Rita Ponce de León (Lima, Peru, 1982) is an artist with a focus on drawing and installation. She is currently studying psycho-corporal techniques for human development at the Argentinean organization Rio Abierto. Ponce de León understands working as the way in which she can engage in situations that allow the generation of meaningful human bonds, although these might be ephemeral, for which the body can allow intuitive encounters that feel useful. She has approached practices such as butoh, Aikido, and several workshops that address body movement as the origin of knowledge and wisdom. She condenses this range of processes into drawing to share her thoughts in the form of visual essays. Her work was shown at the 32nd São Paulo Biennial (Brazil), Pueblo originario San Simón Ticumac (Mexico), Kunsthalle Basel (Switzerland), 80M2 Livia Benavides gallery (Peru), Sala de Arte Público Siqueiros (Mexico), among others. Her work has been published in Vitamin D2: new perspectives in drawing (2013). She currently collaborates with poets Yaxkin Melchy, and Shinnosuke Niiro, butoh dancer Emilie Sugai, and somatic educator Joelle Gruenberg. Lives and works in Mexico City, Mexico.

Paola Monzillo (Montevideo, Uruguay, 1986) explores cartographies and historical illustrations to question the supposed ideological neutrality of these devices. Trained in architecture and art, Monzillo reflects on territories as spaces of reconfiguration, investigating fissures and crossroads that give life to alternative fictions of representation. She has exhibited at the Museo Nacional de Artes Visuales (Montevideo), the Museo de Arte Moderno de Medellín (Colombia), the Museo de Arte Contemporáneo de Lima (Peru), the Museo de Arte Contemporáneo Africano Al Maaden (Marrakech), among others. She participated in the Montevideo Biennial (2014), the Mercosur Biennial (2015) and the International Biennial of Contemporary Art of South America - BIENALSUR, (2017, 2019 and 2021). She received the FEFCA Justino Zavala Muniz Scholarship (2016) and the Eduardo Víctor Haedo Scholarship (2018). In 2021, she won the first Acquisition Prize of the 50th Montevideo Visual Arts Award. Lives and works in Montevideo.

Seba Calfuqueo (Santiago, Chile, 1991) is a visual artist and curator at Espacio 218. They are part of the Mapuche collective Rangiñtulewfü and Yene Revista. Of Mapuche origin, their work recurs to their cultural heritage as a starting point in order to propose a critical reflection on the social, cultural, and political status of the Mapuche subject within contemporary Chilean society. Their work includes installation, ceramics, performance, and video, with the aim of exploring the cultural similarities and differences between the crossing of Indigenous and Western ways of thinking, as well as their stereotypes. Their goal is alsoto make the issues regarding feminism and queer theory visible. Their work is part of the KADIST collection (France), Museu de Arte Contemporânea do Rio Grande do Sul - MAC RS (Brazil), Museo Nacional de Bellas Artes and MAC (Chile), among others. They obtained the Municipalidad de Santiago Award (2017), the FAVA Foundation Award (2018) and the Eyebeam Fractal Fellowships Award (2021). Lives and works in Santiago, Chile.

Florencia Sadir (San Miguel de Tucumán, Argentina, 1991) is an artist who explores her native land of the Calchaquí Valleys, and investigates inherited knowledge and community learning. Her installations, sculptures and drawings are composed with natural materials, such as clay or basketry woven with vegetable fibers, to create objects that invite us to reflect on how the times of work, production and consumption have become disconnected from life cycles. She studied at the Faculty of Arts of the National University of Tucumán. She completed the Artists Program 2020-2021 at the Universidad Torcuato Di Tella (Buenos Aires) and a study program at the Escuela Flora Ars + Natura (Bogota). In 2021, she presented the solo exhibition Todavía las cosas hacían sombra, at the Museo de Arte Contemporáneo de Salta (Argentina), curated by Andrei Fernández. In July 2022, she was artist-in-residence at the Aichi Triennial, Still Alive, directed by Mami Kataoka. Her works are part of public and private collections in Argentina, Chile and Colombia. She lives and works in Salta.

