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Entre ellos se encuentran integrantes de la Colección Estatal de Arte y Clima, impulsada por el Ministerio para la Transición Ecológica y el Reto Demográfico y el Ministerio de Cultura: Asunción Molinos Gordo, Belén Rodríguez, Irene Grau, Abelardo Gil-Fournier, Sonia Navarro, Jorge Yeregui y Laura Palau.",[],{"_key":654,"_type":18,"children":655,"markDefs":669,"style":26},"af53c908c5a2",[656,660,665],{"_key":657,"_type":22,"marks":658,"text":659},"a523ec2893a8",[],"Asimismo, participarán artistas vinculadas a los programas de residencias ACTS (arte, ciencia, tecnología y sociedad) de la Bienal Climática, como Marion Balac, Enar de Dios Rodríguez, Rotor Studio, Nadia Penella, Víctor Mazón, Natalia Domínguez, Elena Lavellés, Andrea Molina y Mario Santamaría. Estos participantes han realizado una residencia en la Agencia Estatal de Meteorología (AEMET) y en la Fundación Ciudad de la Energía (CIUDEN), ambas instituciones dependientes del Ministerio para la Transición Ecológica y el Reto Demográfico (MITECO).La Bienal Climática no sólo acogerá exposiciones, sino que también desarrollará conciertos, talleres, acciones performativas y espacios de conversación, conectando arte, ciencia y sociedad. 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El roce y la colisión entre las piezas generan un paisaje acústico persistente, mientras el propio barro se erosiona lentamente y deja restos de arcilla en el espacio. Inspirada en las hacenderas (formas tradicionales de trabajo comunal) la obra propone una reflexión sobre el esfuerzo colectivo, el tiempo compartido y los procesos lentos de desgaste y sedimentación que atraviesan tanto a la materia como a las comunidades.",[],{"_key":718,"_type":18,"children":719,"markDefs":724,"style":696},"00ebfe925a0f",[720],{"_key":721,"_type":22,"marks":722,"text":723},"5317a34eeb95",[693],"Irene Grau",[],{"_key":726,"_type":18,"children":727,"markDefs":736,"style":26},"b2ec59b122c4",[728,732],{"_key":729,"_type":22,"marks":730,"text":731},"7595448f00fa",[663],"A punto de hacer nada",{"_key":733,"_type":22,"marks":734,"text":735},"fc7ee720894a",[]," 2019–2021",[],{"_key":738,"_type":18,"children":739,"markDefs":744,"style":26},"f89ce081df8b",[740],{"_key":741,"_type":22,"marks":742,"text":743},"89097dd421df",[],"A punto de hacer nada es el resultado de tres años de investigación sobre los procesos extractivos y de renaturalización de los cielos abiertos en las cuencas mineras de León y Asturias. 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Más allá de su valor cultural, el esparto cumple una función ecológica esencial en la protección del suelo frente a la erosión. Navarro reivindica estos conocimientos como formas de resistencia frente a los discursos hegemónicos de progreso y desarrollo.",[],{"_key":801,"_type":18,"children":802,"markDefs":807,"style":26},"ccab8e1970ad",[803],{"_key":804,"_type":22,"marks":805,"text":806},"7de8cfb97a6b",[693],"Laura Palau",[],{"_key":809,"_type":18,"children":810,"markDefs":819,"style":26},"262ade3ea4a0",[811,815],{"_key":812,"_type":22,"marks":813,"text":814},"c3281c7b2907",[663],"Flexió de Xilema",{"_key":816,"_type":22,"marks":817,"text":818},"6b894e4db784",[]," 2025",[],{"_key":821,"_type":18,"children":822,"markDefs":827,"style":26},"a4f93a29f53e",[823],{"_key":824,"_type":22,"marks":825,"text":826},"2484f0b7fc7f",[],"En Flexió de Xilema, Laura Palau recupera vínculos afectivos y materiales con el entorno rural a través de árboles locales y las historias que los rodean. 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El material recolectado representa de manera física ese bosque protegido, salvaje y libre, pues discurre por el tejido hasta formar parte de sus moléculas. Utilizando la técnica shibori, la artista establece un paralelismo entre las hojas de los árboles y las plumas de los pájaros. 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La obra se sitúa en la Gran Corta de Fabero, un enclave minero incluido en los Convenios de Transición Justa, y conecta el cierre de la minería del carbón con los procesos de restauración medioambiental y el tiempo geológico. A través de imágenes, textos y archivo, el proyecto propone una lectura crítica del paisaje como superficie donde se inscriben capas de historia, explotación y transformación.",[],{"_key":883,"_type":18,"children":884,"markDefs":889,"style":26},"0b105e9916a8",[885],{"_key":886,"_type":22,"marks":887,"text":888},"db7671c816db",[],"Residencias ACTS METEO",[],{"_key":891,"_type":18,"children":892,"markDefs":897,"style":26},"499cd4a3559d",[893],{"_key":894,"_type":22,"marks":895,"text":896},"6aa7096e38c0",[693],"Marion