After. Adrianna Szodja, Alba García Allué, Carmen de Ayora, Catarina Botelho, Clara Grabowiecki, Erica Volpini, Helena Vinent, Joana Capella, Jodie Chinn, Juan Francisco Segura, Llapispanc, Lourdes de Peñaranda, Maíra das Neves, Margherita Isola, Marla Jacarilla, Matilde Amigó Fernández, Natalia Carminati, Natalia Castañeda, Natalia Domínguez, Núria Nia, Paula Bruna, Silvia Renda, Sonia Villar, Thilleli Rahmoun, Violeta Ospinahttps://laescocesa.org/es
Carlos Franco. 'obra sobre papel'http://www.miguelmarcos.com/es/index
Colectivo Santa Muerte. 'La Santa Muerte'https://www.uxvalgochez.com/
'Human Farm'. Raquel Van Haver, Admire Kamudzengererehttps://www.the-over.com/
'Lullabies'. Eloy Arribas, Fabrizio Cotognini, Laura Hermanides, Jan Monclushttps://thecuratorsroom.com/
María García Ruiz. 'Tierras raras'https://rociosantacruz.com/
Iván Candeo. 'Temps viscut'https://www.instagram.com/radas.studio/
Esther Gatón. '—Blanc, El Fang. La Màquina Solar Més Suau'https://www.instagram.com/raccoonprojects/
Neville Starling. 'Vertical Horizon'https://www.polgracehotel.es/
'Blurred States of Being'. Bianca Shonee, Sabrina-Jasmin, Gracelee Lawrencehttps://www.priorartspace.com/
Reiko Yamada. 'I sometimes hear a person dreaming'http://www.laplace.barcelona/
Rio Paraná. 'Què fan amb els nostres ossos?' / '¿Qué hacen con nuestros huesos?' / 'What are you doing with our bones?'https://www.homesession.org/wordpress/
'¿Cómo puedo enamorarme de este jardín?'. Andrés García Vidal / Mercedes Pimientohttps://fase.xyz/
'Pedra i material' / 'Piedra y material' / 'Stone and material'. Barbara Fluxá, Clara Montoya y Rafa Munárrizhttps://www.dilalica.com/es
Emma Walker, Grayson Cooke, Matthew Engelbrecht. 'Ābhāsa'https://www.cascadasartspace.com/
Sofía Montenegro. 'Ya ha salido el sol'https://www.cccanfelipa.cat/
'A matter of time'. Daniel G. Andújar, Cecilia Bengolea. Carlos Casas, Harun Farocki, Esther Ferrer, Fermín Jiménez Landa, Mabel Palacín, Pedro G. Romero, Oriol Vilanovahttp://www.angelsbarcelona.com/
Àngels Ribé. ‘Caminar sobre el gel’ & ‘Clouds, Bubles and Waves’https://www.anamasprojects.com
'Tempus Fugit'. A+G, Balanza, Albert Bayona, Clemente Calvo, Salvador Herrera, Enric Mauríhttps://www.urbangallery.es
Juan David Galindo. 'Espai en Diferit'https://www.tangent-projects.com
Quico Estivill. 'Androgin'https://www.instagram.com/tpkartipensamentcontemporani/
Ed Young. 'The Motherfucker'https://suburbiacontemporary.com
'Video proyección'. Joely Lorenzen, Cristina Reidhttps://metafora-studio-arts.org/
Victoria Ioudina. 'Hitomi'http://lab36.org/en/home/
Ton Sirera películas y fotografías en torno a la abstracción en 1960https://juannaranjo.eu
Vera Chaves Barcellos. '70’s i altres coses'http://www.zielinskyart.com
Anthony Goicolea. 'Don't Make a Scene'https://galeriasenda.com
Manuel Saiz. 'Commuting Time'http://www.ethall.net
Pilar Quinteros. 'Senyals de fum' / ' Señales de Humo' / 'Smoke Signals'https://espaisouvenir.com
'Farnesina Digital Art Experience'. Italian Collective Exhibition Antica Proietteria Antaless Visual Design Apparati Effimeri Delumen FLxER Full Frames High Files Visuals Kanaka Studio Karmachina Leandro Summo Luca Agnani Studio mammasONica Michele Pusceddu MONOGRID Mou Factory OLO Creative Farm OOOPStudio Plasmedia Pixel Shapes Proforma Video Design THE FAKE FACTORY WOA Creative Companyhttps://www.espronceda.net
Deborah-Joyce Holman. 'Moment 2' / Ligia Lewis. 'deader than dead' Performances 16 & 17 - 20hhttp://cordova.world/
'sssssh – cicle de cinema de cambra / ciclo de cine de cámara / chamber film cycle'. Judith Adataberna, Valentina Alvarado Matos, Marie Losier, Callisto Mc Nulty, Bárbara Sánchez Barrosohttps://chiquitaroom.com
Virginia de la Cruz. SEASONS, Ensayando un movimientohttps://chezxefo.com
Fran Aleu, Arturo Bastón, Irene Sesé y Jana Trave. 'A oscuras'https://cera13.org
Pati Hill, Pere Noguera, Jordi Mitjà. 'Tot Objecte Repetit Ocupa Un Espai Únic' / 'Todo objeto repetido ocupa un espacio único' / 'Every Repeated Object Occupies A Unique Space'https://bombonprojects.com
