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Poloni",{"id":1620,"label":1621,"values":1622},2336,"Production Assistants",[1623,1626,1629],{"id":1624,"value":1625,"url":66},4404,"Bernat Bastardas Llabot",{"id":1627,"value":1628,"url":66},4405,"Carmen Chacón Hermoso",{"id":1630,"value":1631,"url":66},4406,"Marina Frean Marsa",{"id":1633,"label":1634,"values":1635},2337,"Production Intern",[1636],{"id":1637,"value":1638,"url":66},4407,"Thamyres Matarozzi",{"id":1640,"label":1641,"values":1642},2338,"Art Handler & Maintenance Coordinator",[1643],{"id":1644,"value":1645,"url":66},4408,"Joan Galí Sanarau",{"id":1647,"label":1648,"values":1649},2339,"Maintenance Assistants",[1650,1653,1656],{"id":1651,"value":1652,"url":66},4409,"Cayetano Truyols",{"id":1654,"value":1655,"url":66},4410,"Helena Martínez Aragon",{"id":1657,"value":1658,"url":66},4411,"Pablo Apellániz Catalán",{"__component":992,"id":1660,"label":1661,"values":1662},310,"International Foundation Manifesta Supervisory Board",[1663,1669,1676],{"id":1664,"label":998,"values":1665},2340,[1666],{"id":1667,"value":1668,"url":66},4412,"Lilian Gonçalves-Ho Kang You",{"id":1670,"label":1671,"values":1672},2341,"Chair (until September 2023)",[1673],{"id":1674,"value":1675,"url":66},4413,"Alexander Rinnooy Kan",{"id":1677,"label":1011,"values":1678},2342,[1679,1681,1684,1687,1690,1693,1696],{"id":1680,"value":1027,"url":66},4414,{"id":1682,"value":1683,"url":66},4415,"Rob Defares",{"id":1685,"value":1686,"url":66},4416,"Joumana El Zein Khoury",{"id":1688,"value":1689,"url":66},4417,"Kathleen Gertrud Ferrier",{"id":1691,"value":1692,"url":66},4418,"Sofía Hernández Chong Cuy",{"id":1694,"value":1695,"url":66},4419,"Kensmil",{"id":1697,"value":1033,"url":66},4420,[1699,1712,1722,1732,1742,1753,1763,1772,1784,1796,1806,1815,1825,1834,1843,1853,1862,1872,1881,1889,1899,1911,1920,1929,1938,1949,1959,1968,1978,1989,1998,2007,2012,2021,2031,2042,2054,2063,2073,2086,2096,2107,2116,2126,2136,2147,2156,2166,2178,2187,2197,2205,2213,2222,2236,2245,2254,2262,2271,2282,2291,2301,2311,2320,2331,2341,2354,2364,2374,2382,2391,2414,2427,2436,2447,2456,2473,2482,2491,2500,2512,2524,2534,2543,2552,2561,2570,2581,2590,2599,2608],{"sortKey":1700,"collectiveName":431,"names":66,"id":429,"documentId":430,"annotation":66,"richText":1701,"images":1702,"nationalities":1706},"a","\u003Cp>Anca Benera and Arnold Estefan, based in Vienna and Bucharest, have been collaborating since 2011, seamlessly integrating art with everyday life. Their projects often focus on the relationship between history, environment, climate, ecology and resource politics. Their earlier works in installation, video and performance delved into the hidden mechanisms behind historical, social and geopolitical constructs. They investigated how military imagination shapes landscapes, climates and communities, intersecting with resource extraction economies. Recently, they have shifted towards creating acts of reciprocity, addressing the global ecological crisis and weaving stories of non-human protagonists. Their work fosters interconnectedness among humans, minerals, plants, and animals. Their art has been exhibited in solo and group exhibitions at the likes of Neuer Berliner Kunstverein, mumok, Migros Museum, Palais de Tokyo and the 13th Istanbul Biennial.\u003C\u002Fp>",[1703],{"id":1704,"documentId":1705},2350,"vhgd9b0qlhbgm4wntyspv713",[1707,1710],{"id":1708,"nationality":1709},1133,"AT",{"id":449,"nationality":1711},"RO",{"sortKey":1700,"collectiveName":66,"names":427,"id":425,"documentId":426,"annotation":66,"richText":1713,"images":1714,"nationalities":1718},"\u003Cp>Dana Awartani’s work critically and contemporarily reinterprets the forms, techniques, concepts and spatial constructs that shape Middle Eastern culture. Drawing from a multitude of historical references, especially Islamic and Arab art traditions, Awartani’s practice bridges continuity and innovation. At the intersection of art and traditional craftsmanship, Awartani’s creations use materials from historic architecture and vernacular and ancient design ontologies. Her work spans painting, sculpture, performance and installation, showcasing a commitment to historically situated and locally sourced materials. This approach sensitively addresses a variety of urgent political concerns such as gender, healing, cultural destruction and sustainability. Central to her practice is an exploration of geometric patterns as an alternative genealogy of abstraction.\u003C\u002Fp>",[1715],{"id":1716,"documentId":1717},2349,"bjoelveknvywvtrbnksyrrcm",[1719],{"id":1720,"nationality":1721},1128,"PS",{"sortKey":1700,"collectiveName":66,"names":419,"id":417,"documentId":418,"annotation":66,"richText":1723,"images":1724,"nationalities":1728},"\u003Cp>Jonathas de Andrade, residing in and creating from Recife in Brazil, is a multi-disciplinary artist renowned for his captivating videos, evocative photographs and immersive installations. His artistic practice revolves around the intricate interplay of images and texts, navigating the frontier between fiction and reality, tradition and the dynamic negotiations of local communities. Grounded in a profound engagement with social issues, Andrade's work transcends conventional boundaries, delving into the rich tapestry of language and anthropology to interrogate concepts of truth, power, desire and the social imaginary. Notably, in 2022, Andrade achieved a significant milestone by presenting a solo project at the Brazilian Pavilion during the 59th Venice Biennale, cementing his status as a leading figure in the contemporary art scene. \u003C\u002Fp>",[1725],{"id":1726,"documentId":1727},2347,"y1oaj1d8bqmho7pmda3mreqx",[1729],{"id":1730,"nationality":1731},1120,"BR",{"sortKey":1700,"collectiveName":66,"names":407,"id":405,"documentId":406,"annotation":66,"richText":1733,"images":1734,"nationalities":1738},"\u003Cp>Korakrit Arunanondchai’s work delves into the ability of storytelling to mutate and corrupt existing narratives around identity and belief systems. Through his diverse artistic practice encompassing video installations, paintings, sculptures and performances, he constructs a rich tapestry of interconnected compositions formed out of experiences of loss and political turmoil but also spiritual togetherness.\u003C\u002Fp>\u003Cp>Operating primarily from Bangkok and New York, Arunanondchai collaborates with a range of artists. He employs an essayistic and experimental approach to gather audio and visual materials from various sources. His narratives, enriched with philosophical and mythical references, provoke contemplation on themes of consciousness, belief systems and community.\u003C\u002Fp>",[1735],{"id":1736,"documentId":1737},2345,"bmnudxd6aj5wq6sg7j2fe71s",[1739],{"id":1740,"nationality":1741},1145,"TH",{"sortKey":1700,"collectiveName":66,"names":415,"id":413,"documentId":414,"annotation":66,"richText":1743,"images":1744,"nationalities":1747},"\u003Cp>The solo and collaborative projects of Larry Achiampong employ film, still imagery, archives, live performance, objects and sound to explore ideas surrounding class, gender, cross-cultural and post-digital identity.\u003C\u002Fp>\u003Cp>With works that examine his communal and personal heritage, particularly the intersection between popular culture and the post-colonial position, Achiampong crate-digs the vaults of history. These investigations examine constructions of ‘the self’ by splicing the audio and visual materials of personal and interpersonal archives, offering multiple perspectives that reveal the deeply entrenched inequalities in contemporary society.\u003C\u002Fp>\u003Cp>Achiampong received his BA in Mixed Media Fine Art from the University of Westminster in 2005 and MA in Sculpture from The Slade School of Fine Art in 2008. In 2019, he received the Paul Hamlyn Artist Award and, in 2020, he was awarded the Stanley Picker fellowship. He was nominated for the Jarman Award in 2021 and is represented by C Ø P P E R F I E L D.\u003C\u002Fp>",[1745],{"id":1677,"documentId":1746},"p7e87mwhmxtzp4x7cjt4mka7",[1748,1751],{"id":1749,"nationality":1750},1135,"GB",{"id":477,"nationality":1752},"GH",{"sortKey":1700,"collectiveName":66,"names":403,"id":401,"documentId":402,"annotation":66,"richText":1754,"images":1755,"nationalities":1759},"\u003Cp>Martha Atienza is a Dutch-Filipino video artist exploring her chosen format’s ability to document and question issues related to the environment, community and development. Born to a Dutch mother and Filipino father, Atienza has navigated between these cultures throughout her life, and the oscillation between the two significantly influences her approach to observation, documentation and the concept of the gaze. Her videos are rooted in both ecological and sociological concerns as she studies the intricate interplay between local traditions, human subjectivity and the natural world. Frequently examining her immediate surroundings, she excels in engaging the potential of art as a catalyst for societal transformation.\u003C\u002Fp>",[1756],{"id":1757,"documentId":1758},2344,"cmlsqmzjrg6slxnp2x568gkt",[1760],{"id":1761,"nationality":1762},1130,"PH",{"sortKey":1700,"collectiveName":66,"names":423,"id":421,"documentId":422,"annotation":66,"richText":1764,"images":1765,"nationalities":1769},"\u003Cp>Niels Albers is an artist with a background in structural engineering, design and architecture, as well as animation and video. In his practice, he delves into the intricate relationships between humans, animals and the wider web of life on our planet. His fascination with origins, games, play, maps and routes has sparked a genuine concern for the impact of human activity on the ecosystem, blended with a fascination for architecture.\u003C\u002Fp>\u003Cp>Albers crafts large-scale spatial interventions, installations and \"food sculptures\", inviting physical interaction from viewers. His works are meant to be climbed on, sat on, touched, eaten and, above all, played with. Beyond their sculptural qualities, his creations respond to specific contexts, often carrying layered social and political significance.\u003C\u002Fp>\u003Cp>As one of the founders of Fabulous Future, an international collective, Albers engages in multidisciplinary research and experimentation to explore the nature of space and how it is constructed.\u003C\u002Fp>",[1766],{"id":1767,"documentId":1768},2348,"nsc7tyzh48ssf8gjw2s09qw4",[1770],{"id":1771,"nationality":382},1137,{"sortKey":1700,"collectiveName":66,"names":411,"id":409,"documentId":410,"annotation":66,"richText":1773,"images":1774,"nationalities":1778},"\u003Cp>As time goes by, Nora Ancarola's work becomes more closely tied to two aspects of reality that deeply concern her. The first one is the exploration of the potential of artistic mediums to offer fresh interpretations. This practice allows her to revisit both small and large historical narratives, as well as social realities. The second one is delving into the observation and utilisation of the creative process. This approach recognises creativity as a tool for transformation to address individual and systemic discomfort.\u003C\u002Fp>\u003Cp>Taking all of this into account, Nora uses visual elements where images blend the personal and the public, with a clear aim to rethink the rules that guide them. Each project involves a unique development, requiring specific technical resolutions and spatial considerations. The ongoing dialogue between image and text has been a consistent feature in her work.\u003C\u002Fp>\u003Cp>Her latest projects highlight the growing significance of collaborative efforts and the social-political dimension in Nora Ancarola's professional journey.\u003C\u002Fp>",[1775],{"id":1776,"documentId":1777},2346,"f30cj3cf07splkf2t881wyw0",[1779,1782],{"id":1780,"nationality":1781},1143,"AR",{"id":1783,"nationality":203},1144,{"sortKey":1700,"collectiveName":66,"names":399,"id":397,"documentId":398,"annotation":66,"richText":1785,"images":1786,"nationalities":1790},"\u003Cp>Tania Safura Adam is a curator, researcher and founder, as well as editor of Radio Africa, a platform dedicated to critical thinking and the dissemination of Black arts and cultures. Her research focuses on Black diasporas, their movements, resistances, and African popular music. She has curated exhibitions such as «Microhistòries de la Diàspora. Experiències encarnades de la dispersió femenina» [Microhistories of the Diaspora: Embodied Experiences of Female Dispersion] (La Virreina, 2018-2019), «Blue Black Futures» (MACBA, 2021-2022) and «Requiem por la Humanidad» [Requiem for Humanity] (La Casa Encendida, 2023-2024). She was also responsible for the activities programme of «Making Africa: Un continent de disseny contemporani» [Making Africa: A Continent of Contemporary Design] (CCCB, 2016).\u003C\u002Fp>\u003Cp>She is the author of numerous articles in various media and recently published the essay “Voces negras: Una historia oral de las músicas populares africanas Vol. 1” [Black Voices: An Oral History of African Popular Music Vol. 1]. Between 2017 and 2019, she presented the interview programme \u003Ci>Terrícoles\u003C\u002Fi> on betevé, and in 2019, she hosted \u003Ci>African Bubblegum Music \u003C\u002Fi>on Radio Primavera Sound. She is currently leading the research project «España Negra. Viaje hacia la negritud en el espacio-tiempo» [Black Spain: Journey into Blackness in Space-Time] (Museo Reina Sofia, MACBA, Artium, CCCB, IVAM), and the Iberian Black Studies seminar as part of the Independent Studies Programme at the Museo Reina Sofia. She also presents the programme \u003Ci>Radio Africa\u003C\u002Fi> on betevé.\u003C\u002Fp>",[1787],{"id":1788,"documentId":1789},2343,"hwf5gtl7fj2fejh8m1ctdalf",[1791,1794],{"id":1792,"nationality":1793},1106,"MZ",{"id":1795,"nationality":203},1107,{"sortKey":1797,"collectiveName":66,"names":435,"id":433,"documentId":434,"annotation":66,"richText":1798,"images":1799,"nationalities":1803},"b","\u003Cp>Annette Barcelo crafts a distinct universe populated by quasi-mystical figures. Her drawings, using various techniques and mediums, create a bestiary of unsettling creatures, witch-like priestesses, chimeras and animal forms. These figures oscillate between life and death, possessing powers of destruction or resurrection. Her work evokes Native American totemic figures, the Book of the Dead and ancient pagan rituals. Barcelo’s work tells mysterious stories that viewers are invited to decipher. Her spontaneous style, reminiscent of artists like Carol Rama and Anna Zemankova, focuses on the ephemeral and animalistic nature of the body. Predominantly black and white, her work often depicts the bleeding female form, symbolising both suffering and life, with dark, spontaneous floral elements.