Balac",[],{"_key":899,"_type":18,"children":900,"markDefs":909,"style":26},"0096c7ded721",[901,905],{"_key":902,"_type":22,"marks":903,"text":904},"fd2c57a51272",[663],"pov",{"_key":906,"_type":22,"marks":907,"text":908},"05fe9a1c719a",[]," 2025–2026",[],{"_key":911,"_type":18,"children":912,"markDefs":917,"style":26},"3798297c73fb",[913],{"_key":914,"_type":22,"marks":915,"text":916},"cee5ebc679ab",[],"Este proyecto investiga formas de cooperación y comunicación no humanas a partir de una pregunta central: ¿cómo se entiende la meteorología desde un punto de vista no humano? Marion Balac desarrolla una serie de vídeos inspirados en los lenguajes de las redes sociales, donde plantas y otros agentes naturales adoptan roles propios de la cultura digital contemporánea, como si fueran influencers. La obra propone una reinterpretación de los sistemas de socialización en línea, en particular de las redes sociales, desplazando la atención hacia formas de conocimiento vegetal y ecológico que cuestionan el antropocentrismo dominante en la observación del clima.",[],{"_key":919,"_type":18,"children":920,"markDefs":925,"style":26},"608eb493a2ee",[921],{"_key":922,"_type":22,"marks":923,"text":924},"347a5de56643",[693],"Enar de Dios Rodríguez",[],{"_key":927,"_type":18,"children":928,"markDefs":936,"style":26},"b0192d1e4258",[929,933],{"_key":930,"_type":22,"marks":931,"text":932},"3f92dbd597e4",[663],"Above All",{"_key":934,"_type":22,"marks":935,"text":908},"438e84898497",[],[],{"_key":938,"_type":18,"children":939,"markDefs":944,"style":26},"aca3114f70f8",[940],{"_key":941,"_type":22,"marks":942,"text":943},"333074adc9cd",[],"Above All aborda de forma crítica el entramado económico, científico, tecnológico y sociopolítico que configura el cielo y la atmósfera contemporánea. La obra entiende el cielo no solo como un espacio explotado y regulado, sino también como un sujeto expresivo atravesado por conflictos, resistencias y formas de resiliencia colectiva. A través de una aproximación poética y política, el proyecto cuestiona los sistemas que determinan la ocupación, explotación y contaminación del espacio aéreo, proponiendo una mirada oponente que confía en la potencia transformadora del hacer compartido y la colectividad.",[],{"_key":946,"_type":18,"children":947,"markDefs":952,"style":26},"82d847a1d487",[948],{"_key":949,"_type":22,"marks":950,"text":951},"31d88ccda4d3",[693],"Natalia Domínguez",[],{"_key":954,"_type":18,"children":955,"markDefs":963,"style":26},"ac7b053baa7e",[956,960],{"_key":957,"_type":22,"marks":958,"text":959},"9ec8c2031d04",[663],"[Título pendiente]",{"_key":961,"_type":22,"marks":962,"text":908},"e23da1f1564a",[],[],{"_key":965,"_type":18,"children":966,"markDefs":971,"style":26},"64e6ceb5833a",[967],{"_key":968,"_type":22,"marks":969,"text":970},"f24c1e902da9",[],"El proyecto relaciona dos usos históricos y simbólicos del vapor de agua para reflexionar sobre modelos de relación con el territorio. Por un lado, recupera el mito del Garoé, el árbol capaz de captar la humedad de las nubes en la isla de El Hierro, y las tecnologías tradicionales de “atrapanubes” desarrolladas en territorios áridos. Por otro, conecta este uso cuidadoso del agua con la invención de la máquina de vapor y el inicio de un periodo de extractivismo industrial basado en la explotación intensiva de recursos naturales. La obra imagina narrativas alternativas donde el vapor de agua no sea instrumento de dominación, sino de convivencia con el entorno.",[],{"_key":973,"_type":18,"children":974,"markDefs":979,"style":26},"6ca4c38e595f",[975],{"_key":976,"_type":22,"marks":977,"text":978},"6c396e0bdc30",[693],"Victor Mazón",[],{"_key":981,"_type":18,"children":982,"markDefs":990,"style":26},"e5d500cdae3c",[983,987],{"_key":984,"_type":22,"marks":985,"text":986},"af51ece90041",[663],"Fósiles en Movimiento",{"_key":988,"_type":22,"marks":989,"text":908},"7d565b19996c",[],[],{"_key":992,"_type":18,"children":993,"markDefs":998,"style":26},"6feedf1b804f",[994],{"_key":995,"_type":22,"marks":996,"text":997},"b31671aca9f5",[],"Fósiles en Movimiento investiga cómo fenómenos atmosféricos como el viento y la presión del aire dejan huellas invisibles en el paisaje. La obra se centra en lo que el artista denomina “fósiles sonoros”: vibraciones, infrasonidos y flujos que, aunque imperceptibles, modelan la tierra y los dispositivos tecnológicos. A través de materiales orgánicos e inorgánicos en movimiento, el proyecto explora ecologías sonoras en territorios de extracción de materias primas y energía, revelando la relación entre