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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.",[],[1141,1149,1157,1165,1172,1183,1199,1206,1218,1226,1234,1241,1253,1261,1269,1276,1288,1296,1303,1315,1323,1330,1340,1348,1364,1371,1382,1390,1398,1405,1416,1424,1432,1442,1450,1458,1469,1477,1485,1492,1503,1511,1518,1529,1537,1544,1554,1562,1570,1577,1588,1596,1603,1613,1620,1627,1637,1645,1652,1662],{"_key":1142,"_type":18,"children":1143,"markDefs":1148,"style":26},"1da3eaabd158",[1144],{"_key":1145,"_type":22,"marks":1146,"text":1147},"c2bb0178deef",[],"Climate Biennial: Art, Industry, and Territory will feature over 40 national and international participating artists, along with creators linked to the local context and research processes. Among the first confirmed artists are those whose works make up the National Art and Climate Collection: Abelardo Gil-Fournier, Irene Grau, Asunción Molinos Gordo, Sonia Navarro, Laura Palau, Belén Rodríguez and Jorge Yeregui. Artists who are part of the ACTS -Art, Science, Technology and Society- residency programmes of the Climate Biennial will also participate, such as Marion Balac, Enar de Dios Rodríguez, Natalia Domínguez, Elena Lavellés, Andrea Molina, Víctor Mazón, Nadia Penella, Rotor Studio and Mario Santamaría.",[],{"_key":1150,"_type":18,"children":1151,"markDefs":1156,"style":26},"035a1c7dc337",[1152],{"_key":1153,"_type":22,"marks":1154,"text":1155},"bb70ce5dc26f",[],"Beyond being an exhibition event, the Climate Biennial features meetings, concerts, workshops, performative actions and conversation spaces, positioning culture as a fundamental tool to imagine shared futures.",[],{"_key":1158,"_type":18,"children":1159,"markDefs":1164,"style":26},"f47880e30022",[1160],{"_key":1161,"_type":22,"marks":1162,"text":1163},"fb8ca7183ef9",[],"ACQUISITIONS FOR THE NATIONAL ART AND CLIMATE COLLECTION",[],{"_key":1166,"_type":18,"children":1167,"markDefs":1171,"style":26},"e385a6f50858",[1168],{"_key":1169,"_type":22,"marks":1170,"text":694},"c8c29648cbba",[693],[],{"_key":1173,"_type":18,"children":1174,"markDefs":1182,"style":26},"0ee71694c802",[1175,1178],{"_key":1176,"_type":22,"marks":1177,"text":703},"54ee2e938829",[663],{"_key":1179,"_type":22,"marks":1180,"text":1181},"08e57a0148b8",[]," · 2023",[],{"_key":1184,"_type":18,"children":1185,"markDefs":1198,"style":26},"078fe4252ac9",[1186,1190,1194],{"_key":1187,"_type":22,"marks":1188,"text":1189},"854f195fb78e",[],"Hacendera is an installation formed by a set of clay pots that rotate constantly, activating a continuous process of material and sound transformation. Friction and collision between the pieces generate a persistent acoustic landscape, while the mud itself slowly erodes and leaves traces of clay in the space. Inspired by the ",{"_key":1191,"_type":22,"marks":1192,"text":1193},"b53c39249776",[663],"hacenderas",{"_key":1195,"_type":22,"marks":1196,"text":1197},"7b2844de30a0",[]," (traditional forms of communal work), the work proposes a reflection on collective effort, shared time and the slow processes of wear and sedimentation both across matter and communities. ",[],{"_key":1200,"_type":18,"children":1201,"markDefs":1205,"style":26},"39334feffdf8",[1202],{"_key":1203,"_type":22,"marks":1204,"text":723},"d0a4ee8d158b",[693],[],{"_key":1207,"_type":18,"children":1208,"markDefs":1217,"style":26},"2cc05d49c0f7",[1209,1213],{"_key":1210,"_type":22,"marks":1211,"text":1212},"2d631aaff8d2",[663],"About to Do Nothing",{"_key":1214,"_type":22,"marks":1215,"text":1216},"6877a26b56d6",[]," · 2019-2021",[],{"_key":1219,"_type":18,"children":1220,"markDefs":1225,"style":26},"d4ee19460d7b",[1221],{"_key":1222,"_type":22,"marks":1223,"text":1224},"c07b6b74749c",[],"About to Do Nothing is the result of three years of research on the extractive processes and the rewilding of open skies in the mining basins of León and Asturias. The work links geological and human