\u003C\u002Fp>",[1800],{"id":1801,"documentId":1802},2351,"y28c8ittp4nf6g78oal8wrn2",[1804],{"id":1805,"nationality":260},1174,{"sortKey":1797,"collectiveName":66,"names":439,"id":437,"documentId":438,"annotation":66,"richText":1807,"images":1808,"nationalities":1812},"\u003Cp>Bea Bonafini is an interdisciplinary artist based between London and Barcelona. Through painting, tapestry, ceramics and drawing, she delves into the intersection of humanity with other forms of existence. Her interests are in the cyclical nature of materials and symbols as well as the revival of cross-cultural mythologies and their contemporary and personal reconfigurations. She is also interested in the emotional landscape of colour. Recently, her research has focused on Mediterranean narratives related to symbolism, collaboration, hybridity and movement.\u003C\u002Fp>\u003Cp>Bonafini’s works act as transcendental openings, presenting swirling, fragmented and multi-layered scenarios that are both optimistic and tender. Expanding and contracting from the monumental to the intimate, her pieces become protected spheres, serving as receptacles for a lost spirituality. Strongly influenced by archaeology and literature, her work celebrates new and unexpected combinations and juxtapositions, where boundaries and identities co-exist and fuse.\u003C\u002Fp>",[1809],{"id":1810,"documentId":1811},2352,"lj9qjuwg6m0wtmweb070s3rl",[1813],{"id":1814,"nationality":246},1224,{"sortKey":1797,"collectiveName":66,"names":443,"id":441,"documentId":442,"annotation":66,"richText":1816,"images":1817,"nationalities":1821},"\u003Cp>Carlos Bunga's artistic endeavours transcend the ordinary, using everyday materials like packing cardboard and adhesive tape. Despite the familiarity of the objects, his pieces reveal a profound aesthetic care and delicacy, coupled with conceptual messages. Bunga navigates between making and unmaking, micro and macro, investigation and conclusion, architecture and nature. Merging sculpture and painting, his artworks dive into vibrant explorations of colour and material. Simultaneously, they highlight the performative nature of the creative process. In Bunga's art, the mundane transforms into a canvas of multi-layered meanings, offering viewers an experience where craftmanship and conceptual ideas meet. \u003C\u002Fp>",[1818],{"id":1819,"documentId":1820},2353,"bat2wq13yfmsfnwji7h05pn6",[1822,1823],{"id":473,"nationality":900},{"id":1824,"nationality":203},1167,{"sortKey":1797,"collectiveName":66,"names":455,"id":453,"documentId":454,"annotation":66,"richText":1826,"images":1827,"nationalities":1831},"\u003Cp>Fanja Bouts is a visual artist who unravels the entangled structures within our shared existence. Through illustrated webs of life, she critically assesses the challenges that we face and pairs these with the absurd realities of everyday mundanity.\u003C\u002Fp>\u003Cp>The artist’s driving force is the reimagination of the world in a more-than-human ecological framework. Political ecology, philosophy and natural sciences are brought together to form a broad foundation examining a move towards a just and equal planet for all its inhabitants – human or non-human, organic or inorganic. Through the eye of deep ecology as a philosophy, recurring themes include capitalism and its ecologically destructive dynamics as well as critical animal studies and deep-rooted inequalities within contemporary world systems.\u003C\u002Fp>\u003Cp>By contrasting urgent topics with humorous playful characters in satirical scenes, Bouts creates an opportunity for shared reflection while simultaneously calling out for the immediate realisation that systemic change must happen now.\u003C\u002Fp>",[1828],{"id":1829,"documentId":1830},2356,"qw4833yqa1bzthhzkn9udiu7",[1832],{"id":1833,"nationality":382},1227,{"sortKey":1797,"collectiveName":66,"names":459,"id":457,"documentId":458,"annotation":66,"richText":1835,"images":1836,"nationalities":1840},"\u003Cp>Félix Blume is a sound artist and sound engineer who utilises sound as a fundamental material across a variety of mediums, including sound pieces, videos, actions and installations. His creative process often involves collaboration, engaging with communities and using public spaces as the backdrop for his explorations and presentations. Blume's practice extends beyond conventional listening, aiming to cultivate awareness of the imperceptible and facilitate encounters with others through sound. He incorporates a diverse array of sounds from different beings and species, ranging from the hum of a bee to the footsteps of a turtle and the chirping of a cricket, alongside human dialogues within both natural and urban environments. With a keen interest in myths and their contemporary interpretations, Blume explores the narratives that voices convey beyond mere words. His sound compositions have been aired on radio stations worldwide, and he has showcased his work at various international festivals and exhibitions.\u003C\u002Fp>",[1837],{"id":1838,"documentId":1839},2357,"wu85f0e6v1wnh9dqyx2u0bvl",[1841],{"id":1842,"nationality":233},1155,{"sortKey":1797,"collectiveName":66,"names":447,"id":445,"documentId":446,"annotation":66,"richText":1844,"images":1845,"nationalities":1849},"\u003Cp>José Bedia, born in Havana, Cuba, is a prominent artist known for his installations and artistic technique. He blends African traditions with indigenous American art, creating a distinctive synthesis. His work has been showcased at the biennials of Venice and São Paulo, as well as at respected institutions like the Museum of Modern Art in New York and the Centre Pompidou in Paris. Bedia's art is housed in several renowned international collections, including those of the Los Angeles County Museum of Art, the Museum of Contemporary Art in Los Angeles, the Museum of Modern Art in New York, the Solomon R. Guggenheim Museum in New York and the Tate Gallery in London. He currently resides in Miami, Florida.\u003C\u002Fp>",[1846],{"id":1847,"documentId":1848},2354,"fl12rrccadyhx1r9vsn3t6c5",[1850],{"id":1851,"nationality":1852},1200,"CU",{"sortKey":1797,"collectiveName":66,"names":451,"id":449,"documentId":450,"annotation":66,"richText":1854,"images":1855,"nationalities":1859},"\u003Cp>In the late 1940s and early 1950s, Magda Bolumar Chertó trained as a painter in the studio of Rafael Estrany in Mataró. Estrany had been a student of the Belgian painter James Ensor. In his studio, Bolumar learned compositional techniques as well as different methodologies for using colour. She combined that training with her studies at the School of Arts and Crafts of Mataró.\u003C\u002Fp>\u003Cp>In 1960, Bolumar started using woven sack yarn, a material with which she developed her most personal work. That is how she created her burlaps. Since then, she has not stopped working with this material. In parallel, she has continued to create works on paper.\u003C\u002Fp>",[1856],{"id":1857,"documentId":1858},2355,"e6uavcrrnk1srh0nuhfgo059",[1860],{"id":1861,"nationality":203},1229,{"sortKey":1863,"collectiveName":487,"names":66,"id":485,"documentId":486,"annotation":66,"richText":1864,"images":1865,"nationalities":1869},"c","\u003Cp>CHOI+SHINE ARCHITECTS is an internationally awarded art and design studio founded by Jin Choi and Thomas Shine. Both hold a Master of Architecture degree from Yale University and have co-invented several patented works. Their artistic creations have been exhibited in museums and galleries worldwide, earning recognition in major press publications. The duo’s portfolio range in scale from small lighting fixtures shown at the Cooper Hewitt, Smithsonian Design Museum in New York to large infrastructure projects presented for the European Capital of Culture in Marseille, the Victoria & Albert Museum in London, the Deutsches Museum in Munich, Milan Design Week and Dongdaemun History & Culture Park in Seoul. Their public art installations have been showcased worldwide, including Phoebus Foundation’s international exhibition in Belgium and the Busan Biennale in South Korea. Notably, they were invited to create an artwork representing the 2018 Commonwealth Games in Australia and, more recently, they were commissioned for a traveling exhibition by the EU, the inauguration of the Grand Studio at Fukuoka Asian Art Museum in Japan and for an invited exhibition at Sharjah Art Museum in the UAE.\u003C\u002Fp>",[1866],{"id":1867,"documentId":1868},2364,"xx9uqor3gk1p6wkc024z6fzq",[1870],{"id":1871,"nationality":382},1284,{"sortKey":1863,"collectiveName":463,"names":66,"id":461,"documentId":462,"annotation":66,"richText":1873,"images":1874,"nationalities":1878},"\u003Cp>Claire Fontaine is a collective artist founded in 2004. Emphasising the colonisation of exhibition spaces by commodities, Claire Fontaine believes in claiming space for liberating and transformative uses. Their work invites the viewer to create meaning through curiosity and openness, sharing a space where possibilities emerge. Dedicated to resisting modern societal pressures and memory erosion, Claire Fontaine aims to provoke joy and support. Their work exists in the current world, challenging capitalist norms and promoting the use value of art. Emphasising experimentation and the fight against social repression, their creations strive to evoke emotions and intensities beyond language. Ultimately, Claire Fontaine’s work seeks to engage and empower the viewer, fostering a sense of shared hope and resilience.\u003C\u002Fp>",[1875],{"id":1876,"documentId":1877},2358,"mtvvv854eusbvbxllflmmnfv",[1879],{"id":1880,"nationality":246},1317,{"sortKey":1863,"collectiveName":66,"names":467,"id":465,"documentId":466,"annotation":66,"richText":1882,"images":1883,"nationalities":1887},"\u003Cp>Alba G. Corral is a visual artist and creative coder who was born in Madrid and is based in Catalonia. With a background in computer engineering, Corral has been creating generative art using software and coding for the past decade. Her practice spans performance, film, digital media and installation, exploring abstract narratives and expressing sensitivity and taste for colour. By combining generative systems with improvised drawing techniques, her digital language becomes organic, creating mesmerising digital landscapes. Corral is known for her live audio-visual performances, where she integrates real-time coding and drawing in collaboration with musicians.\u003C\u002Fp>",[1884],{"id":1885,"documentId":1886},2359,"h24hhcs8apmtln6ar8lub4fd",[1888],{"id":549,"nationality":203},{"sortKey":1863,"collectiveName":66,"names":491,"id":489,"documentId":490,"annotation":66,"richText":1890,"images":1891,"nationalities":1895},"\u003Cp>Carolina Caycedo, a Colombian multidisciplinary artist based in Los Angeles, uses large-scale geographic photographs, vibrant artist’s books, hanging sculptures, performances, films and installations to spark broader conversations about our world. Through her studio work and field research with communities affected by large-scale infrastructure and extraction projects, she prompts viewers to reflect on unsustainable growth driven by capitalism and the need for resistance and solidarity. Informed by native peoples and feminist perspectives, Caycedo challenges the role of the colonial gaze in the privatisation and dispossession of land and water. Process and participation are central to her practice as she helps rebuild environmental and historical memory, crucial for climate and social justice. Caycedo is a 2023-2024 Soros Arts Fellow and a 2023-2024 Getty Research Institute Artist in Residence.\u003C\u002Fp>",[1892],{"id":1893,"documentId":1894},2365,"ea1i6f0vjcc9itfss2wc5b9h",[1896],{"id":1897,"nationality":1898},1319,"CO",{"sortKey":1863,"collectiveName":66,"names":495,"id":493,"documentId":494,"annotation":66,"richText":1900,"images":1901,"nationalities":1908},"\u003Cp>Chiara Camoni lives and works in Fabbiano, in the Apuan Alps of Alta Versilia, Tuscany. Her practice consists of drawing, vegetal prints, video and sculpture, particularly with ceramics. Her works often derive from collaboration with friends and family, impromptu associations, co-organised seminars and workshops.\u003C\u002Fp>\u003Cp>The Centro di Sperimentazione has appeared at the artist’s side for a few years now as a container for various forms of shared authorship. With Cecilia Canziani, she has developed the multi-year cycle of seminars “La Giusta Misura”.\u003C\u002Fp>",[1902,1905],{"id":1903,"documentId":1904},2367,"t23uf8c4w50p5nx63hriqicc",{"id":1906,"documentId":1907},2366,"rpl37r8q7ed89dgw8qn1pzx7",[1909],{"id":1910,"nationality":246},1324,{"sortKey":1863,"collectiveName":66,"names":483,"id":481,"documentId":482,"annotation":66,"richText":1912,"images":1913,"nationalities":1917},"\u003Cp>Eva Chettle has been drawn to collecting elements from the natural world since her early childhood - shells, bones, seeds, roots and more. Once removed from their native habitats, these fragments transform into relics, prized for their shape, colour and beauty.\u003C\u002Fp>\u003Cp>Interestingly, these diverse remnants of the past always seem to assemble in perfect harmony, fashioning hybrid creatures akin to both aliens and prehistoric beings. In a way, they experience a resurrection, transitioning from natural decay and eventual obscurity to becoming integral components of a sculptural ensemble known as 'Chimera'.\u003C\u002Fp>\u003Cp>Beyond their formal and aesthetic allure, Chettle endeavours to transport viewers into the realm of the unknown. Through her own bestiary, she narrates the behaviours of each inhabitant, prompting reflection on our perception of reality and challenging the assumptions we hold dear. In doing so, she offers nuanced variations to Darwin's Theory of Evolution, inviting us to reconsider the boundaries of the natural world.\u003C\u002Fp>",[1914],{"id":1915,"documentId":1916},2363,"kluhp8vnybaumqczl5vvslzh",[1918],{"id":1919,"nationality":233},1280,{"sortKey":1863,"collectiveName":66,"names":703,"id":701,"documentId":702,"annotation":66,"richText":1921,"images":1922,"nationalities":1926},"\u003Cp>Fernando Sánchez Castillo studied Fine Arts in the Faculty of Fine Arts at the Universidad Complutense Madrid and Philosophy in the Institute of Contemporary Aesthetics at the Universidad Autónoma de Madrid. He received a post-diploma from the École nationale supérieure des Beaux Arts in Paris and was a resident at Rijksakademie in Amsterdam. He has previously served as part of the PIMPA (Memory, Politics and Art Practices) Research Team at the United Nations in Geneva.