Siluetas de
Papa, de
Hierba y Fuego

Our silouhettes
of potatoes,
herbs and fire

Edited by Plante Sorcières Designed by Paloma Ayala About US Contact

WE are:

Caterina Giansiracusa Andrea Herrera Poblete Carolina Opazo Anne-Laure Franchette
Jocelyn López Kay Zhang Riikka Tauriainen Laura Rodríguez Vanesa Paloma Ayala

Our KIN:


*For an ideal print in B/W,
PLEASE use the print dialog
to select 2 PAGES PER SHEET*

This Web-to-Print Zine collects an experience lived by 10 women at Kaiserstuhl and Hohentengen, the Swiss and German border towns located along the shores of the Rhein River, during the summer of 2020.
47°34'12.2"N 8°25'09.0"E

Our movements there were initially inspired by the 'Siluetas' series by Cuban-US artist Ana Mendieta, and were then guided by other artists, mystics, authors, gardners, and neighbors. We intensely evoked their presences while performing group readings, workshops, and rituals; and during our cooking, gardening, digging, swimming, and walking moments.

The Web-to-Print method that will let you print in a pre-designed version on paper size A4, is not only our response to Covid measures, but part of a thought process where we try to revisit notions of collectivity at a distance, maintenance of imagined ecologies and sustainability. How do we care for each other, listen, interact at a distance? What other layers of relational structures between ourselves and the space by the river, can we sustain and maintain further? How is situated knowledge engaged?

We deeply thank Lucile Haute, the CyberWitch, for initiating us in the practice of making web-to-print zines and Cyborg Coalition for kindly hosting our website.

We are grateful to the people of Kaiserstuhl and Hohentengen, especially to the Hochrhein Triennale organization team for supporting this endeavor. Thank you everyone!


Brujxs Cosechando*
pieza realizada por Carolina Opazo
collection of sounds recorded in
Kaiserstuhl/Hohentengen, 2020
*find more at

Liminal Kin
sound piece created by Kay Zhang
as part of her sound research about care

Ursula Le Guin

We begin how we began our every morning:

Uddiyana Bandha: a Fire-breath praxis led by beloved Jocelyn López

Drawing by Jocelyn López

'Borderlands/La Frontera:
La Nueva Mestiza'

Gloria Anzaldua

After lighting our inner fire, we navigated a riverine space

Rythmic Navigation
this is our intrinsic magic.

buummm, bu da bum buuum buummm,
bu da bum buuum buummm,
bu da bum buuum buummm
tchak bum tchak bum tchak
bum tchak bum tchak
tchak tchak tchak bum
tchak tchak tchak bum
tchak tchak tchak bum
tchak tchak tchak bum
Como las Ñañas, hicimos
chocar las rocas
to greet her, the River.

tchak pac tchak pac tchak pac
tchak pac chak pac tchak pac
bumbum pac bumbum pac bumbum
pac bumbum pac bumbum pac

We asked,
what is the act of listening teaching us, River?
What is it giving, taking, returning, making sure that, River?
And to which purpose, presence, thing, material, agency,
should we give, take, return, make sure to learn from?-

We screamed,
-River! Must there be a purpose, a gift,
a thing to take or return?!-

River responded in murmurs and splashes.
We then spoke between us in quiet murmurs and splashes.

What was then said, translates as something like this:
We are not an embodiment of River.
We try not to step in her shoes, her flow, color, temperature, her bio-content or border persona. In fact, empathy happened way before we touched her, before we swam her cold waters. Our relationship happened out of imagination of a mutual understanding.

-River is a host. Not a teacher- we murmured.
-Why should we expect to be educated, anyway?- we splashed.

Not every moment is lived to take or give. Not every relationship is about LOSS, GAIN, LEARN, and FORGET.

We navigated
and continued life.

text by Paloma Ayala

Andrea Herrera Poblete

Drawing by David. Animation by Andrea Herrera Poblete

Talking to the River
Sound Ritual

Mapuche women healers, who live in the mountainous areas of the Biobío region in Chile, have a strong connection with rivers. They always thank their spirit and connect with their strength. Holding and hitting two stones in their hands, they sing to them. They inspire us.