atmósfera, tecnología y paisaje.",[],{"_key":1000,"_type":18,"children":1001,"markDefs":1006,"style":26},"0d580c041179",[1002],{"_key":1003,"_type":22,"marks":1004,"text":1005},"aed4b54a972e",[693],"Nadia Penella",[],{"_key":1008,"_type":18,"children":1009,"markDefs":1017,"style":26},"443c08b10b3c",[1010,1014],{"_key":1011,"_type":22,"marks":1012,"text":1013},"36487699775f",[663],"Centinelas del Clima",{"_key":1015,"_type":22,"marks":1016,"text":908},"453d356673aa",[],[],{"_key":1019,"_type":18,"children":1020,"markDefs":1025,"style":26},"f7ff70757054",[1021],{"_key":1022,"_type":22,"marks":1023,"text":1024},"14165e2775f8",[],"Centinelas del Clima es un proyecto audiovisual desarrollado en el marco de las residencias artísticas ACTS en colaboración con la Agencia Estatal de Meteorología (AEMET). La obra adopta un enfoque documental y observacional para poner rostro y voz a quienes trabajan cotidianamente en la producción, interpretación y transmisión de los datos meteorológicos. A través del seguimiento de distintos departamentos, espacios y fenómenos atmosféricos, la pieza traduce el lenguaje técnico del clima a un plano sensible y accesible, subrayando la dimensión cultural, social y humana de la meteorología en un contexto de emergencia climática.",[],{"_key":1027,"_type":18,"children":1028,"markDefs":1033,"style":26},"999b911461c9",[1029],{"_key":1030,"_type":22,"marks":1031,"text":1032},"68e22c9269b8",[693],"Rotor Studio",[],{"_key":1035,"_type":18,"children":1036,"markDefs":1043,"style":26},"8fe6f877800b",[1037,1040],{"_key":1038,"_type":22,"marks":1039,"text":959},"793d9b8e25da",[663],{"_key":1041,"_type":22,"marks":1042,"text":908},"310e247da6a1",[],[],{"_key":1045,"_type":18,"children":1046,"markDefs":1051,"style":26},"f73084ac4523",[1047],{"_key":1048,"_type":22,"marks":1049,"text":1050},"a030defe3722",[],"Este proyecto consiste en una estación meteorológica experimental móvil que traduce datos atmosféricos y de calidad del aire en un lenguaje artístico y plástico. La obra busca reducir la abstracción de la información científica generada por la AEMET, convirtiéndola en una experiencia visual y sensorial accesible. A través de procesos abiertos y experimentales, la instalación invita a repensar cómo se perciben, interpretan y comparten los datos climáticos, abriendo nuevas posibilidades creativas y educativas.",[],{"_key":1053,"_type":18,"children":1054,"markDefs":1059,"style":26},"15c11cea1c37",[1055],{"_key":1056,"_type":22,"marks":1057,"text":1058},"1af6f9b00ab3",[],"Residencias ACTS Transiciones Justas",[],{"_key":1061,"_type":18,"children":1062,"markDefs":1067,"style":26},"418ada4a50bb",[1063],{"_key":1064,"_type":22,"marks":1065,"text":1066},"09c1b3f00b8b",[693],"Elena Lavellés",[],{"_key":1069,"_type":18,"children":1070,"markDefs":1078,"style":26},"c0c3618858d8",[1071,1075],{"_key":1072,"_type":22,"marks":1073,"text":1074},"bea8fe45461e",[663],"El aliento del aire",{"_key":1076,"_type":22,"marks":1077,"text":908},"aa97376fc15e",[],[],{"_key":1080,"_type":18,"children":1081,"markDefs":1086,"style":26},"8fd8f4d96f1a",[1082],{"_key":1083,"_type":22,"marks":1084,"text":1085},"d8ca3616451f",[],"El aliento del aire es una instalación desarrollada en el marco de la residencia ACTS Transiciones Justas en CIUDEN. La obra aborda el proceso de producción de hidrógeno verde desde una aproximación poética y sensorial, poniendo en relación infraestructuras energéticas, territorios postindustriales y futuros ecosociales. A través de vídeo y escultura, el proyecto cuestiona los imaginarios tecnológicos dominantes y propone una reflexión crítica sobre las formas de transición energética y su impacto en los territorios.",[],{"_key":1088,"_type":18,"children":1089,"markDefs":1094,"style":26},"1ae06e627909",[1090],{"_key":1091,"_type":22,"marks":1092,"text":1093},"3264cb0d7f24",[693],"Andrea Molina",[],{"_key":1096,"_type":18,"children":1097,"markDefs":1105,"style":26},"368f9ecaacd5",[1098,1102],{"_key":1099,"_type":22,"marks":1100,"text":1101},"110711f4c50e",[663],"Geo-fantasies",{"_key":1103,"_type":22,"marks":1104,"text":908},"930028245fb6",[],[],{"_key":1107,"_type":18,"children":1108,"markDefs":1113,"style":26},"3fd44ae80180",[1109],{"_key":1110,"_type":22,"marks":1111,"text":1112},"6c731f9b8d7e",[],"Geo-fantasies investiga los imaginarios visuales y discursivos en torno al hidrógeno verde y la transición energética. El proyecto analiza cómo la industria produce imágenes de futuro basadas en promesas de progreso y sostenibilidad, y plantea la necesidad de abrir estos imaginarios a la participación ciudadana. A través de vídeos, cartografías y dibujos, la obra