\u003C\u002Fp>\u003Cp>Sánchez Castillo develops a multi-angle critique of the monumental discourse, disarticulates its agencies of power and representation. His work is an attempt to rewrite historical accounts or at least to make us more aware of history’s complexities and traces, and to show that history is constructed from many positions of authority.\u003C\u002Fp>",[1923],{"id":1924,"documentId":1925},2424,"yizik4pyhu3ipb4pkae4ys40",[1927],{"id":1928,"nationality":203},1281,{"sortKey":1863,"collectiveName":66,"names":479,"id":477,"documentId":478,"annotation":66,"richText":1930,"images":1931,"nationalities":1935},"\u003Cp>Expanding through mediums such as painting, sculpture, installation and performance, Hugo Canoilas’ work is defined as practice-based and experimentation-driven with different materialities and scales, creating a fluid circulation between objects and subjects.\u003C\u002Fp>\u003Cp>His most recent projects explore the intersection between the processes of painting and sculpture. He welcomes the unforeseen and the effects intrinsic to the qualities of the matter and the materials that he incorporates in his work, mimicking the creative processes present in nature.\u003C\u002Fp>\u003Cp>The trans-disciplinary artistic research that he has been developing focuses on the possibility of expanding this imagined quality, both human and non-human, and in constructing relationships that take place both in the working process, often collaborative and communal, and in the experience reverberated in the viewer. Through this process, Canoilas’ work reflects on the existence of a shared future of cohabitation, collaboration and mutual attention, freed from cultural, social and inter-species hierarchies, recognising that this territory of the imagination should also accommodate the poetic forms of the animal world.\u003C\u002Fp>",[1932],{"id":1933,"documentId":1934},2362,"deweag5csk91j337vyz9j69k",[1936],{"id":1937,"nationality":900},1231,{"sortKey":1863,"collectiveName":66,"names":471,"id":469,"documentId":470,"annotation":66,"richText":1939,"images":1940,"nationalities":1944},"\u003Cp>Julian Charrière is a French-Swiss artist based in Berlin. He has been widely exhibited across esteemed institutions and museums around the globe. Marshalling performance, sculpture and photography, his projects often stem from remote fieldwork in liminal or discarded locations, such as volcanoes, icefields and radioactive sites. By encountering places where acute geophysical identities have formed, Charrière speculates on alternative histories, often looking at materials through the lens of deep geological time. Exploring how our ideas of nature have changed, from the Romantic movement into the Anthropocene, his projects deconstruct the cultural traditions which govern how we perceive and represent the natural world. Charrière frequently collaborates with scientist, engineers, art historians and philosophers. Whether undertaking artistic expeditions or staging immersive installations, the core of his practice concerns itself with how the human being inhabits the world, and how it in turn inhabits us. \u003C\u002Fp>",[1941],{"id":1942,"documentId":1943},2360,"je14nu9t7ufpwowmqfad7zjg",[1945,1947],{"id":1946,"nationality":260},1265,{"id":1948,"nationality":233},1266,{"sortKey":1863,"collectiveName":66,"names":475,"id":473,"documentId":474,"annotation":66,"richText":1950,"images":1951,"nationalities":1955},"\u003Cp>Manuel Chavajay is a contemporary Tz’utujil Maya artist. His practice is influenced by the consequences and aftermaths of armed conflicts, addressing indigenous identity and language as well as socio-economic and environmental concerns. Working through a wide range of media, including painting, sculpture and video, his creations serve not only as expressions of cultural richness, but also as powerful forces for change, inspiring a collective responsibility to preserve and cherish the sacred landscapes and traditions that define the Tz’utujil Maya legacy. His work has been shown at the 35 Bienal de São Paulo (Brazil); National Gallery of Canada (Canada); Kunsthalle Wien Museumplatz (Austria); Museum of Contemporary Art Santa Barbara (USA); Centre Pompidou (France); Bienal Internacional de SIART (Bolivia); Bienal de Curitiba (Brazil) and La Bienal de Artes Visuales del Istmo Centroamericano (Guatemala, Nicaragua, Costa Rica, Panama and El Salvador), to name a few. His works are part of the collections of the Museo de Arte Fundación Ortíz-Gurdián, León, Nicaragua; Museo Nacional Centro de Arte Reina Sofía, Madrid; Inter-American Development Bank, USA; and National Gallery of Canada, Ottawa, Canada, among others.\u003C\u002Fp>",[1952],{"id":1953,"documentId":1954},2361,"zewk070vba4e9678v9om6ta2",[1956],{"id":1957,"nationality":1958},1268,"GT",{"sortKey":1863,"collectiveName":66,"names":499,"id":497,"documentId":498,"annotation":66,"richText":1960,"images":1961,"nationalities":1965},"\u003Cp>Seyni Awa Camara's worldview is rooted in timeless truths and stories, shaped by her Wolof heritage and her role in bridging the past and present. Raised by her mother, a potter who initiated her into sculpture from a young age, Camara and her twin brothers underwent a spiritual initiation in the forests of Casamançe (Senegal). She views her sculptures as embodiments of dreams, revelations and fantasies, giving form to narratives and emotions through clay. Her home serves as a “theatre without a stage”, housing a diverse collection ranging from small figurines to towering eight-foot sculptures. Camara's work reflects a spectrum of humanity — good, bad, beautiful, ugly — crafted in her yard and fired in an open-hearth kiln. She attributes the sometimes-distorted faces of her creations to our neglect of ancestors and portrays profound themes such as maternal protection and societal flight through her art.\u003C\u002Fp>",[1962],{"id":1963,"documentId":1964},2369,"l54c9m8cwjtho9ztyrh3da9k",[1966],{"id":505,"nationality":1967},"SN",{"sortKey":1969,"collectiveName":515,"names":66,"id":513,"documentId":514,"annotation":66,"richText":1970,"images":1971,"nationalities":1975},"d","\u003Cp>Diversorium was started by Antonio Centeno, Maria Oliver and Veronica Valentini in 2018 in Barcelona. As an intersectional party space for all bodies, combining performance, music and dancing, it seeks to create space for learning and unlearning the numerous possibilities of existing and being with others. The basis of this project is the desire for a communal space in which to come together and to ‘dance with’ the ‘invisible’ communities in the city and ‘move’ with the discriminations that separate us. This desire is also a matter of urgency and necessity, because despite advances, society remains far from equal. Diversorium has taken place at MACBA (Barcelona), Sala Apolo (Barcelona), Sala Paral·lel 62 (Barcelona), FestivalBAM (Barcelona), MDT Moderna Dansteatern (Stockholm) and Culturpolis (Barcelona). A forthcoming Diversorium will take place at the Art Centre La Ferme du Buisson.\u003C\u002Fp>\u003Cp>Ariadna Guiteras’ practice engages bodies and the relationships that form them. Her research process has led her from a more traditional performance practice to a language of artistic experimentation that also uses other forms. Strategies such as slow temporalities, ceramics, textiles and modular structures are used to explore the medieval concept of the ‘porous body’ – a medical theory that saw skin as a porous limit, easily perforable and difficult to protect. Imagined in the present, the term is extended in Guiteras work to consider bodies as vulnerable, open and always related, and used to dissect processes such as gestation and breastfeeding. Her recent work proposes a dismantling of the systems that shape identities, focusing on adulthood and its abolition.\u003C\u002Fp>",[1972],{"id":1973,"documentId":1974},2372,"yv1gy0j1w6sf4g3mmopiu0kd",[1976],{"id":1977,"nationality":203},1339,{"sortKey":1969,"collectiveName":66,"names":519,"id":517,"documentId":518,"annotation":66,"richText":1979,"images":1980,"nationalities":1984},"\u003Cp>Binta Diaw's art blends geographical, historical and cultural elements in a rhizomatic manner. Her installations are both symbolic and evocative, reflecting her political views and appreciation for the organic. Her work explores identity and its connection to global and historical themes, touching on colonialism, diaspora, migration and pan-Africanism.\u003C\u002Fp>\u003Cp>Diaw sees herself as part of a long tradition of resistance, sharing stories that must be preserved for future generations. Her art is rooted in both contemporary issues and historical circumstances. Even when using simple, natural materials, her pieces are attuned to past and present events. They offer a means for exploring new forms of resistance and ways for critically engaging with the world.\u003C\u002Fp>",[1981],{"id":1982,"documentId":1983},2373,"lfyey3cvu5fz0wgk56vsssrm",[1985,1987],{"id":1986,"nationality":1967},1331,{"id":1988,"nationality":246},1332,{"sortKey":1969,"collectiveName":66,"names":511,"id":509,"documentId":510,"annotation":66,"richText":1990,"images":1991,"nationalities":1995},"\u003Cp>Visual artist Domènec creates sculptural and photographic works, installations and public space interventions, rooted in conceptual reflections. His work centres on architecture as a complex construct of modern tradition. Domènec has participated in numerous in situ projects and international public art initiatives in countries such as Ireland, Mexico, Belgium, France, Italy, the USA, Brazil, Argentina, Finland, Slovenia, Japan, India, the Philippines, Israel and Palestine. In 2018, MACBA (Museu d’Art Contemporani de Barcelona) hosted a major solo exhibition, showcasing a retrospective of his work from the late 1990s to the present. Additionally, he was a co-editor of the art magazine \u003Ci>Roulotte\u003C\u002Fi>.\u003C\u002Fp>",[1992],{"id":1993,"documentId":1994},2371,"kgct69yiu03k7to2rxydxo77",[1996],{"id":1997,"nationality":203},1326,{"sortKey":1969,"collectiveName":66,"names":507,"id":505,"documentId":506,"annotation":66,"richText":1999,"images":2000,"nationalities":2004},"\u003Cp>Jeremy Deller studied Art History at the Courtauld Institute and at Sussex University and currently lives and works in London. Deller won the Turner Prize in 2004 and represented Britain in the 55th Venice Biennale in 2013. He has been producing projects over the past two decades which have influenced the conventional map of contemporary art. He began making artworks in the early 1990s, often showing them outside conventional galleries.\u003C\u002Fp>",[2001],{"id":2002,"documentId":2003},2370,"z116ph37b33pjypvdw7lwnpy",[2005],{"id":2006,"nationality":1750},1344,{"sortKey":1969,"collectiveName":66,"names":503,"id":501,"documentId":502,"annotation":66,"richText":2008,"images":66,"nationalities":2009},"\u003Cp>Matías Daporta is a transdisciplinary artist who navigates the realms of performance, video, text and curatorship. His work serves as a poignant critique of cultural norms, challenging concepts like cultural homogenisation and bureaucratic language. Daporta places a strong emphasis on the need to reshape established cultural paradigms, employing what he terms \"literal devices\". These devices involve reconstructing real-life scenarios and altering specific elements to stimulate new perspectives. Beyond his artistic pursuits, Daporta is the visionary behind Me gustas pixelad_, a pioneering curatorial programme at La Casa Encendida in Madrid that explores the convergence of performance and digital culture. Additionally, in 2014, he established DESFOGA in Galicia, a residency programme and festival dedicated to addressing power dynamics, inequalities and human rights violations through immersive performances, installations and exhibitions.\u003C\u002Fp>",[2010],{"id":2011,"nationality":203},1349,{"sortKey":1969,"collectiveName":66,"names":523,"id":521,"documentId":522,"annotation":66,"richText":2013,"images":2014,"nationalities":2018},"\u003Cp>Priyageetha Dia works with time-based media and installation. Her practice braids themes of Southeast Asian labour histories, speculation of the tropics and ancestral memory meeting machine logics. She was an artist-in-residence at the NTU Centre for Contemporary Art Singapore in 2022 and the SEA AiR—Studio Residencies at the Jan van Eyck Academie in the Netherlands in 2023. She currently lives and works in Singapore.\u003C\u002Fp>",[2015],{"id":2016,"documentId":2017},2374,"foblzmska8zhvlyh8j5xdysw",[2019],{"id":2020,"nationality":1967},1345,{"sortKey":2022,"collectiveName":531,"names":66,"id":529,"documentId":530,"annotation":66,"richText":2023,"images":2024,"nationalities":2028},"e","\u003Cp>The Embassy of the North Sea was founded in The Hague on the 1st of June 2018 by the Parliament of Things. The Embassy of the North Sea departs from the idea that the North Sea belongs to itself. The Embassy researches how non-humans – from phytoplankton to ship wrecks to cod fish – can become full-fledged members of our society. The Embassy of the North Sea works towards 2030, when we (humans) hope to emotionally, juridically and politically relate ourselves to the sea in a fundamentally different way.\u003C\u002Fp>",[2025],{"id":2026,"documentId":2027},2376,"pz6lxr3jd2ub97yff3s7j0de",[2029],{"id":2030,"nationality":382},1371,{"sortKey":2022,"collectiveName":66,"names":527,"id":525,"documentId":526,"annotation":66,"richText":2032,"images":2033,"nationalities":2037},"\u003Cp>Maja Escher’s artistic practice has a collective and hybrid dimension. She works with drawings, found objects, collaborative practices and fieldwork methods to develop site-specific installations and research-oriented projects.\u003C\u002Fp>\u003Cp>Clay, canes, rope, stones, vegetables and other elements found or offered to her during her fieldwork are often combined with riddles, sayings and songs, creating a tension between spirituality and science, magic and technology. Through her works, Escher cultivates and shares a deep observation of ecosystems and ancestral knowledge connected to the land and its primordial elements.\u003C\u002Fp>\u003Cp>Maja Escher was born and raised near the Santa Clara dam, in southwest Alentejo, a region in Portugal that is densely populated with eucalyptus monocultures. The region has a heavy presence of greenhouses and intensive agriculture, especially in the Southwest Natural Park, which is irrigated by the Santa Clara dam. In recent years, the water level in the dam has dropped drastically, as has the water from the well and borehole on the artist's land. Escher’s awareness of and growing concern with the scarcity of water resources and the subsequent risk of desertification led her to start a research project on water and rain, seeking to connect popular wisdom – stories, sayings and riddles – with scientific knowledge.