We knew that when we arrived in Kaisersthul, the Rhine River would be our companion. In the mornings and at night, its humidity rose to the third floor of the lodging house called Spittel, where we stayed. We walked along with it for several hours, during the day and at night. We wanted to connect with its affluent and we talked to it holding stones and making them play: we stood next to each other, put our hands in the water, and took two stones, with which we let it know that we were there.

Each one of us asked questions or thanked the being next to it.

Several minutes passed by, when we intuitively stop the rhythm and left the stones in the fire-silhouette, in silence, always in silence. The fire would cook our dinner and transform this part of the Rhine river bed into an affective feminist space.

text by PlanteSorcières

Our Readings:
'Like the Grass in the Cracks'

Caterina Giansiracusa

Witches in balance!
Practice to turn on a fire

A series of excercises led by beloved Jocelyn López

Words and presence by Jocelyn López @mandelasgold. Camera and setting by Adriana Berroteran @nuarnoir.

I learned this series around 4 years ago in Mexico from my dear Tantra teacher Akbal Sandoval who is the creator of the feminine healing therapy Shakti Healing. I got certified as a Shakti Healer by the Pt. Dayaram Institute of Holistic Healings & Sciences from Rishikesh which supports Akbal, and there she taught me and other healer colleagues the series I am sharing you now (the title Everyday Pucha Power is mine). Since then, I've been practicing the three exercises mostly every day. They help me ground, relax and start my day with a feeling of balance and magnetizing power. The first part "Light bath" is a delicious energy bath you can do any time of the day. You can sit in a lotus position or a chair, close your eyes and start your practice with it. You can do this even if you are standing and with your eyes open; it is a great way to connect to the light around you and it is also related to the energy of the Sun or the masculine energy of duality (however you identify it or name it). I named the second part "Puchamamma Breathing" because it connects you with your Pucha, Vulva/Vagina and the energy of the Earth or the feminine energy of duality, 5 minutes are enough and you can do this for longer if you want to (just try to be very present while you practtice it), preferrably during the morning because it activates you a lot. The "Uddiyana Bandha" helps you seal, balance and integrate these energies within. I missed to mention in the video that it is better to try the Uddiyana Bandha with an empty stomach because you will be contracting your belly. While you are not breathing, put your chin down to create a lock and hold your breath easily. You don't need to stay a long time holding your breath during the Uddiyana Bandha, 30 seconds with your belly in and 30 seconds with your belly out are enough. This is a powerful apnoea exercise and if you hold your breath too long in this position you could fall and hurt yourself so take it easy and enjoy without putting too much pressure in you.

The series by itself is a complete practice even if only takes 15 minutes. Of course you can always complement this with other meditation techniques, unless it is specifically suggested not to by your meditation guide or teacher. Paloma, Anne-Laure and me were practicing these exercises everyday in Kaiserstuhl. I hope you enjoy the practice a lot, sparking your power and connecting with your body and energy around you everyday!

Our Readings:
Matters of Care

Maria Puig della Bellacasa

... then our lover Caterina generated stories from sourdough.

We spoke with yeast, with wheat, salt and water. Thank you, love.

And the two snakes suddenly tightened up to each other, intertwined firmly. As if they were trying to fit the skin flakes of their skin, one under the other, as if they were pieces of a single mechanism.

Their bodies slipped over each other, making increasing friction. It all started with a movement that seemed almost like dancing. They had never seen each other before, but they knew for sure that they were born from the same material, from the same hand. Their scales were impressed with the same prints, their skin gave off the same scent. They didn't really know how long they had existed, but they knew that they had been created within seconds of each other; and now the urge to merge into a single form was irresistible. No matter what form they would become, the only thing that was certain was that they had to adhere to each other completely. The spiral created by their bodies became thinner and thinner. Any movement different than a centripetal one had become impossible. They did not know the story of Kay Kay and Treng Treng vilù, of their mythical struggle that led to the division of sea and land, to the creation of mountains, birds and fish. But like Kay Kay and Treng Treng vilù, they could not be one without the other. When the fury of their seemingly endless embrace came to a halt, the only thing left on the surface was the end of their tails, also fused into a single protrusion in the upper centre of this new ovoid form, which breathed with a single movement, a unique rhythm. In its exact middle there was a hole, barely ajar, almost as if it were a wound, from which the breath started and through which life could pass. They did not know the story, the two snakes, they had never heard it, but their flesh knew, their scales suggested to the world that they could not exist without each other; and that, in order to generate and give life, they had to commit to this endless embrace.