Marilyn Boror Bor (San Juan Sacatepéquez, Guatemala, 1984) is a Mayan-Kaqchikel artist who questions patriarchy and racism through photography, painting, printmaking, installation and performance. She holds a degree in Fine Arts from the Universidad de San Carlos de Guatemala. She was a Fellow of the Utopia Foundation (Spain, 2016), received the Espira/La Espora Residency for Emerging Central American Artists grant three times (Nicaragua, 2011-2014) and participated in residencies and conferences in the United States, Central America, Mexico, Germany, Chile and Spain. Her work has been presented at the Museo de Arte Contemporáneo de Puerto Rico (San Juan), the Museo de Arte Contemporáneo de Panamá, the Museo Reina Sofía (Madrid), the Galerie im körnerpark (Berlin), WhiteBOX (Munich), the Museum of Contemporary Art Santa Barbara (California), the Museo Precolombino de Arte Chileno (Santiago) and the NUMU (Guatemala), among others. She participated in the Bienal Internacional de Arte Contemporáneo del Sur (Guatemala, 2021), the Bienal en Resistencia (Guatemala, 2018 and 2021), the Bienal de Arte Paiz (Guatemala, 2014, 2016 and 2021). Lives and works in Guatemala.

Lizania Cruz (Santo Domingo, Dominican Republic, 1983) is a Dominican participatory artist and designer interested in how migration affects ways of being & belonging. Through research, oral history, and audience participation, she creates projects that highlight a pluralistic narrative on migration. Cruz has been an artist-in-residence and fellow at the Laundromat Project Create Change (2017–2019), Agora Collective Berlin (2018), Design Trust for Public Space (2018), Recess Session (2019), IdeasCity:New Museum (2019), Stoneleaf Retreat (2019), Robert Blackburn Workshop Studio Immersion Project (2019), A.I.R. Gallery (2020–2021), BRIClab: Contemporary Art (2020–2021), Center for Books Arts (2020–2021), and Jerome Hill Artist Fellow, Visual Arts (2021–2022). Her work has been exhibited at the Arlington Arts Center, BronxArtSpace, Project for Empty Space, ArtCenter South Florida, Jenkins Johnson Project Space, The August Wilson Center, Sharjah’s First Design Biennale, Untitled, and Art Miami, among others. Most recently she is part of ESTAMOS BIEN: LA TRIENAL 20/21 at el Museo del Barrio. Her artworks and installations have been featured in Hyperallergic, Fuse News, KQED arts, Dazed, Garage, and The New York Times. Lives and works in New York, United States.

Marcela Sinclair (Buenos Aires, Argentina) is an artist and a teacher. Her work explores themes of displacement and geometry through practices that include drawing, painting, sculpture, installation, and site-specific interventions. She received a degree from the Escuela Nacional de Bellas Artes, Buenos Aires and studied with artist Tulio de Sagastizábal. Sinclair has completed residencies at El Basilisco (Buenos Aires) and Lugar a Dudas (Cali, Colombia, 2009). She received a grant from the National Endowment for the Arts of Argentina (2012), and the first prize for sculpture from the institution (2017). Sinclair’s work has been exhibited in institutions throughout Argentina, Uruguay, Chile, Colombia, Spain, the United States, Italy, and Germany. Recent exhibitions include The future has arrived (a while ago) at Centro Cultural Kirchner, (Buenos Aires, 2016); Is she a lovely thing at Museo Cerralbo, (Madrid, 2017); and Disruptions, presented by Art Basel Cities Buenos Aires at Collins Park, (Miami, 2019).

During FAARA residency, Sinclair focused on investigating the links between the architecture of seaside cities of Punta del Este and Miami. She also worked on the production of watercolors and acrylic pieces, and participated with a site-specific work in Campo Artfest (2021), which takes place in Pueblo Garzón, Uruguay.

Sofía Gallisá Muriente (San Juan, Puerto Rico, 1986) is a visual artist who works with historical narratives, popular imaginaries and visual culture. She studied Film and TV Production and Latin American Studies at New York University. She has participated in pedagogical platforms for artists and in Beta-Local's La Práctica program. She was a resident at Museo La Ene (Argentina), Alice Yard (Trinidad and Tobago), Solar (Tenerife) and Catapult (online), and a fellow at the Flaherty Seminar (New York) and the Smithsonian Institute (Washington). Her work has appeared in The New York Times, Art in America, Terremoto and Hyperallergic. He received grants from TEOR/éTica and NALAC. She exhibited at the Whitney Biennial, the Queens Museum, ifa Galerie (Berlin), MALBA (Argentina) and CCA Glasgow, among others. She was co-director of Beta-Local (Puerto Rico). She is a fellow of the Puerto Rican Arts Initiative and the Annenberg Innovation Lab at USC. She lives and works in Puerto Rico.

During FAARA residency, Gallisá Muriente continued her project Observatorio de lagunas, which explores memory and remembrance in connection with the meanings of the word "lagoon" in Spanish. She visited lagoons in the area, conducted filming and interviews with ecologists and biologists.

