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Through the work of artist Javier R. Pérez-Curiel (“Chavezito”; Oviedo, 1978), I propose a curatorial investigation centred on limits/boundaries. In contrast to the notion of a boundary as a line or mark, this research understands the boundary, rather, as a zone of thickness; a heteronomy that operates as an infrastructure of power and as a technology of containment.

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Under this premise, the project aims to explore the structural impossibility surrounding the boundary when it comes to fully containing that which it ostensibly claims to regulate.  This investigation is therefore an insistence; it focuses on the fictional nature of containment as something that never truly closes, that always overflows. Javier P. Pérez-Curiel’s proposal is situated precisely in that field of negotiation with limits and boundaries, from which he explores the tensions that arise in the encounter between devices that seek to constrain the body and organise the gaze and the transgressing body itself.

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Through the deployment of strategies that oscillate between deterritorialisation and assembly, Javier's work proposes to observe reality from its interstices, from its dynamism, and from that which escapes and resists. This undisciplined gaze extends to our own perception, questioning the limits of what we think we see and the assumptions on which our attention is based.  In this sense, ozilarrezko olatuak, bitsez beteak (silver waves, veined with foam) proposes an exercise in altered attention: an invitation to think about the present from tension, from the porosity of boundaries, and from the impossibility —always political— of completely containing life.

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Irene Landa González (Bilbao, 1995) is a curator and researcher in the fields of contemporary art and cultural criticism. She holds an undergraduate degree in Architecture from the Technical University of Madrid and a master's degree in Critical and Cultural Studies from the Academy of Fine Arts in Vienna. Her main line of research is focused on analysing the role of cultural and artistic criticism in the contemporary Basque context. She has curated exhibitions such as Finding Pleasure in Unarticulated Forms (2023), at the VBKO (Vereinigung bildender Künstler*innen Österreichs), dedicated to the work of Viennese artist Nerea González, as well as Interrumpir el discurso, 2026, at Bulegoa z/b, an exhibition-formatted materialisation of her research on the new mythologies of contemporary work. In 2022, she was selected for the Solomon R. Guggenheim Programme to undertake a curatorial internship. In addition, she has completed internships and stays at Artium Museum and Bulegoa z/b.

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Throughout the workshop, we will take a closer look at the proposal that artist Zineb Sedira presents in the exhibition.

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 A solo exhibition by French-Algerian artist Zineb Sedira.

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Zineb Sedira (Paris, 1963) studied at Central Saint Martins, the Slade School of Fine Art and the Royal College of Art, London. She currently lives between London, Paris and Algiers. Her practice spans photography, film, and installation, with a particular focus on archives, especially film archives, through which she interrogates the historical narratives they contain. The stories and memories of her own family have also been central to many of her works. Since 2002, the artist has exhibited regularly in both solo and group exhibitions and has participated in several biennials, including the Venice Biennale and the Sharjah Biennial.

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