The world in which the two snakes lived was made up mainly of dust and water, it was a world in which substance had a life of its own, in which the movement of one form inevitably conditioned that of another, and the only possible motion was that of seeking, to generate and regenerate oneself. The exchange between what happened on the surface and what lived in the profundity was continuous and inevitable, as was the fragmentation of forms and the mixing of materials. Sometimes the air was crossed by flying organisms, most often spherical, which had decided to become lung, containers of breath and stories. Perhaps, these spherical organisms came from an external world, nobody knew it for sure, but it was known that they were keepers of whispered words, that, keeping on blowing, allowed them to hover in the air. One day, one of these organisms, decided to go stretching downwards. To do that she has to open more of her own sphere to the outside world, creating a gap in her almost closed form. In her continuous wandering, from time to time, she happened to carry passengers who otherwise would not have been able to fly in the air. Her balloon collected their stories and used their breath to keep flying. The stories and the breaths mixed inside her body, and when the wind took out moments from them, these were now made up of a thousand fragments. All these fragments were coming from as many different mouths, and the stories that were blown into the air no longer had an origin, but continued to tell themselves always different. The more time passed, the more easily it happened that these fragments of stories, eternally migrating in the air, met, knotted, merged and enlarged, like a cloud that, as it passed, collected the thousands of droplets in its path.

It was from the encounter of a hundred and more fragments that the history of the island of volcanoes was born. It is said that in the beginning the island wandered under water, when her rind was still made of hard, lifeless, resistant and hostile matter. She was built to explore, observe, spy and transport; her body was forged from hard metal to allow warlike passengers to cross and plumb the seabed. No one knows for how many years she wandered, but suddenly, one day, she decided to stop. She decided to rest slowly on the seabed, letting herself be: enveloped by the surrounding materials, crossed by the living creatures in the water. She decided to anchor herself to the seabed; she chose a place in which to sink her roots: after so much wandering, she had found her place.

With the passing of time the substances around her began to adhere more and more to her body, and gradually transformed it. As time went by, her rind changed, now contaminated by the life around it, hybridized with everything it came in contact with; and the more the rind grew and transformed, the longer the roots grew into the ground. Until one day - perhaps the day of the snake dance, nobody knows for sure - a sudden and violent seaquake turned the world upside down, and the island, firmly anchored to the seabed, for the first time found herself observing the sky. Her body, now in contact with the air and exposed to sunlight, starts to change. Her roots had penetrated so deep that they had reached the lava present in the heart of the world, and they were now ready to become pulsating veins, to transport that liquid to the welcoming centre of the body which had become home, which had become matter capable of generating other matter. And this is how the island became an island, positioned at the centre of the world. The four observation towers became four volcanoes which, following a circular rhythm, erupted lava to feed the fertility of the soil and release matter into the surrounding waters. The island was inhabited by many creatures, and many others stopped to rest on her passing by sky and sea.

One of those that from time to time landed on her beaches in search of a brief moment of rest from her continuous wandering, was a creature unable to stay still for too long, and unable to maintain a stable shape. In the first period of her life she was constantly changing aspects, sometimes even after just a few seconds. There were times when she happened to move in such a changeable state that she had several forms at once to cross her body. As time went by, and after so much changing, she finally found a state in which she could recognize herself a semi-stable structure that allowed her to continue to travel through water, air and land. She kept changing shape, this is certain, but she had found - or perhaps we should say she had chosen - three structural states in which her body could mould, opening her wings to take flight, stretching and multiplying as tentacles to move in the depths of the sea and, finally, hardening and articulating them to be able to walk on land. Her primary task was collecting stories all around and helping them to travel through her body. She was one of the main weavers of her period: intertwines stories by her wandering, to keep stable the structure of the world.

