PENA DE MUERTE FINAL DE BOLIVIA (2026) Diego Aramburo
| Premio Nacional Eduardo Abaroa 2025 (Mejor Obra de Literatura Dramática, BO)
| Official Selection: It’s The Real Thing! — Basel, 2026
| Format: Forensic Research
A 1927 Bolivian film —censored and declared extinct that same year, recovered in 2002 in a chemically improbable event— accessed via a Chilean institutional seal on a public YouTube video. The artist films their own computer screen rather than accessing the restored original: a declaration about who has the right to the image. The dirty pixel is the trace of the gesture, not the consequence of a limit. Presented as a performative lecture.

LETTERS (2026) Diego Aramburo & Beatrice Fleischlin
| Fachausschuss Tanz&Theater BS/BL (Expert Committee), Basel
| Format: Epistolary Research / Performative Ephemeral Archive
Two queer artists born in 1971 — one in Bolivia, one in Switzerland — exchange handwritten letters as a methodology. The research engages with a period preceding the social codification of «queerness.» Ink and paper act as indexical traces of the body against digital immediacy: waiting becomes an active aesthetic and political matter. A tri-generational dialogue that repositions the family archive as a performative space.

MARA (2026) Diego Aramburo
| AmarCine, Bolivia
| Format: Film
Operating at the intersection of structural cinema and political allegory, MARA repurposes the temporal loop not as a generic device, but as a decolonial alternative to Western linear time. The film transforms the domestic threshold into a highly tense geopolitical borderlands where communal survival collides with modern isolation. By blending the slow-burning tension of a durational thriller with the sharp ontological inquiry of Andean landscapes, MARA stands as a critical dissection of contemporary internal displacements, memory work, and the gendered weight of inheritance.

THE CONVERSATION PROJECT (2018–2030) Diego Aramburo & Boris Nikitin
| Pro Helvetia Co-Production Grant
| Format: Durational Research / Dialogical Intervention / Institutional Critique
A twelve-year conversation between two artists from different traditions — one from Bolivia, one from Switzerland — that functions as a propaganda book that dismantles the very nature of propaganda. Time is the editor: it captures the contradictions that a single conversation cannot produce. The fragility of conviction becomes visible when the same subject is sustained across a decade.

CRITICAL TRANSLATION / TRADUCCIÓN CRÍTICA (2026)
| Concept: Diego Aramburo & Claudia Pacheco / Development: A. Siles, C. Pacheco, D. Aramburo
| Goethe-Institut Arts+Digitality Grant
| Format: Transmedia AI Research / Interactive Installation
Translation as a performative act: every text is a site of conflict. The work operates as an algorithmic sfumato —language boundaries dissolve to reveal the ideological tensions that underpin all communication. The algorithm’s insufficiency in the face of cultural complexity is not a failure; it is the work’s subject. In an era of discursive saturation, the app invites the audience to deconstruct any text in real time.

A OJOS CERRADOS (2022) Diego Aramburo
| Real Academia de España en Roma (RAER)
| Format: Research-based Archive / Video Installation
Durational encounters employing ‘everyday rituals’ —such as shared meals— generated as a strategy to unlearn the accelerated pace of interaction and to enable deep listening. A methodology conceptually rooted in the Andean tradition of Acullico. The encounters produced an archive of field notes, digital traces, cartographies, and interviews, culminating in a series of intimate video portraits: a Choreography of Presence, a dance of the gaze, where my guests refuse to be ‘consumed’ as objects in a generous act of resistance rendering the gazer the one being gazed upon. (This research on Acullico unfolded in Rome, a city where coca does not exist as a leaf, but rather as policing —a decolonial ritual enacted at the very heart of the Royal Academy of Spain).

LEYES / LAWS (2020) Diego Aramburo
| Focuart Municipal Funds. | Official Selection: FIBA (Buenos Aires, AR), Cenas Curtas (Belo Horizonte, BR)
| Format: Performative Video-Essay (Three Chapters)
A deconstruction of the «fiction of institutional justice,» confronting the State’s theatricalized incompetence with the vulnerability of bodies. It demands that the viewer complete the piece by disrupting the passive gaze.
«Aramburo transforms observation into a performative process… ‘Leyes’ is a creation that specifically addresses the danger posed by the ridiculous spectacularization of politics.»
RUY FILHO / Antropositivo, Brazil/Portugal.

GÉNERO (2018) Diego Aramburo
| Iberescena Funds & Eduardo Abaroa Award (2017) | Official Selection: FITE (Quito, EC)
| Format: Performative Research / Multi-channel Installation
An inquiry into the plasticity of identity and the systematic failure of binary frameworks. Anchored in the artist’s actual legal transition to a female gender status, it functions as an epistemological sabotage. The work exposes the normalization of patriarchy even within dissident spaces, including those that claim to resist it. A performative leak.

MORALES (2014–Ongoing) Diego Aramburo
| National Theatre Award (2014), Eduardo Abaroa National Art Award (2015)
| Official Selection: Winter Nights (Tallin, ES), Miradas (Santos, BR), FITCRUZ (Santa Cruz, BO)
| Format: Immersive Durational Performance
Morality as a biopolitical surveillance technology. The project creates a site of intersubjective friction where extreme repetition functions as a metalinguistic hack regarding collective ethics.
«Aramburo dares to put his finger on a wound that oozes its own sap […] deeply political, incorrect and accurate.»
JUAN MALEBRAN / Diario La Razón, Bolivia.

HEJAREI (2015-Ongoing) Concept: D. Aramburo; Creation C. Rocha & D. Aramburo; Dir. D. Aramburo
| Official Selection: Miradas (Santos, BR)
| Format: Immersive Durational Dance Performance
Hejarei refuses to merely document the collective Guaraní suicide from which it draws inspiration; instead, it transmutates this historical fracture into a core compositional principle. ‘Let go. Release. Do not force. Offer. Offer your blood. Offer yourself’ —these instructional notations for the performers articulate an ‘Aesthetics of Decomposition as Territorial Sovereignty’ operationalized as a somatic score. Consequently, the inquiry inaugurated by the artwork shifts away from a voyeuristic anthropology («why did the Guaraní women commit suicide?») toward a structural interrogation: What form of sovereignty is chosen? How? And at what precise threshold does the body cease to be useful to the system? It is not a passive resistance to systemic emptying, but a radical reappropriation of depletion as an absolute act of political agency.

«A complex vision of the body as disobedient par excellence… a ritual atmosphere of a dislocated cinema.» JORGE LUNA ORTUÑO / Diario Opinión.

«A OJOS CERRADOS» (Roma, 2022, IT).