Third-Ear Transmissions is an ongoing encounter between sound artists, the interdisciplinary research group LabARD (Arts Research Laboratory in Decoloniality), and the team of SBC Gallery of Contemporary Art. Vir Andres Hera took part in the project both as an artist and as a member of the LabARD research group, contributing to a series of curatorial jams that explored listening as a situated, embodied, and relational practice. Artistic methodologies, lived experience, and modes of attention were treated as instruments, enabling exchanges between existing works, new activations, and a shared scenographic language.

The gallery functioned as a space to listen otherwise: through attunement, inter-listening, inquiry, collective presence, and embodied practices activated via walks, jam sessions, performances, conversatorios, workshops, and reading sessions. Embracing feedback, dissonance, and multiplicity, the project evolved in relation to its participants and visitors, at times forming a dense sonic constellation where heterogeneous voices generate temporary forms of kinship.

Presented in this context, Mictlantecuhtli, [señora del glitch] is a work conceived specifically for SBC Gallery. This version was developed through close discussion with Romeo Gongora, Nuria Carton de Grammont, and Antoine Bertron, and takes the form of an unpublished montage derived from Misurgia Sisitlallan (2020). The work is composed of glitched images and photograms marked by visual errors produced through microscopic filming processes. Bodies evoking other Nahua deities appear as spectral, unstable entities, refusing fixed gender attribution and emerging through distortion, interference, and opacity.

The work references Mictlantecuhtli, the Nahua deity associated with death, hallucination, and misfortune, reinterpreted here as a feminine figure that haunts masculine domination. Sound and image are treated as corrupted matter: excessive, unresolved, rascuache. These glitches, absent from the original 2020 project, become central, not as accidents but as deliberate political and aesthetic positions.

Mictlantecuhtli, [señora del glitch] engages glitch feminism as articulated by Legacy Russell, where the glitch functions as a refusal of hegemonic, binary constructions of the body. Digital distortion becomes a site of emergence rather than error, allowing bodies in transition, displacement, and gender diaspora to appear without resolution. In this work, opacity, contamination, and interruption operate as strategies against normative visibility. The digital is approached not as a corrective tool but as a haunted terrain for occupation, interruption, and reworlding.