timelines, from the Stephanian Carboniferous period to the contemporary transformation of these materials into smoke and waste. Through a powerful monochrome, the artist summons a multiple darkness: that of the underground, that of mining work and that of an era with climate crises throughout.",[],{"_key":1227,"_type":18,"children":1228,"markDefs":1233,"style":26},"b60fb7903256",[1229],{"_key":1230,"_type":22,"marks":1231,"text":1232},"497627b21d29",[],"The project also takes on a technical challenge, elaborating the canvases from collected raw materials, transferring their texture and sensory charge onto the painting.",[],{"_key":1235,"_type":18,"children":1236,"markDefs":1240,"style":26},"ffb3f9eede24",[1237],{"_key":1238,"_type":22,"marks":1239,"text":751},"8183fb50b0d8",[693],[],{"_key":1242,"_type":18,"children":1243,"markDefs":1252,"style":26},"ab3b507ec6b7",[1244,1248],{"_key":1245,"_type":22,"marks":1246,"text":1247},"39103a0ba6b5",[663],"Mongrel",{"_key":1249,"_type":22,"marks":1250,"text":1251},"a1f38fd77ad6",[]," · 2024",[],{"_key":1254,"_type":18,"children":1255,"markDefs":1260,"style":26},"138440d28496",[1256],{"_key":1257,"_type":22,"marks":1258,"text":1259},"07a59bb243f4",[],"Mongrel is a textile installation made with almost a ton of wool collected in the Iberian Peninsula, resulting from research on sheep breeds, livestock production and rural economies.",[],{"_key":1262,"_type":18,"children":1263,"markDefs":1268,"style":26},"0070255fab7a",[1264],{"_key":1265,"_type":22,"marks":1266,"text":1267},"d6ed49afe227",[],"The work questions the discourses of innovation and progress associated with standardisation, valuing vernacular knowledge and marginalised productive systems. Wool, in constant transformation, becomes a metaphor of hybrid identities, local resistances and non-hegemonic forms of knowledge.",[],{"_key":1270,"_type":18,"children":1271,"markDefs":1275,"style":26},"66cd2c5b85d6",[1272],{"_key":1273,"_type":22,"marks":1274,"text":779},"d93858d6379b",[693],[],{"_key":1277,"_type":18,"children":1278,"markDefs":1287,"style":26},"27f05d6f379c",[1279,1283],{"_key":1280,"_type":22,"marks":1281,"text":1282},"1e7c1bea14f4",[663],"Untitled [Esparto",{"_key":1284,"_type":22,"marks":1285,"text":1286},"dd2899f8c37c",[],"] · 2024",[],{"_key":1289,"_type":18,"children":1290,"markDefs":1295,"style":26},"0b467ddc696b",[1291],{"_key":1292,"_type":22,"marks":1293,"text":1294},"9dd26fac4c61",[],"Sonia Navarro works with esparto grass, a traditional vegetable fibre from the Iberian southeast, as a symbolic and ecological material. The work connects craft knowledge, female genealogies, and sustainable practices linked to her place of origin, Puerto Lumbreras. Beyond its cultural value, esparto grass fulfils an essential ecological function in the protection of the soil against erosion. Navarro claims this knowledge as forms of resistance against the hegemonic discourses of progress and development.",[],{"_key":1297,"_type":18,"children":1298,"markDefs":1302,"style":26},"236176f8f5e8",[1299],{"_key":1300,"_type":22,"marks":1301,"text":806},"adf624966988",[693],[],{"_key":1304,"_type":18,"children":1305,"markDefs":1314,"style":26},"f89917e4fdd2",[1306,1310],{"_key":1307,"_type":22,"marks":1308,"text":1309},"a9df4cc59e1c",[663],"Xylem Flexion",{"_key":1311,"_type":22,"marks":1312,"text":1313},"dd39da2611c7",[]," · 2025",[],{"_key":1316,"_type":18,"children":1317,"markDefs":1322,"style":26},"1186e331997b",[1318],{"_key":1319,"_type":22,"marks":1320,"text":1321},"c9ee5cb03dbc",[],"In Xylem Flexion, Laura Palau recovers affective and material links with the rural environment through local trees and the stories that surround them. The artist photographs dried specimens before they are cut down and frames each image with the wood of the tree itself, building objects that refer to the people who took care of them. The work evokes knowledge passed on, manual gestures and