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Enbaxada de belar is a field research project and installation, part of my ongoing PhD research into ruderality as a methodology. It asks what happens when artistic research is conducted the way a ruderal plant conducts its life. Underneath that is a question of who decides what belongs and what doesn't, and on whose grounds.

San Sebastián is an exciting new site for this research. The first task is investigative: to walk the city's ruderal margins, the Urumea riverfront, the transitional strips over weeks. The walks are open to anyone who wants to join. Someone who grew up in the neighbourhood knows which plants their grandmother kept and which she pulled up. A gardener knows which roots break tools. Someone who works along the river knows where the ground gets disturbed and what comes back after. Learning a place through its most persistent, least invited inhabitants is a particular kind of knowing, and that knowledge is part of the work. From the fieldwork, the installation takes shape, mimicking an embassy organised into four outposts, each named after a register of the Spanish word for weed, framed by the proverb hierba mala nunca muere: the bad weed never dies. Hierba brava, the pavement breakers, become images and sculptures from collected specimens. Hierba fuerte, the deep rooted perennials whose mass dwarfs what is visible, become a root and soil tactile installation. Hierba buena, the edible and medicinal species, become a tasting station with teas and infusions brewed from what the fieldwork yields. Hierba mala, the thorny and resistant, are granted a passport desk, a stamp, a small document. The assignment of plants to outposts is not fixed in advance. It emerges from the fieldwork itself, and from where these particular plants resist easy classification, and that resistance is itself political.

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Pati Starzykowski is an artist and transdisciplinary researcher working at the intersection of art, ecology, and socio‑spatial politics. Their work investigates marginalised ecologies as sources of knowledge and political agency through sculpture, performance, site‑responsive interventions, embodied practice, moving image, and photography. Recent projects include The Trial of the Unwanted (Viborg Kunsthal, 2026), Manifesto in Defence of Pigeonisation and Ruderals of Venice (Venice Architecture Biennale 2025, British Council Fellow). Pati holds an MA in Art and Science from Central Saint Martins (2022) and is a PhD candidate at the Canterbury School of Art, Architecture and Design (UCA), as well as a participating research practitioner in OPI Lab at the Royal Institute of Art, Stockholm (2026/2027). Their work has been supported by a Mayor of London commission.

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The main goal of this programme is to provide support for artistic and creative processes, both technical and conceptual.

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An exhibition by Carla Filipe and Taxio Ardanaz.

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Carla Filipe (b. 1973, Porto) is a multidisciplinary artist whose work critically examines the intersections of art, politics, and collective memory. She studied Sculpture at the Faculty of Fine Arts of the University of Porto, where she also earned a Master's in Contemporary Artistic Practices. Filipe was a co-founder of the independent art spaces Salão Olímpico (2003–2005) and Projecto Apêndice (2006) in Porto.

Her work has been exhibited at major institutions, including the Serralves Foundation (Porto), MAAT – Museum of Art, Architecture and Technology (Lisbon), Museu Coleção Berardo (Lisbon), MNAC – Museu Nacional de Arte Contemporânea do Chiado (Lisbon), Kunsthalle Lissabon (Lisbon), SESC Pompeia (São Paulo). Internationally, she has participated in the 32nd Bienal de São Paulo (2016), the 13th Istanbul Biennial (2013), the 4th Ural Industrial Biennial of Contemporary Art (Russia, 2017) and Manifesta 8 (Murcia - Cartagena, 2011). Other key exhibitions include La Réplica Infiel at CA2M (Madrid), Les Urbaines at MCBA (Lausanne), and Le lynx ne connaît pas de frontières at Fondation Ricard (Paris).

Filipe has been awarded several grants and residencies, including a Calouste Gulbenkian Foundation grant for a residency at Acme Studios (London, 2009), AIR Antwerpen (Belgium, 2014), the Robert Rauschenberg Foundation Residency (Florida, USA, 2015), Krinzinger Projekte (Vienna, 2017), and Peacock & The Worm (Aberdeen, Scotland, 2023). Her works are part of significant public and private collections, including the Serralves Foundation, MAAT/EDP Foundation, António Cachola Collection, Portuguese State Contemporary Art Collection (CACE), Centro de Arte Oliva, Foundation Leschot; PLMJ Foundation, among others.

Filipe received the FLAD Drawing Award in 2023 and in 2024 the best visual arts exhibition award for In My Own Language I am Independente at the Serralves Museum, by SPA, the Portuguese Society of Authors.

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He holds a Bachelor of Fine Arts from the University of the Basque Country and has furthered his training with artists and curators such as Julie Mehretu, Esther Ferrer, Itziar Okariz, Andrés Duque, Miroslaw Balka and Peio Aguirre.

\n\n

His work revolves around the tensions arising between ideology, representation and memory, exploring, through painting, installation and photographic archives, the physical traces of thwarted political projects and other forms of collective resistance. This interest has led him to work in conflict-ridden contexts such as Iraqi Kurdistan, Cuba, China and Mexico.