\u003C\u002Fp>\u003Cp>The artist’s recent works address the complexity of ecological, economic and social relations in the Mira River Basin in her homeland.\u003C\u002Fp>",[2034],{"id":2035,"documentId":2036},2375,"ov8anb6yfj75hj6dwh13fucv",[2038,2040],{"id":2039,"nationality":900},1378,{"id":2041,"nationality":182},1379,{"sortKey":2043,"collectiveName":66,"names":547,"id":545,"documentId":546,"annotation":66,"richText":2044,"images":2045,"nationalities":2049},"f","\u003Cp>Anaïs Florin's art finds its home in the realm of public space intervention, placing a strong emphasis on collaborative efforts with fellow cultural influencers and platforms of citizen activism. With the aim of generating new social narratives, she delves deeply into the memories of places and their residents, as well as the struggles tied to territorial transformations.\u003C\u002Fp>\u003Cp>Her creative approach merges visual art with activism, employing tools like banners, billboards, photography and community gatherings. Starting from archival material, Florin constructs new stories of involvement through interviews, attentive listening and cooperative efforts. Many of her projects are geared towards fostering collective ownership of urban spaces, always with an eye towards preserving the local environment and ensuring its enduring vitality.\u003C\u002Fp>",[2046],{"id":2047,"documentId":2048},2380,"cq4v6mkn8uclmqgwr6i1oo03",[2050,2052],{"id":2051,"nationality":233},1412,{"id":2053,"nationality":203},1413,{"sortKey":2043,"collectiveName":66,"names":543,"id":541,"documentId":542,"annotation":66,"richText":2055,"images":2056,"nationalities":2060},"\u003Cp>Eva Fàbregas' artistic practice revolves around the manipulation of soft and pliable materials, inviting tactile exploration, physical closeness and sensory connections. By working with materials that transcend biological boundaries, her work blurs the lines between human and the non-human, merging the organic with the inorganic.\u003C\u002Fp>\u003Cp>In Fàbregas' creative process, touch plays a pivotal role. Her sculptures elude conventional categorisation. Rather than imitating something that already exists, her forms come from mutation, combination and multiplication, and allow visitors to enter into a speculative landscape. Rooted in the somatic and experiential realms, her work taps into primal instincts.\u003C\u002Fp>\u003Cp>By immersing viewers in a somatic landscape, Fàbregas seeks to evoke a pre-linguistic state that helps us imagine other possible bodies, other ways of feeling, caring and being in the world.\u003C\u002Fp>",[2057],{"id":2058,"documentId":2059},2378,"lygkh5h7dn2otu4uohlq1ha4",[2061],{"id":2062,"nationality":203},1397,{"sortKey":2043,"collectiveName":66,"names":539,"id":537,"documentId":538,"annotation":66,"richText":2064,"images":2065,"nationalities":2069},"\u003Cp>Lamin Fofana is an artist and musician currently based in New York. His music contrasts the reality of our world with what’s beyond, and explores questions of movement, migration, alienation and belonging. Fofana’s overlapping interests in history and the present, and his practice of transmuting text into the affective medium of sound, manifests in multi-sensory live performances and installations featuring original music compositions, field recordings and archival material. His latest releases include \u003Ci>Ballad Air & Fire\u003C\u002Fi>, \u003Ci>Shafts of Sunlight\u003C\u002Fi>, and \u003Ci>The Open Boat\u003C\u002Fi> (an album trilogy). Recent exhibitions and performances inlcude \u003Ci>ALL TENETS INTERACTED & KINETICS REMAINED OCEANIC\u003C\u002Fi> at Atonal, Berlin, Germany (2024), \u003Ci>Notes on Planetary Living\u003C\u002Fi>, at fluent, Santander, Spain (2023), \u003Ci>...AND ALL THE BIRDS SING BASS\u003C\u002Fi> (ongoing since 2023), \u003Ci>JMW Turner with Lamin Fofana: Dark Waters \u003C\u002Fi>(2022) at Tate Liverpool, Liverpool, England; \u003Ci>Preis der Nationalgalerie\u003C\u002Fi> (2021) at Hamburger Bahnhof, Berlin, Germany; \u003Ci>a call to disorder\u003C\u002Fi> (2021) at Haus der Kunst, Munich, Germany; \u003Ci>Life and Death by Water \u003C\u002Fi>(2021) at the Liverpool Biennial, Liverpool, England; \u003Ci>BLUES\u003C\u002Fi> (2020) at Mishkin Gallery at Baruch College, City University of New York; \u003Ci>Refracted Gazes, Fugitive Dreams\u003C\u002Fi> (2019) at Akademie Schloss Solitude, Stuttgart, Germany; \u003Ci>WITNESS\u003C\u002Fi> (2017) at 57th Venice Biennale, Italy; and performances at Documenta 14 (2017), Kassel, Germany and Athens, Greece. In 2021, Fofana was awarded a Foundation for Contemporary Arts Grants to Artists and was nominated for the National Gallery Prize in Germany. Fofana hosts a monthly radio show on NTS Radio, an online station based in London.\u003C\u002Fp>",[2066],{"id":2067,"documentId":2068},2379,"x4ghz2cnudq98wngudmehk45",[2070],{"id":2071,"nationality":2072},1416,"SL",{"sortKey":2043,"collectiveName":66,"names":551,"id":549,"documentId":550,"annotation":66,"richText":2074,"images":2075,"nationalities":2079},"\u003Cp>Simone Fattal was born in Damascus and raised in Lebanon. She first studied philosophy at the École des Lettres of Beirut and then at the Sorbonne in Paris. In 1969, she returned to Beirut and started working as a visual artist, exhibiting her paintings until the start of the Lebanese Civil War. In 1980 she settled in California where she founded the Post-Apollo Press, a publishing house dedicated to innovative and experimental literary work. In 1988 she enrolled at the Art Institute of San Francisco, to return to her artistic practice and a newfound dedication to sculpture and ceramics. Fattal currently lives in Paris. Her work is included in several public collections, such as the Walker Art Center, Minneapolis; the Centre Pompidou, Paris; the Yves Saint Laurent Museum in Marrakech; the Sursock Museum, Beirut; the Sharja Art Foundation and the National Museum of Qatar, Doha.\u003C\u002Fp>",[2076],{"id":2077,"documentId":2078},2381,"nbdbb8if4n0fo5kyze2ju1ps",[2080,2083],{"id":2081,"nationality":2082},1399,"LB",{"id":2084,"nationality":2085},1400,"US",{"sortKey":2087,"collectiveName":66,"names":555,"id":553,"documentId":554,"annotation":66,"richText":2088,"images":2089,"nationalities":2093},"g","\u003Cp>Alexandra Daisy Ginsberg is a multidisciplinary artist examining our fraught relationships with nature and technology. Through subjects as diverse as artificial intelligence, synthetic biology, conservation and evolution, she explores the human impulse to \"better\" the world. Using simulation, representation and a nonhuman perspective, she questions society's tendency to prioritise innovation over preservation, especially in the face of environmental challenges.\u003C\u002Fp>\u003Cp>In June 2023, Ginsberg won the S+T+ARTS Grand Prize for Artistic Exploration for her experimental interspecies living artwork, Pollinator Pathmaker. This unique artwork was designed for pollinators and planted and cared for by humans. Commissioned editions are currently on view at LAS Art Foundation at Museum für Naturkunde Berlin, Serpentine in Kensington Gardens London and at the Eden Project Cornwall.\u003C\u002Fp>\u003Cp>Ginsberg holds a PhD from the Royal College of Art, London, and has exhibited work at MoMA New York, the Museum of Contemporary Art, Tokyo, the Centre Pompidou, the Royal Academy of Arts and Toledo Museum of Art, Ohio.\u003C\u002Fp>",[2090],{"id":2091,"documentId":2092},2382,"dwn5vqntm3n7rfqwxtos59az",[2094],{"id":2095,"nationality":1750},1484,{"sortKey":2097,"collectiveName":66,"names":559,"id":557,"documentId":558,"annotation":66,"richText":2098,"images":2099,"nationalities":2103},"h","\u003Cp>Kiluanji Kia Henda lives and works in Luanda. In his practice, he uses art as a means of transmitting and constructing history, exploring photography, video, performance, installations, object-sculpture, music and avant-garde theatre as ways of materialising fictional narratives and shifting facts to different temporalities and struggles. Using humour and irony, the artist represents the complexity of themes such as identity, politics and perceptions of post-independence and modernity in Africa. Working in perverted complicity with historical legacy, he sees the process of appropriation and manipulation of public spaces and structures as different constructions of the collective memory. Kia Henda is also the co-founder of KinoYetu, an association that promotes the arts, focusing on filmmaking. Aiming to foster platforms where cinema and the visual arts are a vehicle for the production of knowledge, KinoYetu finances specific projects and engages in strategic partnerships to promote cinematography and visual arts.\u003C\u002Fp>",[2100],{"id":2101,"documentId":2102},2383,"ei1fnuu8w0dqkzazdv3flzta",[2104],{"id":2105,"nationality":2106},1632,"AO",{"sortKey":2108,"collectiveName":567,"names":66,"id":565,"documentId":566,"annotation":66,"richText":2109,"images":2110,"nationalities":2114},"i","\u003Cp>The Institute for Postnatural Studies (IPS) is a centre for artistic experimentation from which to explore and problematise postnature as a framework for contemporary creation. It is conceived as a platform for critical thinking, a network that brings together artists and researchers concerned with the ecological crisis through experimental formats of exchange, production and open knowledge. With a multidisciplinary approach, the IPS develops projects and research on various topics, such as contemporary ecologies, coexistence, politics and relationships with territories and ecosystems. It has developed numerous projects as well as curated exhibitions and public programmes. The institute’s academic programme offers seminars, courses and learning platforms, as well as an independent study programme. Its space in Madrid hosts artistic residencies, workshops, encounters and conferences.\u003C\u002Fp>",[2111],{"id":2112,"documentId":2113},2385,"dcz9w3pfy9ikm9a85kbxiqf5",[2115],{"id":621,"nationality":203},{"sortKey":2108,"collectiveName":66,"names":563,"id":561,"documentId":562,"annotation":66,"richText":2117,"images":2118,"nationalities":2122},"\u003Cp>Gözde İlkin is an artist who works with used and found domestic textiles that reflect social and cultural identity. Archives of contemporary memory, her embroidered motifs and drawings on fabric address issues of belonging, boundaries, family and gender. Her embroidered and painted forms focus on the body as an experimental or affective landscape. She uses abstract forms such as roots to represent the body and its experience of its habitat. Her nature-inspired forms trace the transformative effects of plants, animals and humans brought together. As she designs her forms, İlkin thinks about experience, movement and affect – concepts that build on multidisciplinary coexistence.\u003C\u002Fp>",[2119],{"id":2120,"documentId":2121},2384,"vaimpkyguymrngr3ssk82bji",[2123],{"id":2124,"nationality":2125},1542,"TR",{"sortKey":2127,"collectiveName":571,"names":66,"id":569,"documentId":570,"annotation":66,"richText":2128,"images":2129,"nationalities":2133},"j","\u003Cp>Jokkoo, a musical artistic collective rooted in Barcelona, is driven by the intention to explore and amplify the most cutting-edge creations from the experimental and alternative scenes of the African continent, its diaspora and allied communities worldwide. Comprising DJs and artists, Jokkoo's multifaceted practices encompass cultural management, music production, composition for theater, dance, film, videography, 3D design, audiovisual performances and plastic arts. In their individual and collaborative pursuits, they forge connections and create spaces that provide a platform for dissident aesthetics and narratives. With six distinctive personalities sharing common objectives – Baba Sy, Maguette Dieng (Mbodj), Oscar Taylor (Opoku), Nicolas Beliot (Mooki6), Ismäel N'diaye (B4mba) and Miriam Camara (TNTC) – Jokkoo is a dynamic force shaping the contemporary artistic landscape.\u003C\u002Fp>\u003Cp>cantdefine.me is formed by serahboo.m and unseena, a creative duo with heritage in Africa and Abya Yala. From their base in Barcelona, they reexamine the various dimensions of identity in the diaspora, with the intention of reimagining new narratives. Their practice mainly includes audiovisual research, with the goal of creating documentary archives that serve as a safe space for those who refuse to be defined by oppressive concepts. They also aim to delve deeper into the human experience and create lasting connections.\u003C\u002Fp>",[2130],{"id":2131,"documentId":2132},2386,"q443whl3lfschg7yw9s5spo2",[2134],{"id":2135,"nationality":203},1574,{"sortKey":2137,"collectiveName":66,"names":579,"id":577,"documentId":578,"annotation":66,"richText":2138,"images":2139,"nationalities":2143},"k","\u003Cp>Marcos Kueh is a textile artist who has a background in graphic design and advertising. Growing up in a post-colonial developing country, he has always been fascinated about his Malaysian identity and his place in Western discourses. Through his practice, he protects contemporary legends by incorporating them into textiles, using fibres to string together bits of day-to-day narratives that he encounters – just as his ancestors from Borneo did with their dreams and legends, before the arrival of written alphabets from the West. In many of his artistic research projects, he explores the spectacle of how his country is perceived, from colonial descriptions in anthropological museums around the world to marketing texts in tourism advertisements, comparing these representations with his lived experiences as a human from a small town in Borneo, navigating through mundane expectations to progress as a modern citizen in a gradual, uniform and globalised world.\u003C\u002Fp>",[2140],{"id":2141,"documentId":2142},2388,"yy0lbetq2nilqmy5825gyy6q",[2144],{"id":2145,"nationality":2146},1608,"MY",{"sortKey":2137,"collectiveName":66,"names":575,"id":573,"documentId":574,"annotation":66,"richText":2148,"images":2149,"nationalities":2153},"\u003Cp>Nnena Kalu lives and works in London. In her artistic practice, which is rooted in two-dimensional works, sculptures and installations, Kalu binds and wraps materials, exploring space, scale and materiality through repetitive sculptural processes. Her installations often begin with multiple compact ‘cocoons' of textiles and paper tightly packed in tape. With an emphasis on colour and volume, these spheres are clustered together around frameworks and structures. Kalu’s installations become an extension of her physical movements, focusing on the relationship between the artist’s body, space and sculptural forms.