cuestiona quién imagina el futuro energético y desde qué lugares, proponiendo narrativas alternativas más críticas, inclusivas y situadas.",[],{"_key":1115,"_type":18,"children":1116,"markDefs":1121,"style":26},"7d391403142b",[1117],{"_key":1118,"_type":22,"marks":1119,"text":1120},"4e9337591b03",[693],"Mario Santamaría",[],{"_key":1123,"_type":18,"children":1124,"markDefs":1131,"style":26},"80abfbe620a5",[1125,1128],{"_key":1126,"_type":22,"marks":1127,"text":959},"78e058827f04",[663],{"_key":1129,"_type":22,"marks":1130,"text":908},"8f2a4ebcca42",[],[],{"_key":1133,"_type":18,"children":1134,"markDefs":1139,"style":26},"b920ecf3c924",[1135],{"_key":1136,"_type":22,"marks":1137,"text":1138},"20508ba8f5f4",[],"Este proyecto investiga las infraestructuras de distribución de gas a partir de un viaje que conecta el espacio doméstico del artista con una red planetaria de transporte energético. El recorrido adopta la forma de la propia infraestructura como método de investigación, atendiendo al solapamiento entre cuerpo, territorio e infraestructura. Conceptos como la presión, el comportamiento de las partículas o la temperatura en los procesos de almacenamiento y transporte articulan formalmente los materiales resultantes. La obra propone una reflexión crítica sobre las redes invisibles que sostienen la vida contemporánea y sus implicaciones políticas y ambientales.",[],[1141,1149,1165,1173,1180,1190,1201,1208,1218,1229,1236,1246,1257,1264,1272,1280,1287,1297,1312,1319,1329,1337,1345,1352,1362,1370,1377,1384,1394,1402,1409,1419,1430,1437,1448,1456,1463,1473,1484,1491,1501,1512,1519,1529,1537,1545,1552,1562,1570,1577,1587,1598,1605,1615],{"_key":1142,"_type":18,"children":1143,"markDefs":1148,"style":26},"cacf3c0e47d3",[1144],{"_key":1145,"_type":22,"marks":1146,"text":1147},"8cdec4615e37",[],"La Bienal Climática: arte, industria y territoriu va cuntar cola participación de más de 40 artistes nacionales y internacionales, xunto a creadores con vinculación al contestu local y a procesos d’investigación. Ente los primeros artistes confirmaos tán los integrantes de la Colección Estatal d’Arte y Clima, impulsada pol Ministeriu para la Transición Ecolóxica y el Retu Demográficu y el Ministeriu de Cultura: Asunción Molinos Gordo, Belén Rodríguez, Irene Grau, Abelardo Gil-Fournier, Sonia Navarro, Jorge Yeregui y Laura Palau.",[],{"_key":1150,"_type":18,"children":1151,"markDefs":1164,"style":26},"8e28496b7247",[1152,1156,1160],{"_key":1153,"_type":22,"marks":1154,"text":1155},"e9b98683d3f7",[],"Amás, van participar aquellos artistes qu’anguaño formen parte de los programes de residencies ACTS (arte, ciencia, tecnoloxía y sociedá) de la Bienal Climática, como Marion Balac, Enar de Dios Rodríguez, Rotor Studio, Nadia Penella, Víctor Mazón, Natalia Domínguez, Elena Lavellés, Andrea Molina y Mario Santamaría. Estos participantes realizaron una residencia na Axencia Estatal de Meteoroloxía (AEMET) y na Fundación CIUDEN, dambes instituciones dependientes del Ministeriu para la Transición Ecolóxica y el Retu Demográficu (MITECO).La Bienal Climática nun va acoyer namás esposiciones, sinón que tamién va desenvolver conciertos, talleres, acciones performatives y espacios de conversación, conectando arte, ciencia y sociedá. Col lema ",{"_key":1157,"_type":22,"marks":1158,"text":1159},"08faa7ec961c",[663],"Ensayar lo inesperao",{"_key":1161,"_type":22,"marks":1162,"text":1163},"b9a0e130d2e6",[],", l’eventu convida a reflexonar sobre la rellación ente cultura, industria, territoriu y vida cotidiana, esplorando maneres d’habitar y curiar el nuestru entornu frente a los retos climáticos.",[],{"_key":1166,"_type":18,"children":1167,"markDefs":1172,"style":26},"9455e25b1d5b",[1168],{"_key":1169,"_type":22,"marks":1170,"text":1171},"5926fa7d51f8",[],"Adquisiciones pa la Colección Estatal d’Arte y Clima",[],{"_key":1174,"_type":18,"children":1175,"markDefs":1179,"style":26},"898656760de6",[1176],{"_key":1177,"_type":22,"marks":1178,"text":694},"19afef999f24",[693],[],{"_key":1181,"_type":18,"children":1182,"markDefs":1189,"style":26},"cf34221d233b",[1183,1186],{"_key":1184,"_type":22,"marks":1185,"text":703},"321e7312c034",[663],{"_key":1187,"_type":22,"marks":1188,"text":707},"e0898ad0a6b5",[],[],{"_key":1191,"_type":18,"children":1192,"markDefs":1200,"style":26},"92bfebfc6db7",[1193,1196],{"_key":1194,"_type":22,"marks":1195,"text":703},"740a6ad80d94",[663],{"_key":1197,"_type":22,"marks":1198,"text":1199},"cf5a59a9d678",[]," ye una instalación formada por un conxuntu de vasíes de barru que xiren de manera constante, activando un procesu continuu de tresformación material y sonora. El