Daniela Ortiz. 'La Rebelión de las Raíces'http://www.angelsbarcelona.com
Homeland. 'A través de la llum i l'ombra' / 'A través de la luz y la sombra' / 'Through Light and Shade'http://www.alalimon.org
Adrian Melis. 'The Smiler'https://www.adngaleria.com
Galleries, artistic venues, organizations and collectives join LOOP Festival scheduling exhibitions, curatorial programes and special projects that complement the agenda of the contemporary video creation.
'5994 is just a number', the number of days passed by since ADN Galeria first opened its doors on May 13, 2003 at #49 Enric Granados street. Now its doors will remain open at #205 Mallorca street. In the ocassion of LOOP, we are presenting a collective exhibition with the artists who we work for; some of them since the beginning, and others who have been incorporated to the program over the years.
After losing a very close person, impotence led me to need to give relevance to that transit between life and death, and to provide time to that moment that doesn’t exist between ‘breathing’ and ‘not breathing’. Accompanying her in a room where everything fades into a cluster of contradictory feelings, two people’s dialogue before the inevitable. The End, the Acceptance and the Farewell. The conversation I wanted to have and didn't.
Itziar Barrio's first exhibition in àngels barcelona uses a multiplicity of media, ranging from video and performance to installation, in which disobedience becomes an essential element used to make us reflect on how the narratives extracted from cinema and popular culture can be used to unveil the mechanisms hidden in them. In this exhibition, the artist has appropriated contemporary mythologies, which go from Ikea's JEFF chair to fragments of Tennessee Williams ‘A streetcar named desire’, ‘Opening Night’ by John Cassavetes or Donna Haraway's ‘Cyborg Manifesto’. In this way, she mixes fiction and reality, allowing the public to become both witness and spectator and challenging their own expectations.
There are multiple ways to visualize the relationship between images, sound and narrative, between physical spaces and those that can be read, narrated, and/or listened to, and the effects that such experiences can have on us. The video works that are part of this exhibition present a variety of narratives that are all part of a post-representational map in which images, words and sounds do not "locate themselves" producing an unexpected effect on the viewer. In these works, sonic and visual encounters are dissolved through formal experimentation and, instead of guiding the viewers to a safe destination, they lead them to a place beyond their expectations. These works are, after all, narratives in which the interstices are part of their meaning, as if their visual narrations were deconstructed through sound.
'Siberia' is a symphony in motion about a colossal route, a feat of engineering, that connects old Europe with the waters of the Pacific: the Trans-Siberian railway. From the silence of the snowy taiga to the immensity of the steppe, Siberia is a song to the magnificence of extreme winter and a record of the ancient struggle between human desire and the power of nature. Siberia is a document about a dream come true.
From a starting point of conceptualist strategies, Patricia Bentancur integrates objects, photographs, texts and films into her practice to produce interactive installations and participatory actions. This work questions the responsibility of representation, and the meaning it acquires, by ordering fragments that intend to reflect on concepts such as: belonging, territory, absence and precariousness, appearance and place. A poem by João Guimarães Rosa, entitled 'La tercera orilla', tells the story of a man who one day decides to abandon his house on the river and move to live on a boat between the two banks, between the two lands, 'In Between_Lands'...