\u003C\u002Fp>\u003Cp>Kalu’s two-dimensional works are also explorations of space and a continuous line dictated by the reach of her arm and the size of her paper. Drawings and paintings are frequently produced in pairs, the second an echo of the first, where a rhythm is built up and multiple layers of complex evolving forms are constructed. Nnena Kalu has developed her practice at ActionSpace’s studio in Studio Voltaire since 1999.\u003C\u002Fp>",[2150],{"id":2151,"documentId":2152},2387,"h406ywzqyymhddi3ui2eqzp1",[2154],{"id":2155,"nationality":1750},1593,{"sortKey":2157,"collectiveName":595,"names":66,"id":593,"documentId":594,"annotation":66,"richText":2158,"images":2159,"nationalities":2163},"l","\u003Cp>La Casa dels Futurs is both an ongoing project to foster intersectional collaborations between social and ecological movements, as well as a campaign towards the creation of a permanent Climate Justice Centre and Movement School in Barcelona to address the challenges posed by the ecological and climate crises. La Casa dels Futurs is a dynamic initiative focused on supporting structurally marginalised communities already living on the frontlines of the climate crisis. Their work uplifts leadership from the peripheries, promoting translocal exchanges and employing place-based pedagogies to co-create climate solutions for the Mediterranean region. Operating within three key areas – climate resilience, global solidarity and a Movement School – the initiative aims to serve as a reference for large-scale, urban and self-organised climate infrastructure, empowering communities to thrive on a damaged planet.\u003C\u002Fp>",[2160],{"id":2161,"documentId":2162},2392,"i165en02i3h4tc5u22423ei8",[2164],{"id":2165,"nationality":203},1660,{"sortKey":2157,"collectiveName":66,"names":535,"id":533,"documentId":534,"annotation":66,"richText":2167,"images":2168,"nationalities":2172},"\u003Cp>Agnes Essonti Luque is a Cameroonian-Spanish artist and curator whose practice is inspired by postcolonial and Black feminist thinkers as well as themes of ancestral connection, her own childhood memories, story-telling and nostalgia. Her body of work encompasses numerous mediums, including lens-based media, textile, installation and performance. For the past few years, she has been exploring the construction of Afro-diasporic identities, especially in the Spanish context. She’s interested in the process of layering, hybridation and pidginisation, seeing her own work as the possibility to re-imagine both history and her personal memories. Essonti's work has been shown in different national and international exhibitions, including \u003Ci>Foodscapes\u003C\u002Fi>, the Spanish Pavilion at the 18th edition of the Venice Architecture Biennale (2023). She presented her performances \u003Ci>Bayam Sellam\u003C\u002Fi> at the Thyssen-Bornemisza National Museum and \u003Ci>La Bissaperie\u003C\u002Fi> at the Museo Nacional Centro de Arte Reina Sofía.\u003C\u002Fp>",[2169],{"id":2170,"documentId":2171},2377,"mm9m7al7hrpcrmdpd3iwcu4s",[2173,2176],{"id":2174,"nationality":2175},1652,"CM",{"id":2177,"nationality":203},1653,{"sortKey":2157,"collectiveName":66,"names":591,"id":589,"documentId":590,"annotation":66,"richText":2179,"images":2180,"nationalities":2184},"\u003Cp>Germán Labrador Méndez has been a Professor in the Department of Spanish and Portuguese at Princeton University since 2008. He has served as the Director of Public Activities at the Museo Reina Sofía (Madrid) (2021-2023), where he coordinated Connective Tissues, an independent academic programme on artistic research, cultural studies and critical museography (2022-2024). His research focuses on contemporary Spanish cultural history and explores topics such as memory, poetry, social movements, democracy, resistance, ecology and critical aesthetics. Among his publications, he has authored \u003Ci>Guilty of Literature. Political Imagination and Counter-Culture in the Spanish Transition to Democracy (1968-1984)\u003C\u002Fi>. Labrador has curated several exhibitions, including at the Museo Reina Sofía, and continues to contribute extensively to Spanish literary and cultural studies.\u003C\u002Fp>",[2181],{"id":2182,"documentId":2183},2391,"jcuyzvoq32v20jykrqihns20",[2185],{"id":2186,"nationality":203},1659,{"sortKey":2157,"collectiveName":66,"names":587,"id":585,"documentId":586,"annotation":66,"richText":2188,"images":2189,"nationalities":2193},"\u003Cp>Ira Lupu’s work builds bridges between dreamscapes and reality in a manner that is at once honest and ethereal. In her practice, she focuses on the notions of connection, belonging, virtuality, stigma and femininity. In community-based practice, she consistently seeks new ethical approaches to deepen collaboration with her protagonists.\u003C\u002Fp>\u003Cp>The artist’s current interest is in how the limitations of visual vocabulary, and those of photography as a medium in particular, can be challenged. This interest has prompted her to direct her attention to the less immediate or visceral manifestations of reality. In the war and conflict-related segment of her work, her doing so aims towards bonding, coping and healing – collectively as well as personally. The overarching impression is that Lupu insider’s perspective is not intrusive, but pensive and contemplative, an extension of the “mind’s eye” rather than direct documentation of atrocities. \u003C\u002Fp>",[2190],{"id":2191,"documentId":2192},2390,"td7ha1cibz3r97xifsqdp067",[2194],{"id":2195,"nationality":2196},1645,"UA",{"sortKey":2157,"collectiveName":66,"names":583,"id":581,"documentId":582,"annotation":66,"richText":2198,"images":2199,"nationalities":2203},"\u003Cp>Lola Lasurt engages with displaced time aspects, often delving into the period just before her birth and the paradoxes of an era poised for significant changes. This era coincided with Spain's political transition from dictatorship to democracy, marking a paradigm shift in global politics, society and art. The complexities of constructing identity in the context of late democracy are central to her exploration.\u003C\u002Fp>\u003Cp>Her projects adopt an open approach to history, formalising narratives through various media such as painting, video, editorial components and collaborative processes. They contribute to the reorganisation of historiography, incorporating elements of media archaeology and a performative perspective on micro-politics, presenting her work as a reenactment exercise.\u003C\u002Fp>\u003Cp>In her recent projects, Lasurt extends her exploration further back in time, uncovering forgotten artistic and social initiatives from the early 20th century. Her approach to documents and archival materials involves painting and historical friezes that interact with architectural spaces.\u003C\u002Fp>",[2200],{"id":2201,"documentId":2202},2389,"tw04flod2ypel5jozp8msqud",[2204],{"id":641,"nationality":203},{"sortKey":2206,"collectiveName":619,"names":66,"id":617,"documentId":618,"annotation":66,"richText":2207,"images":2208,"nationalities":2212},"m","\u003Cp>MASBEDO is an artistic duo formed by Nicolò Massazza and Iacopo Bedogni, whose collaboration commenced in 1999. Currently living in Milan and Piacenza, they have cultivated a rich body of work marked by a continuous exploration and fusion of diverse artistic languages. From video to installation, cinema to performance, avant-garde theatre to sound design, MASBEDO traverses these mediums with a fluidity that underscores their versatility and innovation. Notably, their creations are distinguished by a pronounced immersive quality and a commitment to site-specificity. At the heart of MASBEDO's practice lies a performative ethos that permeates each of their endeavours, lending them a distinctive character and vitality. Recently, the duo has turned their attention to the symbiotic relationship between cinema and art, embarking on an in-depth exploration that encompasses socio-anthropological dimensions as well as more intimate and poetic realms. This interdisciplinary approach infuses their work with a richness and depth, inviting viewers to engage with themes both profound and evocative.\u003C\u002Fp>",[2209],{"id":2210,"documentId":2211},2398,"m2wak58bnc2da1jplopaavw5",[],{"sortKey":2206,"collectiveName":603,"names":66,"id":601,"documentId":602,"annotation":66,"richText":2214,"images":2215,"nationalities":2219},"\u003Cp>Massa Salvatge, a working cooperative in València founded by Teresa Mata and Alba Oller, executes projects for institutions and collectives, blending educational initiatives, cultural mediation, artistic productions, participatory processes, research and training. Focused on addressing social issues with an anti-adultist perspective, they foster critical imaginaries in education, art and culture. Teresa Mata, a cultural mediator with expertise in audiovisuals, art education and museum management, has led various projects interlinking art, education and social action. Alba Oller, a researcher and educator, teaches Art Education Didactics at the University of Alicante and is pursuing a PhD in teacher training in Art Education. She integrates cultural mediation with reflective practice, focusing on children's participation through visual media.\u003C\u002Fp>\u003Cp>Lluc Mayol is an artist and graphic designer whose current projects are based on the relationships he establishes between editorial work and education, mediation and artistic creation. He views publishing as a performative and relational practice grounded in processes of coexistence, exchange and collective learning, which materialise in formats heavily influenced by artist publications, self-publishing, fanzines and free radio. With a strong political commitment, his work has always navigated between public institutions and community and self-managed spaces, maintaining a critical stance in both contexts and advocating for the public-common tension as the true backbone of culture. Committed to his environment, Mayol has been a driving force behind independent cultural platforms such as Saladestar and La fanzinoteca ambulant, in addition to being part of collective projects like Nau 21, Artdoules, L'Automàtica, Escuela Meme, La figuera and Massa Salvatge.\u003C\u002Fp>",[2216],{"id":2217,"documentId":2218},2394,"marbm76zjndji3yn000sypyg",[2220],{"id":2221,"nationality":203},1722,{"sortKey":2206,"collectiveName":66,"names":623,"id":621,"documentId":622,"annotation":66,"richText":2223,"images":2224,"nationalities":2231},"\u003Cp>In a brief yet prolific career, the Cuban-born artist Ana Mendieta created groundbreaking work in photography, film, video, drawing, sculpture and site-specific installations. Amongst the major themes in her work are exile, displacement and a return to the landscape, which remain profoundly relevant today. Her unique hybrid of form and documentation, works that she titled \u003Ci>Siluetas\u003C\u002Fi>, are fugitive and potent traces of the artist's inscription of her body in the landscape, often transformed by natural elements such as fire and water. \u003C\u002Fp>\u003Cp>Mendieta was born in Havana, Cuba, in 1948, and died in New York City in 1985. To date, over 122 public institutions hold Mendieta’s works in their collections.\u003C\u002Fp>",[2225,2228],{"id":2226,"documentId":2227},2399,"r6q1um04hcwf2c9juy4oqedc",{"id":2229,"documentId":2230},2400,"p9ik4v7v8kid5s5xj36tfaj9",[2232,2234],{"id":2233,"nationality":1852},1675,{"id":2235,"nationality":2085},1676,{"sortKey":2206,"collectiveName":66,"names":615,"id":613,"documentId":614,"annotation":66,"richText":2237,"images":2238,"nationalities":2242},"\u003Cp>Antoni Miralda is a multidisciplinary artist that has investigated the art of food for five decades, using a vibrant and inclusive language, humorous and based on participation and the celebration of the senses. Having experimented with photography, video, sculpture, collages, objects, monuments and parades, his spectacular way of understanding and engaging with art defies any classification. Nevertheless, his work is always rooted in social context and rituals – both modern and traditional – and conducts a particular and critical exploration of their logic through the ubiquitous role of food, activating through his practice a wide cultural exchange and dialogue.\u003C\u002Fp>",[2239],{"id":2240,"documentId":2241},2397,"kj6a8m17wimukuts9xvx9wbe",[2243],{"id":2244,"nationality":203},1694,{"sortKey":2206,"collectiveName":66,"names":599,"id":597,"documentId":598,"annotation":66,"richText":2246,"images":2247,"nationalities":2251},"\u003Cp>Within the international textile art renewal movement of the 1960s, Aurèlia Muñoz's work stands out for its originality and innovative use of materials and techniques, primarily textiles and paper.\u003C\u002Fp>\u003Cp>From the 1960s until 2011, Muñoz created small and medium-sized three-dimensional sculptures, as well as large installations for public and private architecture, both indoors and outdoors, in European, American and Japanese cities. Today, her work is recognised by scholars, collectors and museums, and can be found in public and private collections worldwide. In recent years, her work has gained special attention due to exhibitions at the Museum of Modern Art in New York, the Museu Nacional d’Art de Catalunya in Barcelona as well as support from galleries in Madrid and Barcelona.\u003C\u002Fp>",[2248],{"id":2249,"documentId":2250},2393,"mrfowf5l75yfpan6y3vmw73d",[2252],{"id":2253,"nationality":203},1679,{"sortKey":2206,"collectiveName":66,"names":611,"id":609,"documentId":610,"annotation":66,"richText":2255,"images":2256,"nationalities":2260},"\u003Cp>Trained in fine arts in Barcelona, Fina Miralles undertook residencies in South America, France and Italy before settling in Cadaqués in 1999. In the early 1970s, she emerged as one of Catalonia’s pioneering conceptual artists, staging actions in nature involving trees, earth, water and her own body. With simplicity and conviction, these actions highlight the dialogue between nature and artifice, critiquing social and political issues amidst late Francoist Spain. Her favoured themes include totalitarianism, patriarchy and violence. Miralles played a pivotal role in founding and managing key contemporary art spaces like Sala Vinçon in Barcelona, Sala Tres in Sabadell and Espai 13 at the Joan Miró Foundation in Barcelona. In the 1980s, influenced by her travels, her work shifted towards spirituality, with lyrical and straightforward gestures in painting and graphics. Having reembraced performance art at the dawn of the new millennium, she engages in dialogue with the land, sea and other natural rhythms. Recent years have seen her publish poetic works and exhibit widely, including at the Museo Nacional Centro de Arte Reina Sofía (Madrid) and the Museu d’Art Contemporani de Barcelona.