EN OK. Ready, now it's recording.
BIO I work in everything that has to do with physical and chemical elaborations and algae flora, with toxins and the relation with human health. I am working around these issues in the Rio de la Plata context. We have facts, reports and everything that Eduardo needs in order to orient the work.
HOM And what's the biggest contaminant?
BIO Heavy metals and sewage.
HOM So the water isn't purified when it reaches the Rio de la Plata?
BIO No. I mean, the treatment that exists is not enough. And the purifying plants are nearing the end of their functional life, and everything that is discarded comes in one way or another to the system. It's predominantly on the bacteriological and microbiological levels, which aren't proper bacteria—algae, for instance, that produce toxins. They are hepatotoxic and also attack the brain, and they nourish themselves with nutrients from the organic matter in the untreated sewage. And with all that, the heavy metals settle as sediment and also affect the animals.
HIST Eduardo, how can we guide you with our information about the river?
EN My idea is that Dr. Draiman can learn about the state of the river and can then prescribe a homeopathic treatment for it.



Tratamiento homeopático para el Rio de la Plata sets out to modify the way in which we relate to the aquatic landscape of the city of Buenos Aires. It uses homeopathy as tool for transformation and borrows Dr. Masaru Emoto's technique to visualize the current state of the Rio de la Plata.
The following conversation between homeopath Dr. Mario Draiman (HOM), the biologist Alejandra Bustamante (BIO), the architect and art historian Marta Mirás (HIST), and the artist Eduardo Navarro (EN) aimed to diagnose the state of the river in order to evaluate and determine a specific homeopathic treatment for its symptoms.
Their conversation took place on November 7, 2013 at the Asociación Homeopática argentina in Buenos Aires. In December 2013, Eduardo Navarro created and exhibited a dispenser for this homeopathic treatment as part of the exhibition Aquella mañana fue como si recuperara si no la felicidad, sí la energía, una energía que se parecía mucho al humor, un humor que se parecía mucho a la memoria (curated by Inés Katzenstein and Javier Villa) in Buenos Aires's Parque de la Memoria. A booklet containing the unabridged Spanish version of the following conversation was also part of the artwork. Together with Rivet, Eduardo Navarro edited the original Spanish transcript and translated it into English.