'The Boys with Heavy Clouds' is a reflection on the atavistic human demand to emigrate to an unknown place. The human being lies at the centre of the project, as an eternal seeker of new spaces and new dimensions. Project: video installation by Michele Motiscause. A performance by experimental musician Andrea Centazzo on 24 November at 8 pm in Sala Hiroshima will bring the exhibition to a close. Curator: Instituto Italiano de Cultura de Barcelona, in collaboration with Anna Mastrolitto and Francesca Regni.
The proposal turns the gallery space into the epicenter for the collaboration between the two artists by recreating a sort of inverted mechanical workshop, where the work consists of collecting materials with no value and re-composing them in unpredictable variations. The artists take car tuning as a reference point to intervene in the space, turning it into a dysfunctional laboratory. Maynou and Mitjà take the artist's workshop as a space for the transfiguration of rejected materials: the workshop becomes an operation centre and performative space for an open-ended process.
'Homeland' is a collaborative artistic research project that opens a critical space within which to create, produce and support the moving image. Damer House Gallery aims to be a platform for visual production and to provide a forum through dialogues, debates and publications. Curator: Safia Art Contemporani & Damer House Gallery.
'Todo sucede como si' takes as its starting point a small artificial island located in Chapultepec, the biggest urban park in Mexico City. The project could be thought almost as a kind of lost footage or an anachronistic souvenir that records the insistent movement of a boat around the island, and it speculates on the links to the first colour motion pictures and themes related to travel, utopia and the moving image.
'Arcana' is a journey through the 22 cards in the tarot deck, known as the Major Arcana, that proposes an interdisciplinary and collective perspective on a unique potential reading for each visitor and moment. Conceived as an immersive experience, the person chooses his or her own itinerary, more or less consciously, and approaches the symbology of the cards through the art, since when tarot is consulted, it is not the cards that must be read but life itself.
‘Dovetail II’ is a day long mini-festival of artist film, performance, live stream and interactive karaoke, presented from noon until midnight organised loosely around the idea of renovation. The program is composed of various film selections and interventions or discussions made by invited artists and curators. The program will end with a staging of ‘Love Song, a karaoke’ project with artist video contributions. Curator: Cory Scozzari & Invited Guests.
Francisca Benítez’s work explores the ways in which we inhabit space. Her work is tied to the places in which she lives and the communities she interacts with, and often questions the territorial political systems that shape the contemporary city. Her recent work creates meeting points between deaf and hearing cultures through collaborative performances that highlight the narrative and spatial qualities of sign language.
‘Dilalica’ opened its new space in Barcelona thanks to the aesthetic enthusiasm its creators have for digital and internet art and the challenges these forms pose when shoehorned into a physical venue. The concept ‘Bits and Atoms’ comes from Nicholas Negroponte's 1995 book ‘Being Digital’, which discusses complimentary features of physical matter and digital media. The exhibition offers works by artists that engage with the duality of physical space and encoded information. The artists will be presenting new pieces for the occasion. Curator: Cristina Anglada, Marialaura Ghidini, Kelani Nichole, Louis-Charles Tiar.
From a starting point of ruins and disappearance, two different stories open narratives on memory, displacement and the relationship humans establish with the landscapes that configure us. Andrea Lería: ‘The invisible garden’, video installation, 2019. A laboratory that records the everyday like an inventory. Francisco Navarrete Sitja: ‘Dilute the earth’, Video installation, 2019. An interrupted migratory trip that reflects on fragility, memory, uncertainty, displacement and the survival of the species. Curator: Luz Muñoz.
Following an expedition through the Amazon, the artist Bárbara Sánchez Barroso tries to find explore new cosmologies in the post-human paradigm. Our colonising impact on nature, as well as questions about concepts such ‘representation’ and ‘sight’, shape the artist's travel experiences. Curator: Herman Bashiron Mendolicchio.
Duality torments us insistently. Soul, consciousness, spirit, portrait and memory, our ontological and virtual ‘other’ - everything seems to detach from the body, from our physical and mortal unity. In this video installation the artist reflects on the notion of ‘double’, where the subject and her image overlap. Curator: Herman Bashiron Mendolicchio.
Inspired by a re-reading the novel ‘The Snow was Dirty’ (1950) by Georges Simenon, the project brings together an anthology of video and animation by international artists that explore different means of storytelling. Some of them place an emphasis on the structure and formal nature of language, others, on the other hand, argue whether narration is possible or not, and prefer to delve into the imperfection of subjectivity, resisting feelings and the limits of communication. Curator: Valentina Casacchia.