non-instrumental relationships with nature, proposing an intimate resistance against uprooting and contemporary homogenisation.",[],{"_key":1324,"_type":18,"children":1325,"markDefs":1329,"style":26},"7dc6f4b55de9",[1326],{"_key":1327,"_type":22,"marks":1328,"text":834},"7468716a4e29",[693],[],{"_key":1331,"_type":18,"children":1332,"markDefs":1339,"style":26},"8aa132e71a2e",[1333,1336],{"_key":1334,"_type":22,"marks":1335,"text":842},"64f723890403",[663],{"_key":1337,"_type":22,"marks":1338,"text":1181},"4b9028934d23",[],[],{"_key":1341,"_type":18,"children":1342,"markDefs":1347,"style":26},"6c95d21173b1",[1343],{"_key":1344,"_type":22,"marks":1345,"text":1346},"cbb213c49210",[],"This work consists of a large curtain dyed with natural pigments obtained from trees and plants from a forest protected by the artist in Cantabria.",[],{"_key":1349,"_type":18,"children":1350,"markDefs":1363,"style":26},"5650fa52c967",[1351,1355,1359],{"_key":1352,"_type":22,"marks":1353,"text":1354},"6b7eaa688e91",[],"Using the ",{"_key":1356,"_type":22,"marks":1357,"text":1358},"7d3e59ea673e",[663],"shibori technique",{"_key":1360,"_type":22,"marks":1361,"text":1362},"cc168c96f527",[],", the fabric adopts shapes that evoke foliage, feathers and bodies in transformation. The piece proposes the forest as a space for care, protection and multi-species belonging, and reflects on the intimate relationship between body, territory and manual gesture.",[],{"_key":1365,"_type":18,"children":1366,"markDefs":1370,"style":26},"8c37b06297cb",[1367],{"_key":1368,"_type":22,"marks":1369,"text":861},"ba5511fe8706",[693],[],{"_key":1372,"_type":18,"children":1373,"markDefs":1381,"style":26},"f4c10974f8a7",[1374,1378],{"_key":1375,"_type":22,"marks":1376,"text":1377},"bf5f00e46ff9",[663],"The writing on the stones",{"_key":1379,"_type":22,"marks":1380,"text":1251},"f6d28b9f7b25",[],[],{"_key":1383,"_type":18,"children":1384,"markDefs":1389,"style":26},"c31b4294cd4f",[1385],{"_key":1386,"_type":22,"marks":1387,"text":1388},"9732c44c12c0",[],"This project addresses the energy paradigm shift and the transition from a model based on fossil fuels to one based on renewable energies, taking into account its effects on the territory. The work is set in the Gran Corta in Fabero, a mining enclave included in the Fair Transition Agreements, and it connects the closing down of coal mining with environmental restoration processes and geological time. Through images, texts and archive, the project proposes a critical reading on the landscape as a surface where layers of history, exploitation, and transformation are inscribed.",[],{"_key":1391,"_type":18,"children":1392,"markDefs":1397,"style":26},"d682679e4ff4",[1393],{"_key":1394,"_type":22,"marks":1395,"text":1396},"1701f5d8dfa3",[],"ACTS METEO RESIDENCIES",[],{"_key":1399,"_type":18,"children":1400,"markDefs":1404,"style":26},"b8bde3120240",[1401],{"_key":1402,"_type":22,"marks":1403,"text":896},"3f9a8cb61ec1",[693],[],{"_key":1406,"_type":18,"children":1407,"markDefs":1415,"style":26},"abb76f756675",[1408,1411],{"_key":1409,"_type":22,"marks":1410,"text":904},"65a04c9cb61f",[663],{"_key":1412,"_type":22,"marks":1413,"text":1414},"f0534e5b7b7e",[]," · 2025 – 2026",[],{"_key":1417,"_type":18,"children":1418,"markDefs":1423,"style":26},"d81be4fbcb27",[1419],{"_key":1420,"_type":22,"marks":1421,"text":1422},"5f724a9ae8ed",[],"This project explores forms of non-human cooperation and communication through a central question: how is meteorology understood from a non-human perspective? Marion Balac develops a series of videos inspired by the languages of social media, in which plants and other natural agents take on roles typical of contemporary digital culture, as if they were influencers. The work proposes a reinterpretation of online systems of socialization, particularly social media, shifting attention toward forms of vegetal and ecological knowledge that challenge