Among the other - many - creatures that inhabited the island and its surroundings, there were two almost opposite in their being, one of the earth and one of the sea. The first was born from a lava puff coming directly from within the world, and was the only creature in the all word keeping a stable shape. She was a very old being, perhaps the oldest of them all, and belonged to a time when it was not yet known that bodies could mutate, and all creatures lived enclosed in one form, one role for all life. Since there were stable and unchanging bodies, at a certain point roles and hierarchies were created, and these were brought with them power dynamics with which it was thought, it would be easier to govern the world. Fortunately this happened a long time before, and now she, the only survivor of that world, had decided to keep her form unchanged in order to remind everyone of that past and never wanted again. She lived in the belly of the island, under a volcano, and from there she collected the stories of the world by perceiving its vibrations with her body, through the living matter of the world. The second was also very old, almost as old as the first, and also lived in a body that, by choice, did not change shape, but gender. She was a creature that based herself on the relationship, on the other, on who she met. It was always her, always the same, but every time she met another creature, she changed a little bit. It was mainly an inner changement. She lived in water, she preferred it to the other elements: water allowed her to keep fluidity in her body and in her being; to move easily and with a sinuous motion, peeling among the particles of matter. Like the first one, she too witnessed a different past period. She, too, was the only one left of her species, but unlike the first, she lived in a state of continuous wandering, of continuous encounter. Almost as if she had to take her story to every corner of the world, take it to the most remote recess.

This story was born by interweaving the narrations and stories of a July morning in Kaisersthul/Hohentengen and the conversations that took place during an intense week of exchange and sharing. The morning started the night before, actually, when we "refreshed" the sourdough who lived with us in the kitchen of the house where we were staying: which simply means that we fed it. But to do so we used our hands, and the bacteria that lived there met those who lived in the dough for an instant. They mixed and multiplied together. During the night the dough grew, and we were able to shape it as the story was born, follow the shapes of the narrative and let the story take inspiration from what our hands, together, created.

The pretext that led us to tell a story - more stories - was that of a workshop in which we tried to narrate by making bread and creating figures with the dough, together.

The people who contributed and made this story possible are:
  • Vanesa
  • Paloma Ayala
  • Anne-Laure Franchette
  • Andrea Herrera
  • Jocelyn López
  • Carolina Opazo

Our Readings:
'Agricola Cornelia'
Gianfranco Baruchello

One day, we digged a hole
in a ground that fed us, by the shore of a river that hydrated our listening, reading and walking bodies.

Storytelling voice is Caterina Giansiracusa reading 'Sur' by Ursula le Guin. Video filmed by Andrea Herrera Poblete, edited by Paloma Ayala

Thinking of Ana Mendieta's series of "Siluetas", we digged an Anamen-fire to cook Anamen-soup, Anamen-rice and Anamen-vegetables.

