This residency took place in Ahuatempan, within Ngiba territory, through collaboration with Ulises Matamoros Ascención and the collective framework of Chasen Thajni.

The work developed through shared presence, testimony gathering, text circulation, and collective reading, including writings by Tina Campt and Ariella Aisha Azoulay. These readings operated as tools for thinking about archives, refusal, and responsibility toward images embedded in living communities.

A year later, part of Amoxtli was filmed in Ahuatempan, combining fiction, family photographs, testimonies, and poetry. Testimonies and family archives were gathered alongside Ulises, contributing to a growing community archive shaped by migration histories between the Mixteca and the United States. The work moved between Indigenous memory and transnational trajectories, forming a process grounded in collective world-making.

These crossings produced friction and translation rather than synthesis. The process attempted to follow the tempo of relationships rather than institutional outcomes. It functioned as accompaniment, seeking to avoid pure extraction while remaining conscious of its inevitability. This tension reshaped the working position: from the solitary artist arriving to observe, toward a collective “we” moving as a heteroclite group, entering into interaction rather than extraction. This “we” formed through Ngiba community life, trans and non-binary networks, Afromexican histories, rural and urban spaces, and diasporic trajectories between Mexico, New York, and France. The work unfolded alongside a constellation largely composed of Indigenous and racialized people, where presence implied accountability to shared time, labor, and vulnerability.

Publishing this work online inevitably participates in economies of visibility and value. At the same time, refusing circulation risks erasure. Worlding operates within this tension, sustaining exchange without enclosure.

Rather than producing a finished outcome, the residency contributed to an evolving network of relations, archives, and exchanges across Ahuatempan, New York, and France. The work continues as an open process shaped by collective memory, community labor, and ongoing collaboration.

Photography, filming, testimonies, and archival materials developed in dialogue with community members form part of a broader audiovisual research on Indigenous migration, linguistic transformation, and rural futures.