This session follows feminist scholarly books and exhibitions, including Cecilia Fajardo-Hill’s Radical Women (2017), Andrea Giunta’s The Political Body (2023); Magali Lara’s Cinco décadas en espiral (2025); Alicia Herrero, Ana López, and Cristina Schiavi’s Violaciones Domésticas (2025); and Like a Dance of Starlings: MACBA Collection — Thirty Years and Infinite Ways of Being.

Panelists consider experimental artmaking as a feminist practice rooted in material processes unfolding across time. These papers examine how such practices reconfigure temporality as recursive rather than linear, whether through archival recombination, textile spirals, or cinematic afterimages. Each paper aims to catalyze a collaborative discussion on how feminist art reshapes form, knowledge, and political action across Ibero-America. Each 15-minute paper aims to catalyze a 20-minute collaborative exchange to envision feminist art practices that reshape form, knowledge, and political action across Ibero-America.

Amy Sara Carroll presents Mexican “artist-who-writes,” Verónica Gerber Bicecci, who re/imagines trans/national feminist histories in a future tense. For example, in centón pétreo (2021), Gerber Bicecci recalls that on May 27, 1914, two “flinty messengers” staged a protest in front of Buckingham Palace, throwing stones with messages that denounced women’s lack of political representation, at its windows. Gerber Bicecci re-encrypted the activists’ medium, sourcing volcanic rock from Mexico City’s outskirts and lyric poetry composed by Sappho and others. Attaching verses to stones, she composed a cento, a poetic form that combines dis/appropriated phrases and fragments, on six wooden shelves qua “stanzas.” Or, in los folders rosas (2023), Gerber Bicecci turned one gallery of Mexico City’s Museo de Arte Carrillo Gil into a site of art historical reckoning. Amplifying the work of Leticia Ocharán (1942-1997), who set out to write a book about female-identified artists in Mexico, Gerber Bicecci reorganized the contents of Ocharán’s pink folders, transcribing the artist-critic's theses onto the gallery's walls to create an ephemeral mural-installation. Carroll argues that Gerber Bicecci, refusing to disentangle political and aesthetic representation, “languages” genealogies of feminist futurity/ies consistently across her practice.

Filmmaker Anna Brotman-Krass proposes an approach to experimental documentary through a collaboration with Territorio Doméstico, a grassroots political group of Latin American migrant domestic workers in Spain. Concerned with constructing women subjects on film, Brotman-Krass’ documentary incorporates afterimage and direct animation to convey the indeterminate possibilities of lived experiences as narrated by interviews with Territorio Doméstico members. Film theorist Mary Ann Doane defines the afterimage as the impression an image leaves on a spectator’s retina once the image itself is no longer projected—an image’s echo that disjoints linear time. By painting on the film’s celluloid, Brotman-Krass materially disjoints the imposed temporality of the reel, overlaying desires and memories of members onto footage. By overwhelming the spectator with bright ink splotches painted on each frame, she creates afterimage-inducing cinematic images, disarticulating normative documentary story-telling in which diegesis dictates the presentation of documented material.

The experience of displacement and diaspora also informs the work of Marta Kalunga, a weaver and filmmaker from a Kalunga autonomous territory in Goiás. Raquel Parrine revisits the Kalunga community, descendants of formerly enslaved people of Indigenous and African ancestry, in the hinterlands of central Brazil. Parrine argues that Marta Kalunga’s practice enacts time not as linear continuity but as recursive movement, in which past, present, and future are co-present in embodied performance; the repetitive gestures of dyeing, spinning, carding, and weaving, operate as spiral returns that reactivate ancestral knowledge while generating new forms. Kalunga articulates belonging as an ongoing process of departure and return and that her combined work in film and textile art enacts a form of feminist experimentation in which ancestrality is not simply preserved but continually actualized through the body.

Bringing together scholars and artists, this session highlights feminist practices across Ibero-America that disrupt linear time and foreground process as a site of aesthetic and political resistance.