Bernardita Bennett is a Chilean visual artist and photographer. She has studied a Bachelor in Arts in Pontificia Universidad Catolica de Chile and a Master in Public Art and New Artistic Strategies in Bauhaus Universität-Weimar. Her practice is based on the documentation of places in state of obsolescence to create memory archives. In other works she deals with home as a malleable and portable concept and structure. In her latest artistic practice she embodies through performance different ways of recording reality by walking, roaming and traversing in the urban and natural landscape. She currently lives and work in Berlin.
I would like to explore a new territory for my feet to trespass, especially in nature. To get to know new pilgrim routes in the forest, resonates as the perfect environment to give continuity to my investigation. Where I come from in Chile, inhabitants of the south believe in spirits that inhabit the forest as it is "Ngen-ko", the water souls that resides in the clean moving waters of the seas, springs, streams, canals, rivers, lagoons, lakes and seas. The Ngen -Ko observes they're continuous flow and their fertilising action on the earth. Ngen-ko speaks and sings joyfully when the water has a lot of flow. Inspired by the Mapuche cosmo-vision, my aim has been to capture the feeling of the Ngen-ko and record through drawings, reflections and sound recordings the various tones of this voice, as is the focus of my latest research, to create a close interaction with nature. This new context of walking signifies an expansion of this spirits of the forest and waters research. On this I will compliment my walking diary that I have been carrying lately, and my sound recorder to capture the voice of the landscape. I am super motivated to engage with other walking artists, share ideas and hopefully create future collaborations. I want to take as much of it from this one or two weeks experience.



Chapter 1 

Wet strolling

Chapter 3 

Getting Lost

"The work of artists is to open doors and let in the prophecies, the unknown, the strange; that is where their work comes from", affirms Rebecca Solnit in "A field guide to getting lost". She contrasts the situation with scientists, who "transform the unknown into the known, they capture it like fishermen capture fish with their nets; artists, on the other hand, take you into that dark sea". Getting lost in the sense of "a pleasurable surrender, as if you were wrapped in arms, enraptured, absolutely absorbed in the present in such a way that everything else blurs". Mentioning Walter Benjamin, Solnit states that "it is not to end up lost, but to lose oneself, which implies that it is a conscious decision, a voluntary surrender." Solnit speaks of getting lost in a way that "has to do not with dislocation but with immersion in a space in which the rest of the world disappears."

Solnit, R (2005) "A field guide to getting lost" Penguin Publishing Group 
I walk inside the water. Water is cold but less cold than I thought. In this part of the sea the water takes longer to get colder, it reaches until October to be berarble, swimmable, walkable. In Chile the Humboldt current makes water colder.
Soil is flat soft an easy to step, it caresses my feets. Wind blows, air is clean. I taste the water is a bit sweet and salty at the same time. I interact with the humid body of water and the wind, both greet me by touching gently my skin. 


I handle natural objects. I make believe im doing something productive with them. But im just handling objects. I sensor their coldness and humidity. Through them I get closer to the soil allowing me to breathe the freshness of it. I gather sticks and make them dance. This day there is no long distance walk, I instead handle objects, as a bridge, an extension of my hands, a link in bewteen my body and the landscape.

1st Video camera by Cliff Andrade

Chapter 2 

Handling objects