The exhibition focuses on a transmodal artistic intervention based on proclamations by two iconic activists: Martin Luther King and Greta Thunberg. The discourses create a universe of relationships based on a primary layer of senses (sight and sound). At the same time, they open up to other senses that are not so obvious, capable of completing the discursive universe or diverting their logic. It is precisely there that this project begins, where certain sensory modalities are veiled by the pre-eminence of the word. Curator: Gabriela Berti.
‘Celestial Mechanics’ is a metamorphic journey in which the wing of a butterfly becomes a galaxy, revealing what’s invisible to the human eye. It’s a reflection on nature, its strength and its presence as part of a whole to which we all belong. It’s a symbolic gesture of empowerment that we wrongly call ‘weak’, but which is simply ‘fragile’, a fragility increased (in this case) by the negative impact of the exploitation of natural resources. The artist Catalina Jaramillo will also display her work in the mezzanine.
‘Safira’ is the first solo exhibition by artist Romy Pocztaruk in Barcelona. In this exhibition, Romy offers a series of works produced between 2018 and 2019, based around the question: Is it possible to coexist, or do we fail to exist together? The works propose a game in which different historical period overlap. The idea of coexistence or multiple existence is created through the images’ different textures (16mm, 35mm and digital), while at the same time we see a world in ruins.
Just like with a toolbox, in ‘The tools and the days’ (video-installation, 2017), an inventory of work instruments is displayed. The cold, grey base of the digitising machine serves as a backdrop for the warm appearance of objects worn down by use over time and the dance of their movements. Through stop-motion, we seek to pay homage to some of the utensils and objects that are used by the artist, day in, day out. ‘Les eines i els dies’ shows an animated X-ray of the tools used by a trade to the rhythm of the sounds they emit when they are used.
In the year 6931 the concept of space and time for human beings, if it still exists, will have changed. Maybe we will travel through space at the speed of light, or maybe we live in a virtual world where the pixel replaces the cell. Perhaps we will have returned to nature or perhaps we will no longer inhabit the Earth. All these questions are addressed in a daily recollection of this new future space, told through a fictional story.
Raw material from the film ‘Cosmonaut’. In ‘Cosmonaut’, an astronaut walks slowly in front of a chroma key without knowing exactly what to do in that space, finally deciding to sit in the middle of the set. At the same time, the hands of a second astronaut appear, giving him constant signs. Separately the two scenes have no importance, but when edited together they create a comical situation, satirising the use of digital compositions.
'Sun3/V886 Centauri' is an exhibition that travels from the earth and the anthropological to the cosmic and astral through different media such as wearables, documentaries, video, installations, sculpture and performances.
‘Resonancias’ is a choral and experimental project that gives a voice to the intimate experiences of 14 people in relation to homosexuality, gender non-conformity, feelings of emptiness, loneliness, abuse and the refuge found in touch and in the body. The exhibition shows the results of this collective process: an audiovisual portrayal of the performance ‘Cuerpo de resonancias’, an installation about costumes, a series of portraits and drawings and a documentary about the entire process.
As part of the Loop Festival, we present three video works, as well as a sound installation by three female artists from the same generation: Annika Kahrs, Alicia Kopf and Teresa Solar. All the works presented link personal stories and reflections to space exploration, technology and science. They also examine the relationship between representation and interpretation, speculation and conviction, fiction and reality.
The exhibition includes films, photographs, drawings and scores by creators and scientists produced between the 19th century and today by Georges Méliès, NASA, Raymond Loewy, Joan Fontcuberta, Eduardo Polonio, Aleydis Rispa, Maurice Lœwy and Pierre Puiseux, José Comas and Solá, James Nasmyth, among others, that illustrate the fascination with conquering space.
'Ditaola: Divining Bones' brings together three projects by Lhola Amira (‘Looking for Ghana & The Red Suitcase’; ‘LAGOM: Breaking Bread with the Self-Righteous’; ‘SINKING: Xa Siqamla Unxubo’) and places an emphasis on Amira’s ongoing journey through different sites and historical events in our colonial past. The three films result from Amira’s ‘Appearances’ in Ghana, Sweden and South Africa, where historical wounds are localized and mapped, and “collective healing’ is instigated. Curator: Mariella Franzoni.