contactu y el choque ente les pieces xeneren un paisaxe acústicu persistente, y el mesmu barru va erosionando amodo y dexa restos nel espaciu. Inspirada nes facenderes (formes tradicionales de trabayu comunal) la obra propón una reflexón sobre l’esfuerciu colectivu, el tiempu compartíu y los procesos lentos de gastadura y sedimentación que traviesen tanto a la materia como a les comunidaes.",[],{"_key":1202,"_type":18,"children":1203,"markDefs":1207,"style":26},"1a6e51863af5",[1204],{"_key":1205,"_type":22,"marks":1206,"text":723},"9ba2e8c4d147",[693],[],{"_key":1209,"_type":18,"children":1210,"markDefs":1217,"style":26},"30c3bcb46827",[1211,1214],{"_key":1212,"_type":22,"marks":1213,"text":731},"c331e784d32b",[663],{"_key":1215,"_type":22,"marks":1216,"text":735},"0375f880451b",[],[],{"_key":1219,"_type":18,"children":1220,"markDefs":1228,"style":26},"8b1ea32da5cc",[1221,1224],{"_key":1222,"_type":22,"marks":1223,"text":731},"c1bbcc481146",[663],{"_key":1225,"_type":22,"marks":1226,"text":1227},"7c3c2ba6c667",[]," ye’l resultáu de trés años d’investigación sobre los procesos estractivos y de renaturalización de los cielos abiertos nes cuenques mineres de Llión y Asturies. La obra enllaza tiempos xeolóxicos y humanos, dende’l Carboníferu estefaniense hasta la tresformación contemporánea d’estos materiales en fumu y residuos. Al traviés d’una monocromía potente, l’artista convoca una escuridá múltiple: la del sosuelu, la del trabayu mineru y la d’una dómina marcada por crisis climátiques. El proyectu asume tamién un retu técnicu, ellaborando los llenzos a partir de materies recoyíes en bruto, treslladando la so testura y carga sensorial a la pintura.",[],{"_key":1230,"_type":18,"children":1231,"markDefs":1235,"style":26},"4c722e98a488",[1232],{"_key":1233,"_type":22,"marks":1234,"text":751},"30354d450a26",[693],[],{"_key":1237,"_type":18,"children":1238,"markDefs":1245,"style":26},"f106da98e3c4",[1239,1242],{"_key":1240,"_type":22,"marks":1241,"text":759},"44b23329cf85",[663],{"_key":1243,"_type":22,"marks":1244,"text":763},"712e0f909232",[],[],{"_key":1247,"_type":18,"children":1248,"markDefs":1256,"style":26},"31d82371a785",[1249,1252],{"_key":1250,"_type":22,"marks":1251,"text":759},"a364c24af2b5",[663],{"_key":1253,"_type":22,"marks":1254,"text":1255},"69a9d2c776bd",[]," ye una instalación testil realizada con cuasimente una tonelada de llana recoyío na península ibérica, de resultes d’una investigación sobre races ovines, producción ganadera y economíes rurales. La obra cuestiona los discursos d’innovación y progresu asociaos a la estandarización, poniendo en valor saberes vernáculos y sistemes productivos marxinalizaos. La llana, en tresformación constante, conviértese nuna metáfora d’identidaes híbrides, resistencies locales y formes de conocencia non hexemóniques.",[],{"_key":1258,"_type":18,"children":1259,"markDefs":1263,"style":26},"ac7402306ca1",[1260],{"_key":1261,"_type":22,"marks":1262,"text":779},"26f26d5f26de",[693],[],{"_key":1265,"_type":18,"children":1266,"markDefs":1271,"style":26},"babad3c411b5",[1267],{"_key":1268,"_type":22,"marks":1269,"text":1270},"3454904ab7ad",[],"Ensin títulu [Espartu] 2024",[],{"_key":1273,"_type":18,"children":1274,"markDefs":1279,"style":26},"a1c15749c2c8",[1275],{"_key":1276,"_type":22,"marks":1277,"text":1278},"ff41b4580863",[],"Sonia Navarro trabaya con espartu, una fibra vexetal tradicional del sureste ibéricu, como material simbólico y ecolóxico. La obra conecta saberes artesanales, xenealoxíes femenines y práctiques sostenibles vinculaes al so sitiu d’orixe, Puerto Lumbreras. Acullá del so valor cultural, l’espartu cumple una función ecolóxica esencial na protección del suelu frente a la erosión. Navarro reivindica estes conocencies como formes de resistencia frente a los discursos hexemónicos de progresu y desenvolvimientu.",[],{"_key":1281,"_type":18,"children":1282,"markDefs":1286,"style":26},"47fb3f232456",[1283],{"_key":1284,"_type":22,"marks":1285,"text":806},"5e65efc4821d",[693],[],{"_key":1288,"_type":18,"children":1289,"markDefs":1296,"style":26},"9f63c0981a2d",[1290,1293],{"_key":1291,"_type":22,"marks":1292,"text":814},"94beaecb46df",[663],{"_key":1294,"_type":22,"marks":1295,"text":818},"3038239a72a6",[],[],{"_key":1298,"_type":18,"children":1299,"markDefs":1311,"style":26},"c75e1f2271f4",[1300,1304,1307],{"_key":1301,"_type":22,"marks":1302,"text":1303},"053cd6f2a9f1",[],"En ",{"_key":1305,"_type":22,"marks":1306,"text":814},"1a3ce3b16298",[663],{"_key":1308,"_type":22,"marks":1309,"text":1310},"652a9c289d50",[],", Laura Palau recupera vínculos afectivos y materiales cola redolada rural al