\u003C\u002Fp>",[2257],{"id":2258,"documentId":2259},2396,"ercxvse2tryqt7l2gwqweviq",[2261],{"id":633,"nationality":203},{"sortKey":2206,"collectiveName":66,"names":607,"id":605,"documentId":606,"annotation":66,"richText":2263,"images":2264,"nationalities":2268},"\u003Cp>Marie-Claire Messouma Manlanbien is a French artist, finding inspiration in a diverse blend of cultural and religious influences for her art. Her creative approach involves blending elements from Western and American popular culture, the matriarchal Akan culture of Côte d'Ivoire and the Creole culture of Guadeloupe, in a syncretic manner to explore various symbols.\u003C\u002Fp>\u003Cp>In her work, Manlanbien delves into themes such as feminity, with a special focus on reflections around fertility, and the connection between artisanal traditions and modern society. She expresses herself through a variety of artistic forms, including weaving, embroidery, sculpture, ceramics, drawing, engraving, writing, photography and performance. Her creations form ecosystems where natural and manufactured materials coexist and interact.\u003C\u002Fp>\u003Cp>Manlanbien's artworks beautifully blend words and forms, capturing the complex connections between humans and all living things, with a special focus on the spiritual dimension.\u003C\u002Fp>",[2265],{"id":2266,"documentId":2267},2395,"l28deu5j4hyva2tyybdck27c",[2269],{"id":2270,"nationality":233},1688,{"sortKey":2272,"collectiveName":66,"names":631,"id":629,"documentId":630,"annotation":66,"richText":2273,"images":2274,"nationalities":2278},"n","\u003Cp>Katja Novitskova’s works include sculptures generated from existing online imagery and text, installations, video and artist publications. In her work, she attempts to capture the human expansion that is not just geographical (as applied to peoples, territories and mineral resources), but rather biological: genomes, bio-molecular structures, neural firings, embryogenesis and other inner workings of human and nonhuman life. The frontier logic comes with the requirement for extensive mapping, which – in an era of big-data analysis, genetic engineering and AI – means a colossal amount of digital pattern processing, a lot of it in the form of images. Novitskova often uses this visual information taken from mainly scientific sources (images of the lab worm species \u003Ci>C. Elegans\u003C\u002Fi>, datasets of automatic wildlife photographs) as a material in her work. Creating arrays of translation between various media, she is interested in the form-generating potential of art and its capacity to extrapolate current trends and realities. \u003C\u002Fp>",[2275],{"id":2276,"documentId":2277},2402,"x5ip467ndkurydf08sofqca4",[2279],{"id":2280,"nationality":2281},1763,"EE",{"sortKey":2272,"collectiveName":66,"names":627,"id":625,"documentId":626,"annotation":66,"richText":2283,"images":2284,"nationalities":2288},"\u003Cp>Mike Nelson's art focuses on turning stories into physical spaces and the objects within them. His creations immerse viewers and challenge their perception of these environments. These atmospheres are created from multi-layered narratives creating what could be described as 'atmospheres' that convey a sense of meaning. Sculptural works are informed by this practice, using ambiguity to shift in and out of focus, blurring the lines between sculpture and the objects and materials they are made of. Nelson represented Britain at the Venice Biennale and has been nominated twice for the Turner Prize. His highly acclaimed exhibition \u003Ci>Extinction Beckons\u003C\u002Fi>, which was held at the Hayward Gallery in 2023, showcased a diverse collection of sculptures and updated versions of significant large-scale installations spanning from the 1990s to the present.\u003C\u002Fp>",[2285],{"id":2286,"documentId":2287},2401,"qz03ch9dh68545fidg5lo2p0",[2289],{"id":2290,"nationality":1750},1771,{"sortKey":2292,"collectiveName":639,"names":66,"id":637,"documentId":638,"annotation":66,"richText":2293,"images":2294,"nationalities":2298},"o","\u003Cp>OJO Estudio defends an architecture that improves and puts people’s lives at the centre. Its philosophy is based on deep reflection on the relationship between the inhabitants, the space and the architect, breaking the established forms and models. The result of all of the above are conscious, sensitive, close and sustainable designs that are also daring, creative and impactful.\u003C\u002Fp>\u003Cp>The studio was founded by Oihana García and Jordi Rodríguez with the aim of approaching architecture, design and urbanism from an ethical and innovative point of view.\u003C\u002Fp>\u003Cp>Throughout their trajectory, OJO Estudio has won several competitions related to public space and social housing, demonstrating the studio’s commitment to the community and the environment around them.\u003C\u002Fp>",[2295],{"id":2296,"documentId":2297},2404,"nfzic5mf7s2cqlb5un5bm79s",[2299],{"id":2300,"nationality":203},1775,{"sortKey":2302,"collectiveName":647,"names":66,"id":645,"documentId":646,"annotation":66,"richText":2303,"images":2304,"nationalities":2308},"p","\u003Cp>Paisanaje is an exploration and action group that addresses the eco-social crisis through art. The group practices alternative modes of imagination that move away from collapse and towards envisioning other possible futures full of hope. Their goal is to re-create the city as a space of welcoming and participatory coexistence for all forms of life, fostering connections with inhabitants of rural spaces while helping sustain their knowledge and ways of life.\u003C\u002Fp>\u003Cp>In all its lines of work, from cooking to dancing, weaving and transhumance, Paisanaje is inspired by traditions that, both in the countryside and elsewhere in the Global South, help make city life more bearable and balanced. With its base of operations in Madrid, Paisanaje works through art toward the construction of alternative economies as well as alternative production and feeding methods and styles of life. Artists, curators, artisans and activists make up this collective work.\u003C\u002Fp>",[2305],{"id":2306,"documentId":2307},2439,"c2ctg8lb95c252dhtepmaaxq",[2309],{"id":2310,"nationality":203},1822,{"sortKey":2302,"collectiveName":66,"names":659,"id":657,"documentId":658,"annotation":66,"richText":2312,"images":2313,"nationalities":2317},"\u003Cp>Claudia Pagès’ captivating worlds seamlessly blend words, bodies, music and movement, creating a diverse and engaging tapestry of exploration. Her focus extends to uninterrupted flows, including navigation, transportation and language.\u003C\u002Fp>\u003Cp>Pagès delves into the concept of “architectures of containment,” dissecting structures that uphold power through the fluidity of commodities and capital. This exploration takes a closer look at the pivotal roles played by water, paper and language, emphasising their symbolic and tangible significance. Claudia Pagès' body of work invites audiences to immerse themselves in a profound examination of interconnected elements that shape societal dynamics and power structures.\u003C\u002Fp>",[2314],{"id":2315,"documentId":2316},2408,"ullgfbaqk3dtux80vj0rkpoe",[2318],{"id":2319,"nationality":203},1802,{"sortKey":2302,"collectiveName":66,"names":651,"id":649,"documentId":650,"annotation":66,"richText":2321,"images":2322,"nationalities":2326},"\u003Cp>Diana Policarpo is a versatile visual artist and composer, renowned for her innovative work across a spectrum of mediums including drawing, video sculpture, text, performance, and multi-channel sound installation. Through her artistry, Policarpo delves into a diverse array of themes, exploring gender politics, economic structures, health and interspecies relations through speculative transdisciplinary research. \u003C\u002Fp>\u003Cp>Her performances and installations serve as poignant examinations of vulnerability and empowerment within the capitalist landscape, offering insightful reflections on the human experience. Policarpo's work has garnered international acclaim, with solo presentations at prestigious venues such as Biennale Gherdëina, Helsinki Biennial, Fondazione Sandretto Re Rebaudengo in Turin, Ocean Space in Venice and Whitechapel Gallery, ICA and LUX- Moving Image in London, among others. \u003C\u002Fp>\u003Cp>Notable accolades include winning the Prémio Novos Artistas Fundação EDP 2019 and the Illy Present Future Prize 2021. With exhibitions spanning the globe, from Helsinki to Lisbon, Policarpo continues to captivate audiences with her thought-provoking and boundary-pushing artistic endeavours. \u003C\u002Fp>",[2323],{"id":2324,"documentId":2325},2406,"rrt2ack1pek35m6d3g6mhlcg",[2327,2329],{"id":2328,"nationality":900},1825,{"id":2330,"nationality":1750},1826,{"sortKey":2302,"collectiveName":66,"names":643,"id":641,"documentId":642,"annotation":66,"richText":2332,"images":2333,"nationalities":2337},"\u003Cp>Ruta Putramentaite hails from Vilnius and is based in Prague. She received her bachelor’s in Photography from Middlesex University (UK) and another bachelor’s in Sculpture from the Academy of Arts, Architecture and Design (CZ), where she is now pursuing her master’s in Fine Arts.\u003C\u002Fp>\u003Cp>Putramentaite works across sculpture, writing, audio and performance. For the exploration of the space in-between the personal and the collective, she combines various formal and conceptual elements – her body or her voice, bits of scientific knowledge, fragments of literary works, speculative and imaginary narratives. Her work is informed by a feminist new materialist approach and ponders what it means to be a human in the 21st century, trapped in between accelerated techno-science and accelerated climate crisis.\u003C\u002Fp>\u003Cp>Her works have been exhibited mostly in Czechia, at the likes of Kabinet t, Plato, Cursor, Meetfactory, Display, Václav Špála gallery, 4+4 Days In Motion, Entrance, Atrium na Žižkově, Gallery 35m2 and Jelení. Together with Denisa Langrová and Jonáš Richter, she is part of the nomadic Choir of Cooperative of Life (sbor družstva život). She is also a co-curator of a festival of Divoká Šárka in the nature reserve of the same name in Prague as well as the co-curator of the symposium More-Than-Human Curiousness with Les-Woods, community for Art, Cultivation and Theory, convened in the Orlické Mountains in Czechia.\u003C\u002Fp>",[2334],{"id":2335,"documentId":2336},2405,"renz4rw2va9nsdi4pnrm8mac",[2338],{"id":2339,"nationality":2340},1806,"LT",{"sortKey":2342,"collectiveName":66,"names":635,"id":633,"documentId":634,"annotation":66,"richText":2343,"images":2344,"nationalities":2348},"q","\u003Cp>Daniela Ortiz lives and works in Urubamba, Peru. Through her work, she seeks to create visual narratives that explore the concepts of nationality, racialisation, social class, and gender, critically examining the structures of colonial, patriarchal, imperialist and capitalist power. Her recent research focuses on the necessity of reclaiming historical internationalist and anti-imperialist political movements from the global south that have been erased in the face of repression.\u003Cbr>In recent years, her work has also addressed Europe’s migratory control systems, their links to colonialism and the legal frameworks established by European institutions. Additionally, she has developed projects concerning the Peruvian upper class and its exploitative relationship with domestic workers, as well as the colonial legacy of extractivism within the mining industry.\u003Cbr>Her work has recently been exhibited at: Kunsthaus Zürich (2024), Fondazione Sandretto (2023), Neumarkt Theater Zürich (2023), Kunsthalle Hamburg & KADIST Art Foundation, Paris (2020–21), Kunsthalle Wien (2021), the 11th edition of the Göteborg International Biennial for Contemporary Art, Röda Sten Konsthall, Gothenburg (2021) and the Triennial at the New Museum, New York (2018). \u003C\u002Fp>",[2345],{"id":2346,"documentId":2347},2403,"ngadowt9ggflf1ch81ey8u8a",[2349,2352],{"id":2350,"nationality":2351},1862,"PE",{"id":2353,"nationality":203},1863,{"sortKey":2355,"collectiveName":66,"names":671,"id":669,"documentId":670,"annotation":66,"richText":2356,"images":2357,"nationalities":2361},"r","\u003Cp>Asad Raza’s practice represents an expanded approach to artmaking – encompassing installations, writing, curating, dramaturgy, filmmaking and pedagogy. It takes local ecosystems and planetary ecologies as a focus, with a strong emphasis on the participatory and performative aspects of art, as well as an engagement with all human senses.\u003C\u002Fp>\u003Cp>Raza's art is all about collaboration, drawing inspiration from diverse conversations with experts in various fields such as soil science, horticulture, astronomy, physics, architecture and music. In Raza's approach, the artist takes on the roles of a director, a facilitator and a connector, orchestrating unique dialogues between people and the broader natural world. This openness to interactions, involving both humans and non-humans, challenges the traditional notion of artists as creators of objects. It represents a significant shift in the artist's role within society, moving away from the conventional focus on tangible artworks.\u003C\u002Fp>",[2358],{"id":2359,"documentId":2360},2411,"csmlac46rkfw2gok5jolojzg",[2362],{"id":2363,"nationality":2085},1898,{"sortKey":2355,"collectiveName":66,"names":663,"id":661,"documentId":662,"annotation":66,"richText":2365,"images":2366,"nationalities":2370},"\u003Cp>Enrique Ramírez was born in 1979 in Santiago de Chile. He lives and works between Paris, France and Santiago, Chile. Ramírez’s work combines video, photography, installations and poetic narratives. He appreciates stories within stories, fictions straddling countries and epochs as well as the mirages between dream and reality. He often uses image and sound to construct a profusion of intrigues and occupy the equilibrium between the poetic and the political. His imaginary worlds are attached to one obsessional element; namely, his thinking starts with the sea, a space for memory in perpetual movement and for narrative projections where the fate of Chile intersects with grand narratives of voyage, conquest and migratory flows. His liquid images speak of the sparkle of a truth in permanent flight and the backwash of history – always repeating and never the same.