Anna Malagrida essentially uses photography and video in order to explore and recreate our everyday life experience and the unsteady equilibrium between the private and the public through an attentive observation. The artist leaves representation behind and calls for our fantasy instead—we are invited to project ourselves onto the surfaces of her images and to create our own visual contents inside and outside them.
Nina Fischer & Maroan el Sani’s newest video work investigates the phenomenon of so-called 'hobby indians', an escapist movement and fringe group in the former GDR grounded in historic German enthusiasm for Native Americans, which has also been described as 'Indianthusiasm'.
As described in his ‘Confessions’, St. Augustine’s moment of revelation happened when, after hearing the voice of a child chanting repeatedly ‘take up and read, take up and read’ (‘Tolle lege, tolle lege!’), he opened the Bible and read the first chapter he could find. The episode underlines the experiential and symbolic dimension of reading, associating the practice of knowing and experiencing the truth with the book itself, seen as summa and totality. Beginning with the idea of the book as a universal form, the exhibition is an invitation to take up and read, reflecting upon new modes of gesture and reading altered by the digitalisation of the world, where the old paradigm of reading and writing is displaced from a unified notion to a more discontinued and irregular one.
Metàfora Studio Arts Program will present two videos as part of the festival: ‘Melting Gold’ by Charlotte Nordgren-Sewell, which explores how the unbounded beauty of gold serves to obscure its violent extraction process; and ‘Erica I’ by Karen Torres, which calls for visibility for one of Mexico's worst tragedies, the disappearance of thousands of women every year. Curator: Marc Larré.
#smartnature represents natural spaces in a dystopian reality in which human beings lives in the fullness of simulation. The project is based on the current view of Plato’s ‘Allegory of the Cave’: the human being, in love with the possibilities of virtual representation, manages to recreate all that was revealed outside in the interior space of the cave, without ever abandoning this moment of fullness prior to the revelation of knowledge. Curator: Anna García for Escalera de Incendios.
In the middle stands a heavily pregnant young woman. Her hair partly covers her naked body to her ankles. She peers past you, with no expression on her face. From underneath, a gusty wind begins to blow, wafting her hair slowly upwards into the air. Suddenly, the woman bends forward slightly, her left arm in front of her abdomen, and grimaces painfully. Losing her balance, she falls sideways out of the frame until only black remains.
Maria Ona has a degree in Fine Arts from the Complutense University of Madrid (2016). In 2015, she took a Course in Transport, Handling and Displaying Works of Art at the Spanish Institute of Cultural Heritage. She has collaborated in the production of works and installations by artists such as Michiel Ceulers, Ignacio Uriarte, Christian Boltanski, Francesco Arena and more; and has worked on exhibitions at Nogueras Blanchard, the Reina Sofia Museum and ARCOmadrid on several occasions. She is currently working on her own project, titled ‘ONA’, a fresh and dynamic company that specialises in art production, personalised support to artists and setting up exhibitions. Coordinated by Gracias por su visita.
Keel / Reef relates two seemingly disjointed types of ornamentation: one manifests in organicist architecture and the other in tribal-inspired tattoos. Crystallizing both fears and fascination, these forms take us to the tumultuous curves of the sea agitated by the colonial past and environmental disasters. Starting from two iconic buildings of Paseo de Gracia, La Pedrera by Antoni Gaudí and the façade for the tourist apartments Suites Avenue de Toyo Ito, the work reconsiders the ornament as a possible place from which to address the conflicting relationships we entertain with the surroundings and the difference. Winning project of the scholarship d’arts visuals of the Fundació Güell 2018, in collaboration with Homesession. Coordinated by Gracias por su visita.
This dynamic, hybrid and open event is made up of three parts: a short film area, a video art area and a virtual reality experience. Featuring the involvement of artists like Natalia Mali, Lud Monaco and Dizmology, among others, it creates a space for magic and the impact of the audiovisual medium, where you can see how different formats make it easier for artists to reflect on issues that are imminently relevant on a social and cultural level. Curator: The Over.