the dominant anthropocentrism in the observation of climate.",[],{"_key":1425,"_type":18,"children":1426,"markDefs":1431,"style":26},"659def96a652",[1427],{"_key":1428,"_type":22,"marks":1429,"text":1430},"f4a661930a2d",[693],"Enar de Dios",[],{"_key":1433,"_type":18,"children":1434,"markDefs":1441,"style":26},"e45222ac092e",[1435,1438],{"_key":1436,"_type":22,"marks":1437,"text":932},"e1217f11bae6",[663],{"_key":1439,"_type":22,"marks":1440,"text":1414},"80ab6e864a3b",[],[],{"_key":1443,"_type":18,"children":1444,"markDefs":1449,"style":26},"fff0b5918967",[1445],{"_key":1446,"_type":22,"marks":1447,"text":1448},"a2db801611e0",[],"Above All critically addresses the economic, scientific, technological and socio-political framework that shapes the sky and the contemporary atmosphere. The work understands the sky not only as an exploited and regulated space, but also as an expressive subject pierced by conflicts, resistances and forms of collective resilience. Through a poetic and political approach, the project questions the systems that determine the occupation, exploitation and pollution of airspace, proposing an opposing view that trusts in the transformative power of shared doing and collectivity.",[],{"_key":1451,"_type":18,"children":1452,"markDefs":1457,"style":26},"821bcc69f88b",[1453],{"_key":1454,"_type":22,"marks":1455,"text":1456},"fc66f97c8dc3",[693],"Natalia Dominguez",[],{"_key":1459,"_type":18,"children":1460,"markDefs":1468,"style":26},"ef5ff947c0a6",[1461,1465],{"_key":1462,"_type":22,"marks":1463,"text":1464},"c1905f697ebf",[663],"[Title to be confirmed]",{"_key":1466,"_type":22,"marks":1467,"text":1414},"2edd175b3d3f",[],[],{"_key":1470,"_type":18,"children":1471,"markDefs":1476,"style":26},"6afa02d576ed",[1472],{"_key":1473,"_type":22,"marks":1474,"text":1475},"66e04e8f568e",[],"The project relates two historical and symbolic uses of water steam to reflect on models of relationships with the territory. On the one hand, it recovers the myth of the Garoé, the tree capable of capturing the humidity of the clouds on the island of El Hierro, and the traditional «cloud-catcher» technologies developed in arid territories. On the other hand, it connects this careful use of water with the invention of the steam engine and the beginning of a period of industrial extractivism based on intensive exploitation of natural resources.",[],{"_key":1478,"_type":18,"children":1479,"markDefs":1484,"style":26},"77a29e856cb2",[1480],{"_key":1481,"_type":22,"marks":1482,"text":1483},"b80bf60eb8a2",[],"The work imagines alternative narratives where water steam is not an instrument of domination, but of coexistence with the environment.",[],{"_key":1486,"_type":18,"children":1487,"markDefs":1491,"style":26},"4881b12163ba",[1488],{"_key":1489,"_type":22,"marks":1490,"text":978},"82a25dbf5bc9",[693],[],{"_key":1493,"_type":18,"children":1494,"markDefs":1502,"style":26},"4592e45d59e9",[1495,1499],{"_key":1496,"_type":22,"marks":1497,"text":1498},"87decf6e1101",[663],"Fossils in Motion",{"_key":1500,"_type":22,"marks":1501,"text":1414},"ef3968912e4d",[],[],{"_key":1504,"_type":18,"children":1505,"markDefs":1510,"style":26},"c1dbdc1520e6",[1506],{"_key":1507,"_type":22,"marks":1508,"text":1509},"292c8c3f3781",[],"Fossils in Motion investigates how atmospheric phenomena such as wind and air pressure leave invisible traces on the landscape. The work focuses on what the artist calls “sound fossils”: vibrations, infrasound and flows that, although imperceptible, shape the earth and technological devices. 