\u003C\u002Fp>",[2367],{"id":2368,"documentId":2369},2409,"dcnf6yykej0yif930w3tdpvj",[2371],{"id":2372,"nationality":2373},1899,"CL",{"sortKey":2355,"collectiveName":66,"names":667,"id":665,"documentId":666,"annotation":66,"richText":2375,"images":2376,"nationalities":2380},"\u003Cp>Felipe Romero Beltrán is a photographer and visual artist whose work explores the boundaries of documentary photography. His art engages with historical and social themes, examining the relationship between documentation and violence. Romero Beltrán focuses on regions affected by conflict, using them as visual reflections on political and social history, deeply influenced by the photographic tradition.\u003C\u002Fp>\u003Cp>He collaborates on artistic research projects with institutions in Spain, Germany and Colombia. He has received numerous awards, including the Sony Photography Award (2016), Fotocanal Book Award (2019) and Torres Hejduk Prize (2020). His work has been recognised by institutions such as Casa de América (Madrid) and the Magnum Foundation (New York).\u003C\u002Fp>",[2377],{"id":2378,"documentId":2379},2410,"en3iimc92n39n0of0k72plb1",[2381],{"id":721,"nationality":1898},{"sortKey":2355,"collectiveName":66,"names":675,"id":673,"documentId":674,"annotation":66,"richText":2383,"images":2384,"nationalities":2388},"\u003Cp>The general interest of Mónica Rikić’s artistic practice lies in the development of alternative technologies through creative coding and electronics. Her proposals merge technology and philosophy in an artistic manner, creating technological artefacts that are less concerned with functionality and productivity, and more concerned with triggering collective thinking and discussion. Formally, her practice is based in producing handmade electronics objects and robots, which perform different concepts within the scope of her research, presenting themselves as theatrical devices. With these devices, Rikić offers experiences that propose alternative ways of thinking about technologies, robotics and open hardware. Her works illustrate how artistic research is a valid way to not only contribute to, but also critically evaluate the advancement of techno-scientific knowledge, providing new perspectives and generating previously-unknown paths of exploration. All told, Rikić proffers a future where art is necessary to achieve a profound transformation of the technological world we inhabit, as a form of experimental thought between philosophy and engineering.\u003C\u002Fp>",[2385],{"id":2386,"documentId":2387},2412,"bxvq7gh0map7r49ezshotxze",[2389],{"id":2390,"nationality":203},1893,{"sortKey":2392,"collectiveName":679,"names":66,"id":677,"documentId":678,"annotation":66,"richText":2393,"images":2394,"nationalities":2398},"s","\u003Cp>Since 2020, the collaborative art-research project radio SLUMBER, led by Zoénie Liwen Deng, Elaine W. Ho, Clara Jo, Keman Qiu, Amy Suo Wu and Hui Ye, has transformed into a multi-headed practice encompassing sound, writing and discursive spaces centred on the female experience. The collective exploration navigates the intricate web of shared affinities and backgrounds, converging at the undeniable struggles embedded in diasporic histories. By recognising the complexity of connections, their work steers clear of straightforward categorisation.\u003C\u002Fp>\u003Cp>The radio SLUMBER soundtrack serves as a diverse collection of incantations and songs— aural spells and mantras to protect the female body and spirit amidst the tumultuous currents of existence. Recent experiments delve into feminist labour practices, interpersonal rituals and the nuanced layers of text and texture, unveiling an evolving artistic journey that transcends conventional boundaries.\u003C\u002Fp>",[2395],{"id":2396,"documentId":2397},2413,"iwvec8tptkvh1r6kcny8k740",[2399,2402,2405,2408,2410,2412],{"id":2400,"nationality":2401},1932,"CN",{"id":2403,"nationality":2404},1933,"AU",{"id":2406,"nationality":2407},1934,"HK",{"id":2409,"nationality":382},1935,{"id":2411,"nationality":2085},1936,{"id":2413,"nationality":182},1937,{"sortKey":2392,"collectiveName":66,"names":759,"id":757,"documentId":758,"annotation":66,"richText":2415,"images":2416,"nationalities":2423},"\u003Cp>Buhlebezwe Siwani’s work interrogates the patriarchal framing of the black female body and black female experience within the South African context. As an initiated Sangoma, a spiritual healer that works within the space of the death and the living, Siwani focuses her artistic practice on rituality and the relationship between Christianity and African spirituality. Central to her work is her own body, which operates in multiple registers as subject, object, form, medium, material, language and site. Her work can be described, although not literally, as the documentation of a diverse set of performances, which are rendered through video, photography, sculpture, installation and works on paper. Each of her projects deals with the relationship between ancestral rituals and modern life, touching social and political topics, such as the female body, black communities, histories of colonization and the paradoxes of our contemporary society, all seen through the filter of the artist’s own biography and experience.\u003C\u002Fp>",[2417,2420],{"id":2418,"documentId":2419},2415,"mfafuhkclub0zpr5saxugto1",{"id":2421,"documentId":2422},2414,"c21yez7axf827j0ek4efdrst",[2424],{"id":2425,"nationality":2426},1911,"ZA",{"sortKey":2392,"collectiveName":66,"names":655,"id":653,"documentId":654,"annotation":66,"richText":2428,"images":2429,"nationalities":2433},"\u003Cp>Born in Almería, Carlos Pérez Siquier was from a young age captivated by the blinding Mediterranean light. His father, a photography enthusiast, had a small workshop in their attic where young Carlos first saw images develop on paper. At 17, he discovered the French \u003Ci>Cine-Photo Magazine\u003C\u002Fi>, which profoundly influenced him with its humanistic, reality-committed photography. He completed his photography studies at Almería’s School of Art in 1950. In 1956, he began his iconic series \u003Ci>La Chanca\u003C\u002Fi> and co-founded \u003Ci>AFAL\u003C\u002Fi>, the revolutionary group and magazine, with José María Artero. \u003Ci>AFAL\u003C\u002Fi>, crucial in modernising Spanish photography, highlighted Pérez Siquier’s authenticity. Transitioning to colour, he became an international pioneer, blending avant-garde influences with modern social irony, always maintaining an indestructible sense of beauty.\u003C\u002Fp>",[2430],{"id":2431,"documentId":2432},2407,"z52pxe1yhhythg68u3m01stw",[2434],{"id":2435,"nationality":203},1983,{"sortKey":2392,"collectiveName":66,"names":715,"id":713,"documentId":714,"annotation":66,"richText":2437,"images":2438,"nationalities":2442},"\u003Cp>Diana Scherer delves into the intricate dynamics of underground plant life. Plant neurobiologists regard roots as akin to a plant's brain, governing its hidden subterranean existence. Through her project, she sheds light on these subterranean processes, unveiling the hidden world beneath our feet.\u003C\u002Fp>\u003Cp>Using a unique technique, Scherer harnesses natural growth processes to fashion structures from root tissues. Drawing inspiration from both botanical forms and human-made constructions, she crafts intricate patterns that blur the boundaries between nature and artifice.\u003C\u002Fp>\u003Cp>Continuously probing the interplay between plant culture and plant nature, Scherer's work is not only thought-provoking but also a poignant expression of humanity's desire to exert control over nature.\u003C\u002Fp>",[2439],{"id":2440,"documentId":2441},2428,"lglg22hh4oh43ptrzdis952c",[2443,2445],{"id":2444,"nationality":182},2007,{"id":2446,"nationality":382},2008,{"sortKey":2392,"collectiveName":66,"names":691,"id":689,"documentId":690,"annotation":66,"richText":2448,"images":2449,"nationalities":2453},"\u003Cp>Emilija Škarnulytė is a Lithuanian-born artist and filmmaker. Working between documentary and speculative fiction, her video works take viewers through decommissioned nuclear power plants, deep-sea data storage units, forgotten underwater cities and uncanny natural phenomena. Škarnulytė is the recipient of the 2023 Ars Fennica Award and the 2019 Future Generation Art Prize. The artist has most recently presented work at the Gwangju Biennale, Helsinki Biennale, Vilnius Biennale and the Henie Onstad Triennale. Recent solo exhibitions include: Canal Projects, Kunsthaus Göttingen and Ferme-Asile. Škarnulytė is a co-founder and co-director of the Polar Film Lab, a collective for analogue film practice located in Tromsø, Norway, and is a member of the artist duo New Mineral Collective.\u003C\u002Fp>",[2450],{"id":2451,"documentId":2452},2421,"k3hbinx0x2b4rjowihccp4oe",[2454],{"id":2455,"nationality":2340},1953,{"sortKey":2392,"collectiveName":66,"names":687,"id":685,"documentId":686,"annotation":66,"richText":2457,"images":2458,"nationalities":2468},"\u003Cp>Lara Schnitger is a Dutch-born artist who lives and works in Los Angeles. She uses female sexuality and depictions of the body as a tool to challenge what is deemed acceptably feminine versus obscene. Her work is playfully over-the-top and exuberant, yet serious, pointedly addressing the continued struggle for women’s equality and safety in a culture of patriarchy. Schnitger uses rigid materials such as wood and resin in combination with soft materials like leather, fur, silk, cotton and lycra to create sculptures that reference the female body. Her fabric paintings and quilts incorporate image and text, thus doubling their functionality as art and protest signs. By pairing techniques like dying, quilting, weaving and sewing with tough and rebellious postures and messaging, the artist pushes the expressive power of traditional crafts. The artist’s work is represented in the permanent collections of reputable museums both in Europe and the United States. \u003C\u002Fp>",[2459,2462,2465],{"id":2460,"documentId":2461},2418,"ngitqoetuthr03pygqxe8gvd",{"id":2463,"documentId":2464},2419,"amc6g8qzdma056fsloahk6u1",{"id":2466,"documentId":2467},2420,"m3ky8pas84cpuie0purl068o",[2469,2471],{"id":2470,"nationality":382},2027,{"id":2472,"nationality":2085},2028,{"sortKey":2392,"collectiveName":66,"names":711,"id":709,"documentId":710,"annotation":66,"richText":2474,"images":2475,"nationalities":2479},"\u003Cp>Born in Germany to a mother of Jewish descent and an Iraqi father, Lin May Saeed (1973, Würzburg – 2023, Berlin) focused on the relationship between humans and animals as well as the destruction of the habitat of the animal world by humans – from the Neolithic period to nowadays. Her sculptures, reliefs, gates and installations address the exploitation of animals, their liberation, the utopia of a peaceful coexistence between animals and humans as well as the self-seeking meanness of the latter.\u003C\u002Fp>\u003Cp>Saeed’s works are mostly made of so-called ‘poor materials’ such as styrofoam, cardboard or tool steel. Her iconographic frame of reference includes Egyptian statuary, Greco-Roman sculpture and natural history museum displays, amongst others. She was drawn to styrofoam due to its essentially unattractive and difficult nature, which she sought to aesthetically redeem, despite and because of its essentially ruinous use of and impact upon nature. Generally speaking, Saeed’s work becomes especially relevant in our post-enlightenment, Anthropocene paradigm, where the relationship between the so-called natural world and humanity is being radically re-evaluated. Nevertheless, Saeed’s works are not doctrinal nor do they have a moralising undertone. They are rather narrative and not without humor.\u003C\u002Fp>",[2476],{"id":2477,"documentId":2478},2427,"gs1ppxpe2is8vzjhr8z9d54d",[2480],{"id":2481,"nationality":182},1915,{"sortKey":2392,"collectiveName":66,"names":699,"id":697,"documentId":698,"annotation":66,"richText":2483,"images":2484,"nationalities":2488},"\u003Cp>Lorenzo Sandoval operates as an artist, filmmaker and curator. His work spans different disciplines, creating spaces for encounter through his art works, films, architectural pieces and collaborations. He researches on the connections between textile, computation and image production, in relation with systems of redistribution with the long-term project Shadow Writing. The project has been featured at LABoral in Gijón (2017), Nottingham Contemporary (2018), Museo Amano in Lima (2019), Göteborg Biennial (2019), IVAM Alcoi (2019), Centro Párraga (2020) and Kindl in Berlin (2023). Sandoval was part of the Miracle Workers Collective representing Finland in the Venice Biennale in 2019 curated by Bonaventure Ndikung. In 2018, he started the research for his current film and art project “Aquel Verano del 22”, exploring the connections between mining in La Unión, construction in La Manga and agroindustry in Mar Menor, in relation to the rights of nature. In 2015, Sandoval founded The Institute for Endotic Research (TIER).\u003C\u002Fp>",[2485],{"id":2486,"documentId":2487},2423,"y3upvu329dv6eeeq46cajbzq",[2489],{"id":2490,"nationality":203},1926,{"sortKey":2392,"collectiveName":66,"names":695,"id":693,"documentId":694,"annotation":66,"richText":2492,"images":2493,"nationalities":2497},"\u003Cp>The multi-disciplinary artist Marianna Simnett works with film, installation, drawing and sculpture. Her works center around the overlapping and at times incongruous themes of vulnerability, autonomy, control, pain, metamorphosis and care. She uses narrative structures gleaned from fairytales, fables and personal experience to creative immersive, visceral scenarios that engage notions of physical distress and release, focusing on the social, historical and economic systems deployed to control human and animal bodies.