traviés d’árboles locales y les histories que los arrodien. L’artista fotografía exemplares secos primero de que se valten y enmarca cada imaxe cola madera del propiu árbol, construyendo oxetos que remiten a les persones que los curiaron. La obra remembra saberes tresmitíos, xestos manuales y rellaciones non instrumentales cola naturaleza, proponiendo una resistencia íntima frente a la falta d’arraigu y la homoxeneización contemporánea.",[],{"_key":1313,"_type":18,"children":1314,"markDefs":1318,"style":26},"52645f0a0d7a",[1315],{"_key":1316,"_type":22,"marks":1317,"text":834},"f602e0101bec",[693],[],{"_key":1320,"_type":18,"children":1321,"markDefs":1328,"style":26},"39c479d97897",[1322,1325],{"_key":1323,"_type":22,"marks":1324,"text":842},"9777123c6edb",[663],{"_key":1326,"_type":22,"marks":1327,"text":707},"49723c6f6f8a",[],[],{"_key":1330,"_type":18,"children":1331,"markDefs":1336,"style":26},"bc97d742c973",[1332],{"_key":1333,"_type":22,"marks":1334,"text":1335},"b42177afcd97",[],"Telón realizáu con tinte natural a partir de material recoyío d’árboles y plantes d’una mata de Cantabria. Esta mata compróla l’artista cola mira de defendela pa que nun la valten. El material recoyío representa de manera física esa mata defendida, montés y llibre, porque discurre pel texíu hasta formar parte de les sos molécules. Usando la técnica shibori, l’artista establez un paralelismu ente les fueyes de los árboles y les plumes de los páxaros. La fueya de los árboles representa una especie de mantu maternal qu’abelluga y defende les especies animales que viven dexaxo de la rama, incluyida la propia artista.",[],{"_key":1338,"_type":18,"children":1339,"markDefs":1344,"style":26},"e3300014b260",[1340],{"_key":1341,"_type":22,"marks":1342,"text":1343},"881e0991db21",[],"Formatu: Telón pigmentáu de 10 x 2,4 m con raíl.",[],{"_key":1346,"_type":18,"children":1347,"markDefs":1351,"style":26},"e198dec2a35e",[1348],{"_key":1349,"_type":22,"marks":1350,"text":861},"832513d6e4d5",[693],[],{"_key":1353,"_type":18,"children":1354,"markDefs":1361,"style":26},"8c3014c95050",[1355,1358],{"_key":1356,"_type":22,"marks":1357,"text":869},"5dbd8457b5bf",[663],{"_key":1359,"_type":22,"marks":1360,"text":763},"b8761bd9dd36",[],[],{"_key":1363,"_type":18,"children":1364,"markDefs":1369,"style":26},"4486ba974486",[1365],{"_key":1366,"_type":22,"marks":1367,"text":1368},"cb71e8657177",[],"Esti proyectu encara’l cambéu de paradigma enerxéticu y la transición dende un modelu basáu en combustibles fósiles escontra otru sofitáu n’enerxíes anovables, atendiendo a los sos efectos sobre’l territoriu. La obra asítiase na Gran Corta de Fabero, un enclave mineru incluyíu nos Convenios de Transición Xusta, y conecta’l zarru de la minería del carbón colos procesos de restauración medioambiental y el tiempu xeolóxicu. Al traviés d’imáxenes, testos y archivu, el proyectu propón una llectura crítica del paisaxe como superficie onde s’inscriben capes d’historia, esplotación y tresformación.",[],{"_key":1371,"_type":18,"children":1372,"markDefs":1376,"style":26},"24dccf98cd2b",[1373],{"_key":1374,"_type":22,"marks":1375,"text":888},"97021ef4f0f3",[],[],{"_key":1378,"_type":18,"children":1379,"markDefs":1383,"style":26},"e2c572c44eee",[1380],{"_key":1381,"_type":22,"marks":1382,"text":896},"d5e7d828d6aa",[693],[],{"_key":1385,"_type":18,"children":1386,"markDefs":1393,"style":26},"f4012ffdc953",[1387,1390],{"_key":1388,"_type":22,"marks":1389,"text":904},"a746178ab603",[663],{"_key":1391,"_type":22,"marks":1392,"text":908},"b5dda5c50381",[],[],{"_key":1395,"_type":18,"children":1396,"markDefs":1401,"style":26},"63fdf64bd394",[1397],{"_key":1398,"_type":22,"marks":1399,"text":1400},"18f24a4e518a",[],"Esti proyeutu investiga formes de cooperación y comunicación non humanes a partir d’una pregunta central: ¿cómo s’entiende la meteoroloxía dende un puntu de vista non humanu? Marion Balac desenvuelve una serie de vídeos inspiraos nos llinguaxes de les redes sociales, onde plantes y otros axentes naturales adopten roles propios de la cultura dixital contemporánea, como si fueren influencers. La obra propón una reinterpretación de los sistemes de socialización en llinia, especialmente de les redes sociales, desplazando l’atención escontra formes de conocimientu vexetal y ecolóxicu que cuestionen l’antropocentrismu dominante na observación del