By the third day, we were calling ourselves witches. Not because we thought of us as such (with the exception of the PlanteSorcieres Collective and Jocelyn Lopez, our relation to the notion of a woman with mystical powers was more about looking at reproductive work, care and maintainance chores, as a form of knowledge potentially able to change the many negative structures framing women) but because some ladies from the town called us 'Hexen'. For real. And we liked it.
As witches, we walked the shore path by the Rhein river, north and back from Kaiserstuhl to Hohentengen. At some 5km north from our base town, the huge Eglisau-Frauenfeld Wasserkraftwerk stands. It belongs to Axpo AG, the biggest energy producing company in Switzerland, which also owns the shore land where we were walking, gleaning and digging.
As witches, we encountered the hydroelectric and its power in different ways. First by observing the obvious monster of structure, it's height, the loudness of the water turning turbines round and round, the history told by Axpo, explaining that 60% of Swiss energy comes from water since about 100 yrs. Then by enjoying the movement of people that practiced a funny sport were row boats managed to use the turbine water release, to move against the current and back in a cyclic motion. Finally, by crossing the bridge and noticing the arrested environment that the dam creates.
Oh! And not to forget, the hydroelectric happens to be the only international bridge that stays open for walkers, during pandemic times, which in the case of one of our members, it was important since she was having migratory issues with the German state.
It's quite spectacular how this, and the other human infrastructures that we encountered on the way, make sure that natural processes become economical services. Big gestures, neat energy, orderly habitat. This grandious and picturesque look of power.
So as witches, it became significant to perform care work right at the piedmont of this huge power generating structure. We made sure to give space for such gestures. We greeted the river with a sound ritual led by Andrea Herrera Poblete... so simple and beautiful it is to make stones crash in collectivity. We meditated at sundown led by Jocelyn Lopez. We digged slowly and constructed an Anamen-fire inspired by Ana Mendieta's work. We read stories and cooked all sorts of Anamen-things and while feeding ourselves, we thought of feeding the world with good food and stories.
The Anamen-fire events give space to reflect on the intersection of our imaginations -personal space, collective space- with the natural spaces and the forces that surround and nurture, change or destroy it. Our witchy persona is alos about having visions of what was or can be.

Our Readings:
'In context: public art ecology/Food edition 1'
Caretto and Spagna

Drawing by Jocelyn López

Our Readings:
'Maintenance Manifesto'
Mierle Laderman Ukeles


This is an angry story.
FUCK YOU European immigration policies.
Change NOW!

pg 1

I am an immigrant.

I am a scientist, a virologist, with two PhDs, one of them obtained in the Netherlands at a prestigious university. I speak perfect Spanish, fluent English, basic French, some German, and a bit of Dutch. I have published in international scientific journals and given talks in international conferences. I pay taxes, recycle, wait for the green light to cross a street.

These credentials do not take away any prejudices against the immigrant status, but I thought they would make me more likable. Fine, I am neither white nor blond, but who wouldn’t want to have me as an immigrant? I am the nice and friendly immigrant that both left- and right-winged groups would want.

Well, this is the chronicle of a good immigrant against the German immigration system.

pg 2

Episode 1.
Congratulations, you are married to a German

I left France after an intense period of work in a first-class scientific research institute.

On January 3, 2020 I got married to a German citizen that I also happen to love.

My new life was ahead of me. All the plans were set.

Episode 2.
The wife´s visa

Nobody told me that there is a waiting time of 3 months to get an appointment in the German Embassy in Paris.

For those of you who have no immigration experience, a visa is not the same as a residence permit. The appointment in Paris was to ask for a family reunification visa, a document that would give me the right to enter Germany. Once you are in Germany, you can apply to the residence permit, the document that allows you to exist there for longer than 90 days.

But in my case, I was already in Germany holding a French residence permit! Can I skip the visa step because it makes no sense and just directly apply to the residence permit in German soil?

“No”, said the Auslaenderbehoerde (Foreigners Administration Office) in Stuttgart. “You have to go to Paris”.

But it makes no sense, I thought. Let´s call a lawyer.

pg 2

Episode 3.
The refugee

The lawyer sent the Auslaenderbehoerde a set of legal documents with legal arguments explaining why legally I should be allowed to skip the visa step in Paris. Attached were a copy of all my diplomas and qualifications for them to be aware that I am a highly educated immigrant. You know, the super likable one.

After a couple of months, the Ausländerbehörde decided to send my case to the Office for Refugees. Because… well…

And then the bomb exploded.

The Office for Refugees´ official reply to my request was:

• No, you have to go to Paris.
• You entered Germany illegally.
• Your 3 months of being able to be in Germany expired.
• You have to leave the country.
• If you do not leave, we will send you the police.
• Meanwhile, you have to give us your passport and traveling documents.

Sehr geehrte Frau XXXX,

anbei erhalten Sie die Grenzuebertrittsbescheinigung, gültig bis 11.08.2020.