\n\n

His work is held in various public and private collections and has been exhibited at institutions such as Tabacalera (Madrid), the Museum of Navarre, the Spanish Academy in Rome, San Telmo Museum (San Sebastián), CIAJG (Guimarães) and galleries such as Carreras Múgica (Bilbao), Pelaires (Palma de Mallorca), Nordés (Santiago de Compostela) and Espacio Enhorabuena (Madrid).

\n\n

 

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Ángel Calvo Ulloa (Lalín, 1984) is a curator and writer. He holds a degree in Art History from the USC and a Master's degree in Contemporary Art: Creation and Research from the UVigo. He has been co-curator, together with Marta Mestre, of O Fantasma da Liberdade / Anozero Biennial of Coimbra 2024.  

His most recent curatorial projects include Jordi Teixidor. No-res, at Sala Alcalá 31 (Madrid); Juan Uslé. Ese barco en la montaña, at the Reina Sofía Museum (Madrid); ¿Adónde irá el pájaro que no vuele?, at La Casa Encendida (Madrid); Humores y Espesores, by Rodríguez-Méndez, at the CA2M (Móstoles); El sueño de la cólcedra, by Teresa Lanceta, at the Patio Herreriano Museum (Valladolid); Siron Franco: Pensamento insubordinado (Works, 1961-2023), at MAC Goiàs (Brazil); Nesting in the gesture: some shelves by Alberto, at the Cerezales Antonio y Cinia Foundation (Cerezales del Condado, León); Self-construction. Loose pieces. Juego y experiencia (Game and Experience), by Antonio Ballester Moreno, at Artium (Vitoria-Gasteiz); Complexo Colosso, CIAJG (Guimarães) or, together with Nuria Enguita, Habitación. The F.X. Archive, Laurencic's psychotechnical chekas and the function of art, by Pedro G. Romero, at CA2M (Madrid), MNAC (Barcelona) and La Nau (Valencia). Since 2011, he has also curated exhibitions at institutions such as Caixaforum (Barcelona), MARCO (Vigo), CCEMx (Mexico City), Fundación Luis Seoane (A Coruña), Tabacalera (Madrid), Centro Párraga (Murcia) and EACC (Castellón), among others.

In 2020, co-authored with Juan Canela, he published the book Desde lo curatorial. Conversaciones, experiencias y afectos (From the Curatorial Perspective: Conversations, Experiences and Affections), part of Consonni's Paper Collection.

 

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HU /هُو. Bailad como si nadie os viera (Dance as if no one were watching you) is an installation by Oliver Laxe inspired on the creative world of his film Sirāt

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Born in Paris in 1982, Oliver Laxe is the son of Galician emigrants. When he was six years old, his family returned to Galicia. After studying film in Barcelona, he moved to Tangier, Morocco, where he self-produced and shot Todos vós sodes capitáns [You All Are Captains], which won the FIPRESCI Prize at the Cannes Directors’ Fortnight in 2010.

\n\n

In 2016, he received the Grand Prix at the Cannes Critics’ Week for Mimosas, shot in the Atlas Mountains. After returning to Galicia, he directed O que arde [Fire Will Come], filmed in the heart of the Ancares, which won the Jury Prize in the Un Certain Regard section at the 2019 Cannes Film Festival. Fifteen years after his first premiere at Cannes, and having screened films and won awards in all its sections, Laxe made his Competition debut in 2025 with Sirāt. The film, which won the Jury Prize at the Cannes Film Festival, has cemented its international success, earning widespread acclaim from both critics and the industry, as well as multiple nominations for the Academy Awards, the Golden Globes and the Goya Awards. 

\n\n

In addition to his work as a filmmaker, Laxe is a member of the Ser Association, an initiative based in Os Ancares that promotes the revitalisation of rural areas through cultural, agricultural and community development projects. He also promotes rural development strategies linked to heritage restoration and repopulation, working closely with local development groups. 

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An exploration of the two cultural lifelines of Debris Stevenson, the sonic-seam between Bass Culture and Neuroqueerness.

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Debris Stevenson is a playwright, grime-poet, multi-disciplinary artist, neurodivergent academic and professional raver whose work explores the intersectional, unexpected, and unjust.

\n\n

Debris has been writing, moving and making for 20 years, she’s performed in over 30 countries, designed academic poetry modules at The University of Nottingham and raised over £300K with her community interest company The Mouthy Poets where she taught thousands of young people from Nottingham to across the world. 

\n\n

Debris’ debut grime-musical POET IN DA CORNER (Royal Court) toured nationally in 2020. Her play MY BROTHER’S A GENIUS (Theatre Centre, Theatre Sheffield, National Youth Theatre) toured schools and theatres nationally in spring 2026. And her co-adaption of CYRANO DE BERGERAC (Royal Shakespeare Company) alongside Simon Evans, starring Adrian Lester will transfer to London’s West End (Noël Coward Theatre) this summer after a sell out 5* run at the RSC.

\n\n

Debris is currently completing a fully funded practice-based PhD studentship titled ‘The Write to Rave’ on the intersection between grime, storytelling and neurodivergence at Oxford
\nBrookes University. 

\n\n

When Debris isn’t writing, creating or studying she can be found dancing at carnivals, parties and prides around the world for the likes of Red Bull Music Academy, The Heatwave and sometimes, just for fun. 

\n\n

www.debrisstevenson.com
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