Adriana Bustos (Bahía Blanca, Argentina, 1965) graduated from the School of Fine Arts and Psychology at University of Córdoba (Argentina). Her work develops a narrative discourse around social, political and religious oppression, with a non-linear interpretation of history. She participated in the biennials Dhaka Art Summit (Bangladesh, 2020), Site Santa Fé (United States, 2014) and the Montevideo Biennial (Uruguay, 2014-2020). She received the Azcuy Award (2020), among others, and participated in exhibitions in institutions and galleries such as the Centre Pompidou (Paris) and Kadist (San Francisco). Her works are part of the collections of the Reina Sofia Museum and the ARCO Foundation (Spain), the Museum of Contemporary Art of Medellin (Colombia) and the Museum of Modern Art Buenos Aires (Argentina). Lives and works in Buenos Aires.

During FAARA residency, Bustos revisited her work from the Montevideo Biennial (2014), an investigation on the historical anchoring of the construction of national identities in the Río de la Plata. In that line, she investigated the utopian projects of Francisco Piria, Antonio Lussich and Humberto Pittamiglio from the early 19th century, in Uruguay. She visited Piriápolis, the Lussich Arboretum in Punta del Este and the Pittamiglio Castle in Montevideo.

Liliana Angulo Cortés (Bogotá, Colombia, 1974) is an Afro-descendant artist who works in different regions of the African diaspora through a critical artistic practice, in search of collective strategies of cultural recovery that contribute to the struggles of Afro-descendant communities. She has a specialization in sculpture from the Universidad Nacional de Colombia, a Master in Arts from the University of Illinois (Chicago) and a Master in Anthropology from the Universidad de los Andes (Colombia). Her work encompasses performative practices, visibilization of cultural traditions, historical reparations and collaborative work with social organizations. She has had exhibitions in Colombia and internationally. She is a teacher and promoter of Afro-Colombian memory and community art. She lives and works in Bogotá.

During FAARA residency, Angulo Cortés investigated the history, memory and resistance of the Afro-descendant and indigenous communities of the Río de la Plata, historically oppressed and invisibilized. In this process, she visited the Caserío de los Negros, the outlet of the Arroyo Miguelete and the Plaza Senzala, as well as candombe socio-cultural spaces and old tenements. She also met with several Afro-Uruguayan women leaders and attended the ritual dedicated to Exú at the Casa de Quimbanda, in Montevideo.

Andres Bedoya (La Paz, Bolivia, 1978) reflects on the history of the Andean region, from the construction of a biographical narrative based on the exploration of belief systems, rituals and objects. He held solo exhibitions, including Still Life with Others, at Situations (New York, 2018); Presente, at the Centro Cultural de España (La Paz, 2017); and El viaje, at the SCAD Museum of Art (Savannah, United States, 2016). He participated in group exhibitions, such as The Waste Land, at Nicelle Beauchene (New York, 2019); The Lost Nature: Works for the Videobrasil Historical Collection (Stavanger, Norway, 2019) and Bienal do Mercosul (Porto Alegre, 2015). He participated in the Gasworks residency (London, 2019) and Urra (Buenos Aires, 2011). Brooklyn Is Burning, at MoMA PS1 (New York) is one of his curatorial projects. He lives and works in Mexico City.

During FAARA residency, Bedoya dedicated himself to learning and perfecting techniques and crafts such as dental porcelain, glass, and silversmithing in personalized workshops, encounters with artisans, and experimentations in the studio. He also connected with the personal history of his mother, who lived in Montevideo.

Noé Martínez (Morelia, Mexico, 1986) is a visual artist and filmmaker graduated from the National School " La Esmeralda" (Mexico City). In his work, he elaborates his personal history based on ethnographic methodologies and research of indigenous communities. His work participated in the Morelia International Film Festival (Mexico, 2018), the Native Crossroads Film Festival (Oklahoma, 2018), the 21st SESC Videobrasil Biennial (São Paulo, 2019) and FilmFront (Chicago, 2019), among others. He held exhibitions at The Museum of Contemporary Art Chicago and Sala de Arte Público Siqueiros (Mexico City). His work is part of the collections of The Museum of Contemporary Art Chicago, Kadist (San Francisco), and Museo Amparo (Puebla). He participated in the Clarice Oliveira Tavares Residency at the Swiss Institute (New York, 2020). Lives and works in Mexico City.

During FAARA residency, Martínez deepened his research on the memory and history of the territory. In search of contacts between African and indigenous cultures, he visited the Museum of Pre-Columbian and Indigenous Art (Montevideo), the Carolino Regional Museum (San Carlos) and the socio-cultural spaces of candombe. He also focused on finalizing his latest film and also on experimenting with navigation for a work in progress.