In the context of Allen Ruppersber’s current exhibition, Planet Stories, ProjecteSD will display for the first time in Barcelona Dora García’s video graphic work ‘Just Because Everything Is Different It Does Not Mean That Anything Has Changed‘ between 15 and 20 November on a continuous basis during normal gallery hours. In this work, García recreates and imagines the performance of Lenny Bruce in Sydney on 6 September 1962, which never happened, since it was censored after he came on stage and said ‘What a fucking wonderful audience!. ‘Aleph’ by artist Wallace Berman will be projected on 21 November on a continuous basis during normal gallery hours.
‘Trinus’ is the outcome of an artistic residency that took place on the high seas, aboard a cargo ship heading to an unimportant destination. ‘What matters is leaving, not arriving’. From atop the shipping containers or the ship’s tower, Cláudio Garrudo has captured several moments of the day, and what he saw around him: the sea, only the sea. Or perhaps not.
This selection represents Núria Manso's output of creative videos following ‘Dokuart’, the noteworthy and complex video-work she released in 2011 at the Centre d’Art Santa Mònica, Barcelona. The current exhibition comprises five of her videos. The first, ‘Jo hi vaig ser/ soc allà’ (2013) (I was/am there); followed by ‘Traspassar’ (2014) (Crossing); ‘Vistas al mar’ (2015) (Views of the Sea); ‘Visió penetrant’ (2015) (Penetrating Vision); ‘Cul-de-sac’ (2016) (Dead End). Curator: Domènec Ribot.
“Never (Sade) imagined that Commerce would supplant the libertine philosophy and that pleasure would become the screw of the industry.” (Octavio Paz). In the 60s, a group of men worked on the Apollo space project, another group was developing an ideological revolution that took place in France in May 1968 and that put the fundamental institutions in crisis. A new aspect of the microcosm was developed. Marmorek subverts the meaning of the media and confronts us with the mysterious universe of female sexuality, which still remains in the most intimate intimacy.
Diogo Pimentão (Lisbon, 1973) is a multidisciplinary artist well known for his work with graphite on paper and for his experimentation with other materials and techniques, such as performance, video and photography, which display a formal and conceptual language of a strongly personal nature. Pimentão will be presenting ‘Loud Whisper’ at the RocioSantaCruz Gallery during the Barcelona Gallery Weekend 2019. It is his first solo exhibition in Spain, and will offer visitors the chance to pause and take in the noises that surround us… the exclamations and exhalations… but do not engage us directly. Pimentão transfers these sensations into his creative process via drawing and performance. The whisper of graphite scratching a piece of paper, a material being folded, the sound of paper being banded. A congregation of sensations about which the artist has said: ‘Drawing is like breathing, it is like carrying oxygen around the body and expanding it across the skin’.
‘Reflections’ focuses on our daily interactions with ourselves and others through various mediums but especially within technology. The sole use of analog visual effects becomes an extended metaphor to that effect.
TKM ROOM is so happy to participate at LOOP festival! Representando a 14 jóvenes talentos internationally! Us esperem amb els braços oberts i amb molt d'amor per a compartir amb vosaltres. Bisou,bisou, MUA MUA, XOXO,<3.
‘Hollywood Burn’ is an anti-copyright epic made using hundreds of samples pirated from the Hollywood archive. The year is 3001 and in their moon lab the pixel pirates have devised a plan to go back to 1955, to create an Elvis Presley video-clone in order to fight the tyrant Moses and his copyright commandments. Watch Elvis fight back against the evil leaders of copyright and the repressive anti-remix regime. Expect an all-star cast and a kickass soundtrack. Curator: Tsering Frykman-Glen.
trama34 is a workspace and cultural association. It offers activities such as presentations, workshops, training courses and projects like La Solitaria, AFFAIR and Meta Monumental Market. The space, a network of corridors and false walls, becomes the perfect setting for projecting works that cause a certain unease. trama34 offers a selection of audiovisual works by the artists that share this workshop. Curator: trama34 with Denise Araouzou and Zaida Trallero.
‘Contemplated Cosmos’ is a proposal by Urban Gallery that covers six artists, ranging from Èric Antonell's painting in motion to the mythological reinterpretation of Rafael Triana's Atlas. Clemente Calvo recreates sounds and light from space as well as the life of the stars. The artist Pep Camps creates magnificent plays on colour analogously through light, while Salvador Herrera shows an infinite number of creatures evolved from a single-celled organism. Last but not least, Enric Maurí presents a videographic work that compiles the debate surrounding the man’s arrival on the moon. Curator: Belén Urban.