FUGA kicked off with a workshop at CA2M (Centro de Arte Dos de Mayo), from January to April 2025, featuring young artists aged 18 to 25. The goal wasn’t to produce fast results, but to open up a space where uncertainty, intuition, and collective exploration could shape the process.

The project was sparked by a question:

“What happens if we escape from those who want to civilize us and create a fugitive archive?” This quote by Gabriela Jáureguibecame both our starting point and a working strategy. We didn’t know where we were going — and we chose to embrace that uncertainty.

Over the course of seven sessions, we used simple tools — post-its, envelopes, paper, markers, masking tape — alongside dynamics that encouraged visual thinking and collaborative production, without being tied to traditional methods. Some of the resources we explored included:

• speculative design,
• collaborative critical writing,
• role-playing exercises,
• metaphor challenges,
• living archive formats.

As we moved forward, common themes started to emerge. To organize them, we created a simple but effective tool: envelopes. Each envelope became a container for ideas, intuitions, and spontaneous concepts that arose during the sessions. They helped us make sense of the chaos without forcing it into rigid categories, allowing patterns to emerge organically.

As the archive grew, we built a physical structure out of masking tape, which we called “the house.” It wasn’t a formal installation but rather a modular and affective navigation system for the contents we were generating. The house allowed us to physically move through the envelopes, treating each one as a conceptual room — a shared interest or recurring concern. This structure became key to connecting ideas, sparking discussion, and making the archive readable in a nonlinear way.

A situated and porous methodology

FUGA was not only an artistic experience, but a pedagogical one. The workshop incorporated approaches that questioned productivity-driven, linear models of learning. Through play, rest, imitation, writing from the body, movement, and the notion of limits, we experimented with different ways of thinking and learning.

We were especially interested in how a tool or a simple action can reshape the way we relate — to others, to ourselves, to the environment. What happens when we focus on questions instead of answers? How do different languages, formats, or interactions affect the way we organize memory? Can an archive unlock new imaginaries, or does it just repeat what’s already known?

These questions were not meant to be solved. They formed part of a critical, situated practice — one that recognizes the affective and political dimensions of collective processes and sees uncertainty not as a failure, but as a potential site for learning.

Curriculum Map

A living archive to escape expectation

The graphic above is a visual summary of the curriculum we developed during the FUGA workshop. It’s not a manual, nor a fixed methodology. It’s an open guide — a living archive that can be navigated from different points depending on the moment, the person, or the context. It’s designed to support learning processes that don’t follow a straight line, but rather branch out, pause, reorganize, or shift direction.

How is it structured?

Ways of Learning

On the left (in orange), we mapped out different ways of learning: through the body, emotion, intuition, memory, error, language. We recognize that each person learns differently, and not everything happens through logic or reasoning. That’s why this plan is metacognitive — it starts with the acknowledgement of those differences.

Recipes

On the right (in purple), you’ll find specific strategies that emerged during the workshop. We call them “recipes” because they are practices that help unlock stuck moments, doubts, or mental blocks. Some are more analytical (drawing maps, looking for information), while others are more embodied or playful (dancing, walking, experimenting). Each person can use, combine, or adapt these recipes depending on what they need.

Critical Questions

At the bottom of the graphic (in blue) are the questions we used to reflect on what we were doing — drawn from Narrative Practices. Not as a form of judgment, but as a way to stay grounded and situated:

• Does this change something in me?
• Does it change how we relate to one another?
• Does it shift my connection to the space?
• Does it affect our memory?
• Does it open or close possibilities?
• Does it change how I move my body?

These questions help us understand the impact of each action, tool, or topic — and allow us to connect with what is happening on both an individual and collective level.

Areas of Interest

At the center is the "house of envelopes." This represents the topics that emerged during the process: concepts, intuitions, and shared concerns. These were not chosen at the beginning — they appeared organically through practice and exchange. The house is the heart of the archive, the point where learning styles, recipes, and questions converge.

What’s next

Based on the work done so far, CA2M is launching a second phase of the project focused on connecting with other learning environments: visits to workshops, artists, studios, and initiatives that, like FUGA, explore art and pedagogy from the edges.

The living archive we created — with no index, no hierarchy, no fixed logic — remains as a flexible map. It can be used as a reading tool, an activation device, or simply as a reason to keep exploring.

If you want to know more about this project, visit the Case Studie here.