We are almost always on the hunt for something hidden, following the traces that appear on the surface of the ground, our primary mental processes are repeated, from the Paleolithic of our hunter and fruit-gatherer fathers through all the cultures of human history; language unites the visible trace of the invisible thing, with the absent thing, with the longed for, desired or feared thing, like a fragile makeshift bridge stretched over the void.



'Equatorial' is the title of the creative proposal developed by the Ecuadorian artist Mundana during his stay in Belgium, as part of the Art(e) for Community Building residency program, promoted by the Latin American Art Centrum.

Throughout Mundana's residence in Antwerp, for the creation of a public mural, the artist has worked mainly on the basis of short documentaries, oral memoirs and photographic archives about Ecuador from the 30s, 40s, 50s and 60s; trying to grant the creative process the mysterious charm of the past, of what is extinct, with all its pitiful feelings; the grace of subjectivity in the face of a nature in which one does not see sterile figures, but rather living characters with an indigenist inclination, apart from folkloric taste and tourist servility.

Mundana privileges research, as well as ethnography and empirical observation in search of an objective truth, from where it tries to understand and define what is Ecuadorian. It is possible to say then, that the soul of 'Equatorial' is in the latency of a past prior to the existence of the artist, an imaginary place where indigenous ethnicity does not deserve to be whitened, and its slenderness ennobles the miscegenation process that configures the modernity.

Within the framework of her residency, Mundana gave a conference at the Antwerpen Campus of the KU Leuven, the dialogue revolved around the creative process of the 'Equatorial' mural, and her vision of the new Ecuadorian mural.