\u003C\u002Fp>",[2494],{"id":2495,"documentId":2496},2422,"pjthyif0oc6klyvmqprxz9tl",[2498],{"id":2499,"nationality":1750},1971,{"sortKey":2392,"collectiveName":66,"names":707,"id":705,"documentId":706,"annotation":66,"richText":2501,"images":2502,"nationalities":2509},"\u003Cp>Tanja Smeets delves into the realm of organic growth processes and the delicate interplay between the natural and the artificial through her captivating installations. Whether in bustling public spaces or serene museum galleries, her creations engage in a profound dialogue with their architectural surroundings, inviting viewers into a world where time appears suspended. Smeets' installations evoke a sense of frozen motion, caught in a perpetual state between fluidity and solidity, growth and stasis. Within these fictional landscapes, everyday objects undergo a mesmerising transformation, morphing into structures that blur the lines between human-made and natural forms, offering an experience that is both familiar and uncanny. Central to Smeets' practice is the use of materials from our daily lives, assembled in large groups and varied sizes, prompting contemplation on themes of consumption, value and perception. Through her work, she challenges us to reconsider the boundaries between culture and nature, urging exploration of new forms, fusions and possibilities. \u003C\u002Fp>",[2503,2506],{"id":2504,"documentId":2505},2425,"ds7jkdyxesd1wx6pfjb098g4",{"id":2507,"documentId":2508},2426,"a30pkqww8arg2jh0q87gxnso",[2510],{"id":2511,"nationality":382},2004,{"sortKey":2392,"collectiveName":66,"names":683,"id":681,"documentId":682,"annotation":66,"richText":2513,"images":2514,"nationalities":2521},"\u003Cp>Ugo Schiavi's sculptural language delves into the crisis of encompassing systems of representation and their portrayal of bodies, whether human or non-human. His work navigates between presenting forms in a way that invite understanding and leaving them open to imaginative interpretations influenced by enduring mythologies.\u003C\u002Fp>\u003Cp>Schiavi's creations merge contemporary elements with echoes of antiquity, resonating with collective memory. By playing with the tensions between past and present, his art evokes captivating narratives and strikes a delicate balance between strength and fragility, fiction and history. Schiavi's approach draws from a universal heritage, transcending the confines of temporality through the creation of ever-evolving artworks. His practice unveils a form of anticipated archaeology that challenges the linear perception of time.\u003C\u002Fp>",[2515,2518],{"id":2516,"documentId":2517},2416,"hfzwogut0kv70ycyqzbhaiuh",{"id":2519,"documentId":2520},2417,"izyjlnwzhyj9j9xi7kqimf02",[2522],{"id":2523,"nationality":233},1948,{"sortKey":2525,"collectiveName":735,"names":66,"id":733,"documentId":734,"annotation":66,"richText":2526,"images":2527,"nationalities":2531},"t","\u003Cp>Tornen les esquelles is a textile art collective, established in 2022 with the mission to encourage pro-environmental behaviours within the Collserola Natural Park. Using wool sourced from the Collserola region, the collective engages in the creation of felt pieces through participatory and performative processes. Their work extends beyond crafting tapestries and sculptures, evolving into a collaborative practice involving artists, shepherds and the local community. This collaborative effort encompasses activities ranging from shearing and wool selection to artistic proposals aimed at preserving the local ecosystem and traditional forms of pastoralism. Tornen les Esquelles serves as a creative hub, weaving together art and environmental stewardship to foster a sustainable connection between the community and the Collserola region.\u003C\u002Fp>",[2528],{"id":2529,"documentId":2530},2433,"vcfh3cssqsa1jt3e7b6u7znz",[2532],{"id":2533,"nationality":203},2058,{"sortKey":2525,"collectiveName":727,"names":66,"id":725,"documentId":726,"annotation":66,"richText":2535,"images":2536,"nationalities":2540},"\u003Cp>Transductores is an interdisciplinary platform focusing on cultural mediation, artistic and community development. Javier Rodrigo Montero has been the Head of Transductores since 2008, overseing its profound commitment to collective pedagogies, collaborative artistic practices, public interventions and projects that involve groups, entities, and diverse networks. Andrea Corachán Camús joined the organitzation in 2017 and Pablo Pérez Becerra in 2019, both contributing in the conceptualisation and organisation of pedagogical projects such as seminars, workshops, long-term mediations and public space deployments. Recently, Transductores has curated exhibitions and community programmes of experimental mediation, both locally and internationally, showcased in cultural centres, events and community hubs. Recent projects, including Bornlab at El Born CCM, La Trama at Fabra i Coats and initiatives with Cooperasec at Poble-sec and Teatre Arnau Itinerant underscore Transductores’ dedication to experimental mediation and community culture in Barcelona.\u003C\u002Fp>",[2537],{"id":2538,"documentId":2539},2431,"wlnm4q33ypi66wq7bd9vbs5h",[2541],{"id":2542,"nationality":203},2079,{"sortKey":2525,"collectiveName":66,"names":723,"id":721,"documentId":722,"annotation":66,"richText":2544,"images":2545,"nationalities":2549},"\u003Cp>Antoni Tàpies began his artistic journey during a long convalescence from a serious illness, which led him to leave university and focus on painting and drawing. By the 1940s, his work was already being exhibited. In 1948, he co-founded the magazine \u003Ci>Dau al Set\u003C\u002Fi>. Influenced by the likes of Joan Miró and Paul Klee, Tàpies explored iconographic and magical themes, eventually incorporating geometric elements and textured canvases. By the mid-1950s, he achieved international recognition. In the 1960s, he introduced new elements like writing, signs and footprints, along with new techniques using everyday objects and varnish. Tàpies’ evolving pictorial language resulted in a body of work that is admired across the world.\u003C\u002Fp>",[2546],{"id":2547,"documentId":2548},2430,"uc3uq8tntxmpdg2pe5mqyn3d",[2550],{"id":2551,"nationality":203},2053,{"sortKey":2525,"collectiveName":66,"names":731,"id":729,"documentId":730,"annotation":66,"richText":2553,"images":2554,"nationalities":2558},"\u003Cp>The central theme of Martin Toloku’s practice is decay; he is fascinated by the at-times mysterious relations between deterioration and materiality. To create his works, he engages the history of dead or rotten wood and other related objects, encountering his accumulated subjects of inquiry as an archive of obscured moments. Toloku’s portfolio is indicative of his curiosity for how memories and histories are trapped or hidden in objects that are raw reflections of their environment. Throughout his practice, which spans disciplines and often follows an anthropological approach, he searches for his own language and definition of death and life vis-à-vis humankind’s encounters with physical and spiritual space. In creating his works, Toloku sometimes collaborates with living organisms, specifically termites. For his performances, he employs himself as a material object, confronting and challenging the mortality of all living beings as well as his own death phobia.\u003C\u002Fp>",[2555],{"id":2556,"documentId":2557},2432,"hv32md58qjo9ho8c316i9jbu",[2559],{"id":2560,"nationality":1752},2051,{"sortKey":2525,"collectiveName":66,"names":739,"id":737,"documentId":738,"annotation":66,"richText":2562,"images":2563,"nationalities":2567},"\u003Cp>Wu Tsang is a filmmaker and visual artist renowned for her versatile work spanning narrative and documentary films, live performances and video installations. A MacArthur \"Genius\" Fellow, Tsang has garnered numerous awards including the Guggenheim Fellowship (2016, film\u002Fvideo), a Hugo Boss Prize nomination (2018) and grants from Creative Capital as well as the Rockefeller, Louis Comfort Tiffany and Warhol Foundations. In 2004, she earned a BFA from the School of the Art Institute of Chicago (SAIC) and, in 2010, an MFA from the University of California, Los Angeles (UCLA). Tsang currently resides as a theatre director at Schauspielhaus Zurich, collaborating with the Moved by the Motion collective. Her projects have been showcased worldwide at museums, biennales and film festivals.\u003C\u002Fp>",[2564],{"id":2565,"documentId":2566},2434,"j25318jxm4antxfurwgni3tj",[2568],{"id":2569,"nationality":2085},2046,{"sortKey":2571,"collectiveName":66,"names":747,"id":745,"documentId":746,"annotation":66,"richText":2572,"images":2573,"nationalities":2577},"v","\u003Cp>\u003Ci>The Eleventh Year\u003C\u002Fi> is the first of three avant-garde films made by Dziga Vertov and his brother, cameraman Mikhail Kaufman, in Ukraine on the basis of the newly opened VUFKU Kyiv Film Studio. Dedicated to the success of the first five years in Donbas, the film tells the story of accelerated industrial modernisation of eastern Ukraine, which resulted in the transformation of an agricultural country into an industrial one. \u003Ci>The Eleventh Year\u003C\u002Fi> is Vertov’s first experiment in implementing his programme of developing a specific film language, separate from the language of theatre and literature, in which the camera would directly capture the raw matter of life. This programme was fully implemented by Vertov in his next Ukrainian film, \u003Ci>Man With a Movie Camera\u003C\u002Fi> (1929).\u003C\u002Fp>",[2574],{"id":2575,"documentId":2576},2436,"ixxdl6mzsnc7bc3jnhskc0o1",[2578],{"id":2579,"nationality":2580},2106,"PL",{"sortKey":2571,"collectiveName":66,"names":743,"id":741,"documentId":742,"annotation":66,"richText":2582,"images":2583,"nationalities":2587},"\u003Cp>Elmo Vermijs explores how art, architecture and land(scape) intersect. He delves into the intricate relationships between space, materials and regenerative processes to offer new perspectives on contemporary challenges. His research explores the dynamic interplay between human and non-human entities, Western societal systems and local materials within their historical, political and environmental contexts. Collaborating closely with local stakeholders, Vermijs integrates material research with cutting-edge environmental insights in his creative process. His works, often accompanied by publications, workshops and dialogues, invite visitors to engage physically with the installation and its materials. Through this interaction, viewers are prompted to reflect on a spectrum of social issues and to reimagine their relationship with the environment.\u003C\u002Fp>",[2584],{"id":2585,"documentId":2586},2435,"ofko0eoryibndp68aqy0mizu",[2588],{"id":2589,"nationality":382},2104,{"sortKey":2571,"collectiveName":66,"names":751,"id":749,"documentId":750,"annotation":66,"richText":2591,"images":2592,"nationalities":2596},"\u003Cp>Moisès Villèlia was renowned for both his static and mobile sculptures made of bamboo cane, although he also made use of wood, metal, ceramics and fibre cement. Despite the fact that a large part of his artistic career from the early 1950s was dedicated to sculpture, he also designed furniture, invented games, wrote poetry, illustrated books and produced paintings. He was admired by a wide range of artists, critics, poets, writers, gallery owners and architects and one has simply to recall names such as Joan Miró, Antoni Tàpies, Joan Brossa, Joan Prats, Sebastià Gasch, Josep Lluís Sert, Oriol Bohigas, Joaquim Gomis, Juan Eduardo Cirlot, Joan Perucho, Michel Tapié, Jacques Dupin, Pierre Matisse and many others to understand the respect that his art generated.\u003C\u002Fp>",[2593],{"id":2594,"documentId":2595},2437,"w79r7jpp5su2c9dvl78uxjmz",[2597],{"id":2598,"nationality":203},2118,{"sortKey":2571,"collectiveName":66,"names":719,"id":717,"documentId":718,"annotation":66,"richText":2600,"images":2601,"nationalities":2605},"\u003Cp>Rosa Tharrats explores synchronicities and patterns in nature intuitively using a variety of materials, with a special focus on textiles. Her premise is rooted in the belief that both natural and artificial objects possess unexplored subjectivity and can form an organic connection with us. Tharrats envisions matter as having a soul and vibration, viewing it as an identity. Her work often involves the interplay between the mineral realm, the vegetable world and the industrial sphere, addressing themes like transformation, symbiosis, process, compilation as well as grassroots practices and the balance between the visible and the invisible. She frequently works with materials sourced from her personal archives, compiled over time through the collection of fabrics, garments, wardrobes and various objects. This archive is an ongoing process, evolving and acquiring layers of meaning over time.\u003C\u002Fp>\u003Cp>Gabriel Ventura's creative journey often begins with poetry, extending into action, pedagogy, research and video. In his approach, literature serves as a powerful tool to foster emotional connections in an era marked by hyper-information and global dispersion. Ventura views his texts as enigmatic and independent entities with the potential to reshape the reality that envelops them. His work reflects a holistic exploration of the arts, using poetry as a starting point to engage with diverse disciplines and mediums, ultimately contributing to a transformative and interconnected creative landscape. \u003C\u002Fp>",[2602],{"id":2603,"documentId":2604},2429,"swuoc3oyzmbh7a2tq4codb38",[2606],{"id":2607,"nationality":203},2105,{"sortKey":2609,"collectiveName":66,"names":755,"id":753,"documentId":754,"annotation":66,"richText":2610,"images":2611,"nationalities":2615},"w","\u003Cp>Maya Watanabe's experiences growing up in Peru during a long-lasting conflict have deeply shaped her art. Themes of death, violence, memory, mourning and justice hold significant sway in her work, both in human interactions and beyond.\u003C\u002Fp>\u003Cp>Her latest projects delve into the politics surrounding the portrayal of the irrepresentable, especially aiming to challenge conventional perceptions and representations of the dead. Through her work, she aims to enrich the visual dialogue surrounding death and mourning, expanding our collective understanding of these profound experiences, particularly when framed in relation to political violent forces.\u003C\u002Fp>",[2612],{"id":2613,"documentId":2614},2438,"v41swbz3r2tb58mzy0y5hrsn",[2616],{"id":2617,"nationality":2351},2140,[],{"data":2620,"meta":2626},[2621],{"id":2622,"documentId":2623,"title":2624,"locale":8,"localizations":2625},60,"il8dva1q7z7fubeoen29r8d3","Manifesta 15 Barcelona Metropolitana is open",[],{"pagination":2627},{"page":86,"pageSize":86,"pageCount":232,"total":232},{"data":2629,"meta":2638},[2630],{"id":2631,"documentId":2632,"title":2633,"locale":8,"publicationCategory":2634,"localizations":2637},92,"atz11ak4vevoeqr1hfursgjb","Pedagogical Oracle",{"id":86,"documentId":2635,"title":2636,"titlePlural":50},"fg84h21t2ru3lxal7m5usg2s","Publication",[],{"pagination":2639},{"page":86,"pageSize":86,"pageCount":129,"total":129},{"data":2641,"meta":2647},[2642],{"id":2643,"documentId":2644,"title":2645,"locale":8,"localizations":2646},57,"uu7n60yirkzngoo3pe4v51os","Gli occhi di Manifesta ispirati da montagne e mari",[],{"pagination":2648},{"page":86,"pageSize":86,"pageCount":87,"total":87}]