado family, made up of six siblings whose roots are in Iguala but, they have become distant from the colors, smells, land, and memories of that space. Now they wish to resolve that distance. 


We dreamed to become the mediators between the desires and interests of a family, a collective political and social memory, and our intentions to connect with the invisible acts of resistance; the mundane, and the daily routines of those who have stayed and left. 

[We decided to present all our findings, archives, and thoughts on a webpage we see as a collaborative collage of the time and space that was created by this shared curiosity and engagement: by the desire to work together.  The webpage is divided into sections that have to do with the trajectory of the project:




While the collage is collaborative, I focused on writing, the off-voice for the videos, and content organization.


The writings tease academic theories and formats with emotional recollections that merge memories and feelings. The pieces are an exercise to bring poetry to the front line of concept and perspective's making acts; to explore poetic language and desires along with their multiple interpretations. Largely the writings question the position of artists and researchers within their projects and the images and perspectives that are formed through collective experiences. 

"Threads are drawn from every point of presence to the next. Removed by power, fear, violence, and normativity. Steps leave a trace, bodies leave a trace, we search those traces. Traces are knowledge and resistance. "

dive into the written pieces here

los caminos del sur

If the body is archive, knowledge and creation but my body is captive, who do I register? what sights trespass me and translate me? who's experiences do I carry, care for and contain?