Caída Libre, born in Chile, is a non-profit entity and brand, an independent cultural and social project that since 2004 has carried out a series of initiatives in dissemination, training, and transdisciplinary artistic circulation, with a focus on the body, audiovisual technologies, and new media.

The cultural management projects under the hallmark Caída Libre arise from the social commitment of the artist Brisa MP, oriented toward creative and experimental artistic development with a forward-looking vision. The name Caída Libre unfolds from the dance company founded by Brisa MP in 2001, and later, in 2004, as a label for artistic programming.

Among the first initiatives of Caída Libre are: “Muestra de Videodanza” (Videodance Showcase), Sala Helvio Soto, Universidad Arcis (2004), “Iberoamérica en Videodanza” (Ibero-America in Videodance), Biblioteca de Santiago (2006), “Nuevas Miradas del Cuerpo en Movimiento” (New Perspectives on the Body in Motion), LOOP Video Art Festival of Barcelona + Canal Mono (Barcelona, 2007)

In 2007, the Red de Videodanza de Chile (VDCH) — Chilean Videodance Network — was created, producing VD MADE IN CHILE, the first Chilean Screendance compilation, launched at the MAC, Museum of Contemporary Art, Santiago de Chile, 2007. This compilation was self-produced and self-distributed across different festivals in America and Europe.

For more than 20 years, Caída Libre has served as a platform for young artists, researchers, and thinkers, through its training and dissemination projects focused on transdisciplinary intersections and artistic reflection around the body and technology.

Among its most notable projects are: INTERFACE: Arte, Cuerpo, Ciencia y Tecnología (INTERFACE: Art, Body, Science, and Technology, 2008–2015), a pioneering event in Latin America and FIVC, Festival Internacional de Danza en Pantalla de Chile (FIVC International Screendance Festival of Chile, 2009–2022).

Several editions of these events have received funding and sponsorship from national and international institutions, including the Ministry of Cultures, Arts, and Heritage of Chile; Centro de Extensión CNCA; Centro Cultural de España in Santiago; Biblioteca de Santiago; Museo de Arte Contemporáneo de Chile; Centro Cultural Matucana 100; Centro Cultural GAM; Balmaceda Arte Joven; Parque Cultural de Valparaíso; Alianza Francesa Concepción; and the Prince Claus Foundation (Netherlands), among others.

Through its program FIVC ON TOUR, Caída Libre has distributed Latin American audiovisual material in festivals across three continents. It has organized special editions of FIVC abroad in venues such as Teatro L’Escorchador in Lleida, Spain, and the Centro de Cinematografía de Costa Rica in San José. It has also presented video creation showcases in Barcelona, Spain, including La Tramuntana and Ciutat Expandida.

Caída Libre has collaborated with festivals in various countries in the Americas and Europe, among them: Festival Loop de Video Creación in Barcelona; SHOOT, International Dancefilm Festival in Stockholm; Festival dança em foco in Brazil; DV Danza Habana in Cuba; Breaking 8 in Italy; among others.

In 2006, Caída Libre co-founded the international network FLVD, Foro Latinoamericano de Videodanza (Latin American Videodance Forum), which in 2016 gave rise to REDIV, Red Iberoamericana de Videodanza (Ibero-American Videodance Network). Between 2013 and 2015, Caída Libre collaborated with the European cultural project Metabody, co-producing Interface-Metabody-International Metabody Forum-Chile, an international symposium on body and technology held at the Centro Cultural de España in Santiago in 2015. Caída Libre has also participated as judge and curator in BAC, Bienal de Cuerpo, Movimiento e Imagen (Biennial of Body, Movement, and Image) in Madrid, Spain, and in the International Dancefilm Making Award in Los Angeles, USA.

Since 2008, Caída Libre has devoted special energy to the creation of training projects aimed at different generations, especially young people with interests in transdisciplinary artistic creation linked to the body and the media. From the margins, it has sought to compensate for the shortcomings of academia through this type of formative approach, encouraging experimentation and creative thinking through strategies that promote “obsolete ethics” such as co-creation, collaboration, and co-learning.

Its own training programs—such as LED, Laboratorio Escena Digital (Digital Scene Laboratory), CMCLAB, Laboratorio Cuerpo Medios y Ciudad (Body, Media, and City Laboratory), MOTION Screendance, or A+T+C Arte, Tecnología y Creatividad (Art, Technology, and Creativity), among others—have been offered in universities, museums, and artistic spaces across Latin America and Spain.
Similar training initiatives have been carried out in Chile by distinguished national and international artists and scholars from Europe, Oceania, and Latin America, within the framework of the festivals produced by Caída Libre, FIVC, and INTERFACE. For these projects, the training of emerging artists has been a central concern.

Since 2015, Caída Libre has sought to strengthen and highlight the work of women artists, from an intersectional perspective and through ethics of sisterhood, by means of special programming and collaborative projects under the name BIONICA. At INTERFACE 2015, Caída Libre incorporated a special program featuring Chilean women artists. In 2016, it collaborated with musician José Luis Carles for his program La Casa del Sonido on Radio Clásica, broadcasting BIONICA: Women Sound Artists of Latin America on Spain’s National Radio.

In 2021, it organized BIONICA 1.0: Dones, Art, Tecnologia i Societat (Women, Art, Technology, and Society), an online event funded by the Instituto de Cultura de Barcelona, Spain, alongside the audiovisual showcase BIONICA AV, featuring women creators. This showcase was repeated in 2022 at the Centro Cultural de España in Santiago and at Centro La Barceloneta in Barcelona.