“The Return of the Settler“ questions the official Spanish discourse towards the discovery and colonization of America. It is a research and artistic project born along the borders and directed towards the center. That is to say, towards Madrid, which symbolizes the colonial metropolis.
Its mere existence sneaks up on Madrid, while the subaltern’s interference takes over the city, turning it into a field of action. The strange, the foreign, the wild, and primitive enter into the restricted spaces of the ancient colonial metropolis. By transforming the signs of the territory, “The return of the settler” does not denounce, but rather announces its arrival.
A person in a corner of Madrid delivers leaflets of a shop which sells land. A leaflet with a bit of information: brand and logo, website and address. A passerby reads it naively considering being a future customer.
He stops, walks about looking for the right way, takes out his mobile phone and searches the web. He reaches the location and finds a message. The circle is finally closed only to be re-opened. A person in a corner of Madrid whispers: the borders between fiction and reality are generally unclear.
“Banca” is born in a combination of space and action.Its ephemeral and performative quality involves the passerby. When this passerby receives the leaflet, he launches the piece of art into operation.
“Banca” asks the curious passerby some questions. Is land a right or a good? Does land belong to human beings? Which are the agents involved in the land market? Is the city an approach to land? Will the species prosper on land?
“Monuments” was born as the combination of body, sculpture, and action. It is a conjunction of actions which first took place in the city of Buenos Aires. It doesn’t last more than an hour and consists of lighting a white candle with the word ‘democracy’ carved into it.
Like David facing Goliath, “Monuments” throws a stone at the challenging context, compromising a huge, ephemeral, and negligible emptiness to the everlasting and enormous structure of the city. From this perspective, a solid monument would be one that states the truth, becoming invisible as a truth. The objective of “Monuments” is to challenge the truth, exposing its false neutrality.
Subiendo al Sur is an educational project aimed at creating a meeting point for different kinds of people: a group of heterogeneous university students and the inhabitants of different rural communities.
This meeting point is an educational voyage. Said voyages are itinerant. Young people from various countries and disciplines travel around different communities (up to now from Argentina, Spain, and Morocco).
Each voyage is a social experience in which people relate to different social and cultural contexts.
The EduMAyE project involves an education that fights for democracy. A kind of education in which everyone has an important role and in which the borders between the teacher and the student are blurred. EduMAyE works towards complementation and has to do with the strengthening of formal education intended to protect the environment and the sustainable use of energy resources. The aim is that the participants acquire and provide knowledge related to the environment through workshops. Land, nature, energy, sustainability, climate change and environment are global concepts which are approached from the local circumstances of each community though audiovisual, performing, artistic, ludic and constructive tools.
By the end of 2009 the project ‘’Rastrojero’’ was born. Aim: to restore an argentine van, icon of the industrial history of said country. More specifically, a Rastrojero ‘71 model, with its Borgward 52hp diesel engine.
The Project acquired unexpected dimensions. Long working hours with many hours of commitment. Many people were involved voluntarily. They not only wrote the story of a van, but also the story of a neighbourhood which hosted the Project ‘’Rastrojero’’ as its main character.
A project that was born as a small idea was brought to reality and gained supporters who felt that it was also their mission to see Rastrojero back on four wheels.
Society does not only control individuals’ consciences ideologies, but also their bodies including the use of the body itself. Capitalist societies believe that biopolitics is what matters most, mainly biological, somatic and physical issues. The body is a biopolitical entity, medicines are a biopolitical strategy.
Happy Meal is a new concept of fun and healthy food designed not only for the little ones.
Beyond the classic McHamburger and its accompanying fried potatoes, the Happy Meal is the perfect blend of healthy, gourmet and affordable food. It adapts to the hectic pace of city modern life and it guarantees what is necessary for us to have a balanced and gourmet diet.
Those who can not resist the legendary hamburgers will find in a Happy Meal a delicious menu which can be the main focal point of any family or friendly gathering.
Maps are an indispensable tool when we have to choose a destination and want to make a trip successful.
They are also a two-dimensional representation of space. That is to say, they are a graphic approach to the topographic and urban qualities of a space. They are codes, with their titles, scales, legends, coordinates, etc. Maps try to codify not only spaces but also their paths and spatial displacement, generating a limited perceptual experience within the unlimited number of real paths.
How might a map be that wasn't a representation of a path to follow but rather a real space, an object that deploys and builds space surpassing the rules of representation?
In other words, can a map represent a space?
“Maps of space” surpasses the representative status of the image. It is a three-dimensional picture that invites anyone who handles it to experience several paths that lead you to travel through the map like someone who travels through a physical territory.
Its reading, never linear nor continuous, suggests a sequential arbitrariness, a variant order where the eventful decisions of the person who handles it come first. The building and rebuilding of the potential spatial developments give rise to new paths.
“Maps of space” is in a way a visual condensation between space and time. It is an image of displacement.
Art does not reproduce what we see; it makes us see.
Paper, texture, shades and light make up “Móvil”
The repetition of a small unit weaves a paper fabric. The framework, hanging from fine threads, moves invisibly as a result of the breeze caused by the blink of a curious spectator.
The movement multiplies in the projected shadows, drawing changeable amorphous shapes that come worrying to life.
“Light Book” was born under the attempt to suggest a script that invites the spectator to adopt an active attitude towards the multiple interpretations of a light story.
Halfway between the traditional book and computer screens, “Light Book” is made of dozens of carved sheets of paper which filter light, drawing geometric figures.
I have come out into the White. Follow me, comrade aviators! Swim into the abyss. I have set up the semaphores of Suprematism. I have overcome the lining of the colored sky… Swim! The white free abyss, infinity is before you.
The challenge: to draw with as few materials as possible.
The paper is not the background, it is the figure.
The light draws the point, the line, and the plane.
White, as a result of the sum of the whole light spectrum, is the colour at its strongest.
Pictures that delineate a subtle border with nothingness.
Wood is the encrypted writing of a tree’s life. It describes its story. Each streak is a sentence which refers to a day or a decade or maybe a century. Wood is the memory of the tree.
“Tree” invites us to retrace our steps, to discover the folds of a tree’s life. It is a game where the body of the tree intercepts the human body. The tree talks and we listen with our hands.