Wir bitten Sie noch um Uebersendung Ihres Passes, sowie des franzoesischen Aufenthaltstitels. Der weitere Schriftverkehr erfolgt über Ihren Rechtsanwalt.
Sofern Sie nicht fristgerecht ausreisen oder di Ausreise nicht wie vorgescrhieben nachweisen, kann ein Einreise- und der Aufenthaltsverbot angeordnet werden. In diesem Fall werden Sie im Fahndungssystem zur Einreiseverweigerung und zur Festnahme ausgeschrieben.

Yes, I got an official letter from the German government stating that I broke the law, threatening me with the police, and treating me as if I would be a criminal that could escape the country any minute.

I could not believe it.

I was shocked.

I cried a lot.

I felt humiliated.

Since I am a nice immigrant, I left Germany within the legal time I was given by the German government.

pg 3

Episode 4.
Back to France

On July 1st I had the appointment at the German Embassy in Paris. It just took me 6 months to get it. Three months of the average waiting time plus three months of delay because of the COVID-19 situation.

Afterwards I was forced to stay in France because it was illegal for me to go back to Germany, even to visit my husband.

The German government had officially kicked me out of their country.

Episode 5.
It is not our problem

I moved to Strasbourg to wait for the wife´s visa to be approved.

After 2 months of waiting I started to get nervous. My French residence permit was going to expire by the end of September and without the German wife´s visa, I was obliged to leave Europe.

Yes, we immigrants have expiration dates. Very much like food in the supermarket.

My German husband called the Ausländerbehörde in Stuttgart to ask - in German language - for my case. “What if her residence permit expires? Will she have to go back to her country?”

Their answer was very simple:

Es ist nicht unser Problem. It is not our problem. No es nuestro problema.

I am not their problem. Good to know.

pg 4

Episode 6.
La Petite France

Me: France, are you there?

France: Yep, how can I help you?

Me: I know I have complained a lot about you, but I need some help here.
France: Yep, I´m listening.

Me: My residence permit is about to expire, and I have no income.

France: No problem. Here you have a new 2 years residence permit and your Chomage (unemployment benefit) that you of course deserve because you worked for us for 3 years.


I am angry.

Did you know the Auslaenderbehoerde in Stuttgart is famous for being one of the worst in terms of service, transparency and communication, in Germany? They argue that they are understaffed and overwhelmed by the thousands of visa applications they get every week. Somehow, they think that it gives them the right to treat people like shit.

I know it is not personal, because probably they are treating many others like shit.

I have noticed that German people do not know that. They think that coming to their country is an easy process, specially being an immigrant “like me”. Some are even proud on how friendly Germans are to foreigners, unlike the French.

But it is not true.

I still cannot believe what I have gone through. It is beyond my imagination what other immigrants, the “illegal”, the real refugees, the ones that have no economical support, the terribly vulnerable populations, must go through.

Ten months after getting married to a German, I am still waiting for my wife´s visa.

I am exhausted.

And angry.

FUCK YOU Germany for treating me like shit, like a criminal, like I do not deserve a place there. FUCK YOU for your lack of empathy.

Frau Dr. X,
the good immigrant

With love
presenting one of our kin:

Scroll down or click on link to go to the website.

Our Readings:
'Derek Jarman's Garden'
Anne-Laure Franchette and Elise Lammer

Exercising our voice, loud by the hydroelectric and the Rhein River
Text and reading by Andrea Herrera Poblete

Video filmed by Andrea Herrera Poblete, edited by Paloma Ayala

Our Readings:
'Canción sin Miedo'
Vivir Quintana
Our Readings:
'L'hymne des Femmes'
Paroles for Protest

Drawing by Jocelyn López

Our Readings:
'Letters from Onion Island'
Paloma Ayala

This website was pleasurably coded and put together by Paloma Ayala
Edited by PlanteSorcières -Caterina Giansiracusa and Andrea Herrera Poblete-
Photographs by Andrea Herrera Poblete and Laura Rodriguez

Typesets: FIREPROOF, MashedPotato, Firework