clima.",[],{"_key":1403,"_type":18,"children":1404,"markDefs":1408,"style":26},"db6992a08c65",[1405],{"_key":1406,"_type":22,"marks":1407,"text":924},"11d0757d9b86",[693],[],{"_key":1410,"_type":18,"children":1411,"markDefs":1418,"style":26},"c83f7740ad05",[1412,1415],{"_key":1413,"_type":22,"marks":1414,"text":932},"dc3ed4a35216",[663],{"_key":1416,"_type":22,"marks":1417,"text":908},"4a895c6c33d6",[],[],{"_key":1420,"_type":18,"children":1421,"markDefs":1429,"style":26},"ff5bded18f5b",[1422,1425],{"_key":1423,"_type":22,"marks":1424,"text":932},"269aa3a59fd5",[663],{"_key":1426,"_type":22,"marks":1427,"text":1428},"9cd0cffaa6a3",[]," encara de forma crítica’l sistema económicu, científicu, tecnolóxicu y sociopolíticu que configura’l cielu y l’atmósfera contemporánea. La obra entiende’l cielu non namás como un espaciu esplotáu y reguláu, sinón tamién como un suxetu espresivu marcáu por conflictos, resistencies y formes de resiliencia colectiva. Al traviés d’un aproximamientu poéticu y políticu, el proyectu cuestiona los sistemes que determinen la ocupación, esplotación y contaminación del espaciu aereu, proponiendo una mirada oponente que confía na potencia tresformadora del facer compartíu y la colectividá.",[],{"_key":1431,"_type":18,"children":1432,"markDefs":1436,"style":26},"bbd2d7bf9944",[1433],{"_key":1434,"_type":22,"marks":1435,"text":951},"afdfbaffe7dc",[693],[],{"_key":1438,"_type":18,"children":1439,"markDefs":1447,"style":26},"699c685f649e",[1440,1444],{"_key":1441,"_type":22,"marks":1442,"text":1443},"d64bb980ccb3",[663],"[Títulu pendiente]",{"_key":1445,"_type":22,"marks":1446,"text":908},"e6fc9ed5d265",[],[],{"_key":1449,"_type":18,"children":1450,"markDefs":1455,"style":26},"b808890f4050",[1451],{"_key":1452,"_type":22,"marks":1453,"text":1454},"a80d4a6e1d85",[],"El proyectu vincula dos usos históricos y simbólicos del vapor d’agua pa reflexonar sobre modelos de rellación col territoriu. D’una parte, recupera’l mitu del Garoé, l’árbol capaz de captar la humedanza de les nubes na isla d’El Hierro, y les tecnoloxíes tradicionales de “atrapanubes” desenvueltes en territorios áridos. D’otra parte, conecta esti usu cuidadosu del agua cola invención de la máquina de vapor y l’empiezu d’un periodu d’estractivismu industrial basáu na esplotación intensiva de recursos naturales. La obra imaxina narratives alternatives onde’l vapor d’agua nun seya instrumentu de dominación, sinón de convivencia cola redolada.",[],{"_key":1457,"_type":18,"children":1458,"markDefs":1462,"style":26},"84de3e75dc84",[1459],{"_key":1460,"_type":22,"marks":1461,"text":978},"44d68f67e284",[693],[],{"_key":1464,"_type":18,"children":1465,"markDefs":1472,"style":26},"209ac38c2a83",[1466,1469],{"_key":1467,"_type":22,"marks":1468,"text":986},"adfb9bce310c",[663],{"_key":1470,"_type":22,"marks":1471,"text":908},"a2ea870503fd",[],[],{"_key":1474,"_type":18,"children":1475,"markDefs":1483,"style":26},"b9bee5c701aa",[1476,1479],{"_key":1477,"_type":22,"marks":1478,"text":986},"576c26fcdfc9",[663],{"_key":1480,"_type":22,"marks":1481,"text":1482},"b21d2703cc2f",[]," investiga cómo fenómenos atmosféricos como’l vientu y la presión del aire dexen buelgues invisibles nel paisaxe. La obra céntrase no que l’artista llama “fósiles sonoros”: vibraciones, infrasoníos y fluxos que, anque imperceptibles, modelen la tierra y los dispositivos tecnolóxicos. Al traviés de materiales orgánicos y inorgánicos en movimientu, el proyectu esplora ecoloxíes sonores en territorios d’estracción de materies primes y enerxía, amosando la rellación ente atmósfera, tecnoloxía y paisaxe.",[],{"_key":1485,"_type":18,"children":1486,"markDefs":1490,"style":26},"c4d025dcdfae",[1487],{"_key":1488,"_type":22,"marks":1489,"text":1005},"129c8aa7311e",[693],[],{"_key":1492,"_type":18,"children":1493,"markDefs":1500,"style":26},"63c3c087363a",[1494,1497],{"_key":1495,"_type":22,"marks":1496,"text":1013},"8184ba6496f9",[663],{"_key":1498,"_type":22,"marks":1499,"text":908},"98c6c3bf0e0c",[],[],{"_key":1502,"_type":18,"children":1503,"markDefs":1511,"style":26},"aa5866829b53",[1504,1507],{"_key":1505,"_type":22,"marks":1506,"text":1013},"cae0b00364be",[663],{"_key":1508,"_type":22,"marks":1509,"text":1510},"0716fe0d5a99",[]," ye un proyectu audiovisual desenvueltu nel marcu de les residencies artístiques ACTS en collaboración cola Axencia Estatal de Meteoroloxía (AEMET). La obra garra un enfoque documental y observacional pa poner cara y voz a quien trabayen caldía na producción, interpretación y tresmisión de los datos meteorolóxicos. Al traviés del siguimientu de dellos departamentos, espacios y fenómenos atmosféricos, la pieza traduz el llinguaxe técnicu del clima a un planu sensible y accesible, sorrayando la dimensión cultural, social y humana de la meteoroloxía nun contestu d’emerxencia