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The work adopts a documentary and observational approach to put a face and voice to those who work daily in the production, interpretation and transmission of meteorological data. Through the monitoring of different departments, spaces, and atmospheric phenomena, the piece translates the technical language of climate into a sensitive and accessible plane, highlighting the cultural, social and human dimension of meteorology in a context of climate emergency.",[],{"_key":1538,"_type":18,"children":1539,"markDefs":1543,"style":26},"f9509210c1ba",[1540],{"_key":1541,"_type":22,"marks":1542,"text":1032},"0b167c48007d",[693],[],{"_key":1545,"_type":18,"children":1546,"markDefs":1553,"style":26},"4d6691c55c66",[1547,1550],{"_key":1548,"_type":22,"marks":1549,"text":1464},"000c3644a8e5",[663],{"_key":1551,"_type":22,"marks":1552,"text":1414},"07e6be7ee1ea",[],[],{"_key":1555,"_type":18,"children":1556,"markDefs":1561,"style":26},"df693d20cb3e",[1557],{"_key":1558,"_type":22,"marks":1559,"text":1560},"1015ba29b23e",[],"This project consists of a mobile experimental weather station that translates atmospheric and air quality data into an artistic and plastic language. The project seeks to reduce the abstraction of the scientific information generated by the AEMET, turning it into an accessible visual and sensory experience. Through open and experimental processes, the installation invites us to rethink how climate data are perceived, interpreted and shared, opening new creative and educational possibilities.",[],{"_key":1563,"_type":18,"children":1564,"markDefs":1569,"style":26},"f9dd63ef4a42",[1565],{"_key":1566,"_type":22,"marks":1567,"text":1568},"7326bf1300e2",[],"ACTS FAIR TRANSITIONS RESIDENCIES",[],{"_key":1571,"_type":18,"children":1572,"markDefs":1576,"style":26},"0f2b6ae929c6",[1573],{"_key":1574,"_type":22,"marks":1575,"text":1066},"139f71a42107",[693],[],{"_key":1578,"_type":18,"children":1579,"markDefs":1587,"style":26},"1088f0013927",[1580,1584],{"_key":1581,"_type":22,"marks":1582,"text":1583},"8cb661f0e90b",[663],"The Breath of air",{"_key":1585,"_type":22,"marks":1586,"text":1414},"db6c6f8d45c0",[],[],{"_key":1589,"_type":18,"children":1590,"markDefs":1595,"style":26},"aaa24580abb4",[1591],{"_key":1592,"_type":22,"marks":1593,"text":1594},"cb17c2d467e8",[],"The Breath of Air is an installation developed within the framework of the ACTS Fair Transitions residency at CIUDEN. The work deals with the production process of green hydrogen from a poetic and sensory approach, linking energy infrastructures, post-industrial territories and eco-social futures. 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The project analyses how the industry produces images of the future based on promises of progress and sustainability, and raises the need to open these collective stereotypes to citizen participation. Through videos, cartographies and drawings, the work questions who imagines the future of energy and where from, proposing alternative narratives that are more critical, inclusive and located.",[],{"_key":1646,"_type":18,"children":1647,"markDefs":1651,"style":26},"26b0fa61d113",[1648],{"_key":1649,"_type":22,"marks":1650,"text":1120},"183a0ac7f7e6",[693],[],{"_key":1653,"_type":18,"children":1654,"markDefs":1661,"style":26},"1796e8ac481e",[1655,1658],{"_key":1656,"_type":22,"marks":1657,"text":1464},"dc8ce14e3a48",[663],{"_key":1659,"_type":22,"marks":1660,"text":1414},"3000e2a109eb",[],[],{"_key":1663,"_type":18,"children":1664,"markDefs":1669,"style":26},"403f7f0ae6f1",[1665],{"_key":1666,"_type":22,"marks":1667,"text":1668},"3cf69eada2cd",[],"This project investigates the gas distribution infrastructures based on a journey that connects the artist’s domestic space with a planetary energy transport network. The route takes the shape of the infrastructure itself as a research method, paying attention to the overlap between body, territory, and infrastructure. Concepts such as pressure, particle behaviour or temperature in storage and transport procedures formally articulate the resulting materials. The work proposes a critical reflection on the invisible networks that sustain contemporary life and their political and environmental 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