climática.",[],{"_key":1513,"_type":18,"children":1514,"markDefs":1518,"style":26},"c4ac87b047a1",[1515],{"_key":1516,"_type":22,"marks":1517,"text":1032},"d38d915e43ed",[693],[],{"_key":1520,"_type":18,"children":1521,"markDefs":1528,"style":26},"260a45bd7794",[1522,1525],{"_key":1523,"_type":22,"marks":1524,"text":959},"9918cf08b3fd",[663],{"_key":1526,"_type":22,"marks":1527,"text":908},"018329e2e884",[],[],{"_key":1530,"_type":18,"children":1531,"markDefs":1536,"style":26},"13fbe7b6c264",[1532],{"_key":1533,"_type":22,"marks":1534,"text":1535},"2a152dcdcd48",[],"Esti proyectu consiste nuna estación meteorolóxica esperimental móvil que traduz datos atmosféricos y de calidá del aire nun llinguaxe artísticu y plásticu. La obra busca amenorgar l’astracción de la información científica xenerada pola AEMET, convirtiéndola nuna esperiencia visual y sensorial algamadiza. Al traviés de procesos abiertos y esperimentales, la instalación convida a repensar cómo se perciben, interpreten y comparten los datos climáticos, abriendo posibilidaes creatives y educatives nueves.",[],{"_key":1538,"_type":18,"children":1539,"markDefs":1544,"style":26},"f651e458bb25",[1540],{"_key":1541,"_type":22,"marks":1542,"text":1543},"9755ce27b957",[],"Residencies ACTS Transiciones Xustes",[],{"_key":1546,"_type":18,"children":1547,"markDefs":1551,"style":26},"703890681b96",[1548],{"_key":1549,"_type":22,"marks":1550,"text":1066},"7d7b672dfacd",[693],[],{"_key":1553,"_type":18,"children":1554,"markDefs":1561,"style":26},"639c32925d95",[1555,1558],{"_key":1556,"_type":22,"marks":1557,"text":1074},"578c9468957f",[663],{"_key":1559,"_type":22,"marks":1560,"text":908},"c91a68570d84",[],[],{"_key":1563,"_type":18,"children":1564,"markDefs":1569,"style":26},"959c7d5943b9",[1565],{"_key":1566,"_type":22,"marks":1567,"text":1568},"319266499348",[],"El aliento del aire ye una instalación desenvuelta nel marcu de la residencia ACTS Transiciones Xustes en CIUDEN. La obra encara’l procesu de producción d’hidróxenu verde dende un averamientu poéticu y sensorial, poniendo en rellación infraestructures enerxétiques, territorios postindustriales y futuros ecosociales. Al traviés de videu y escultura, el proyectu cuestiona los imaxinarios tecnolóxicos dominantes y propón una reflexón crítica sobre les formes de transición enerxética y el so impactu nos territorios.",[],{"_key":1571,"_type":18,"children":1572,"markDefs":1576,"style":26},"fbc767fa45ed",[1573],{"_key":1574,"_type":22,"marks":1575,"text":1093},"da4fdee62dca",[693],[],{"_key":1578,"_type":18,"children":1579,"markDefs":1586,"style":26},"c0968585f60a",[1580,1583],{"_key":1581,"_type":22,"marks":1582,"text":1101},"003a8d748e32",[663],{"_key":1584,"_type":22,"marks":1585,"text":908},"d39bcbc6ee84",[],[],{"_key":1588,"_type":18,"children":1589,"markDefs":1597,"style":26},"4b88a1de0635",[1590,1593],{"_key":1591,"_type":22,"marks":1592,"text":1101},"b52370dff0c7",[663],{"_key":1594,"_type":22,"marks":1595,"text":1596},"3653a98947c7",[]," investiga los imaxinarios visuales y discursivos alredor del hidróxenu verde y la transición enerxética. El proyectu analiza cómo la industria produz imáxenes de futuru basaes en promeses de progresu y sostenibilidá, y plantega la necesidá d’abrir estos imaxinarios a la participación ciudadana. Al traviés de vídeos, cartografíes y dibuxos, la obra cuestiona quién imaxina’l futuru enerxéticu y dende qué sitios, proponiendo narratives alternatives más crítiques, inclusives y asitiaes.",[],{"_key":1599,"_type":18,"children":1600,"markDefs":1604,"style":26},"f6096093c85f",[1601],{"_key":1602,"_type":22,"marks":1603,"text":1120},"114046c6c20f",[693],[],{"_key":1606,"_type":18,"children":1607,"markDefs":1614,"style":26},"078b84be3f77",[1608,1611],{"_key":1609,"_type":22,"marks":1610,"text":959},"fa88ab50b5e5",[663],{"_key":1612,"_type":22,"marks":1613,"text":908},"763a712b92b2",[],[],{"_key":1616,"_type":18,"children":1617,"markDefs":1622,"style":26},"5861639ada80",[1618],{"_key":1619,"_type":22,"marks":1620,"text":1621},"51a1d1183dc0",[],"Esti proyectu investiga les infraestructures de distribución de gas a partir d’un viaxe que conecta l’espaciu domésticu del artista con una rede planetaria de tresporte enerxéticu. El percorríu garra la forma de la mesma infraestructura como métodu d’investigación, atendiendo al solapamientu ente cuerpu, territoriu y infraestructura. Conceptos como la presión, el comportamientu de les partícules o la temperatura nos procesos d’almacenamientu y tresporte articulen formalmente los materiales resultantes. La obra propón una reflexón crítica sobre les redes invisibles que sostienen la vida contemporánea y les sos implicaciones polítiques y 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