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A través de la obra del artista Javier R. Pérez-Curiel (Chavezito) (Oviedo, 1978), propongo una investigación curatorial en torno al límite. Frente a la noción de un límite como línea o trazo, está investigación entiende el límite, más bien, como una zona de espesor; una heteronomía que opera como infraestructura de poder y como tecnología de contención.

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Bajo esta premisa, el proyecto pretende explorar la imposibilidad estructural que rodea al límite a la hora de contener por completo aquello que, en principio, presume regular.  Esta investigación por tanto es una insistencia; repara en lo ficcionado de la contención como aquello que nunca termina de cerrarse, que siempre rebosa. La propuesta de Javier P. Perez-Curiel se sitúa precisamente en ese campo de negociación con el límite, desde donde explora las tensiones que se generan en el encuentro entre los dispositivos que buscan constreñir el cuerpo y organizar la mirada, y el propio cuerpo transfuga.

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A través del despliegue de estrategias que oscilan entre la desterritorialización y el ensamblaje, la obra de Javier se propone observar la realidad desde sus intersticios, desde su dinamismo, y desde aquello que escapa y se resiste. Esta mirada indisciplinada se extiende a nuestra propia percepción, cuestionando los límites de lo que creemos ver y los presupuestos sobre los que se sostiene la atención.  En este sentido, zilarrezko olatuak, bitsez beteak (olas de plata, veteadas de espuma)  propone un ejercicio de atención alterada: una invitación a pensar el presente desde la tensión, desde la porosidad de los límites y desde la imposibilidad –siempre política – de contener por completo la vida.

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Irene Landa González (Bilbao, 1995) es comisaria e investigadora en el ámbito del arte contemporáneo y la crítica cultural. Es arquitecta por la Universidad Politécnica de Madrid y tiene un máster en Estudios Críticos y Culturales por la Academia de Bellas Artes de Viena. Su principal línea de investigación está orientada a analizar el papel de la crítica cultural y artística en el contexto vasco contemporáneo. Ha comisariado exposiciones como Finding Pleasure in Unarticulated Forms (2023), en la VBKO (Vereinigung bildender Künstler*innen Österreichs), dedicada a la obra de la artista vienesa Nerea González, e Interrumpir el discurso (2026), en Bulegoa z/b, una materialización en formato expositivo de su investigación en torno a las nuevas mitologías del trabajo contemporáneo. En 2022 fue seleccionada por el programa Solomon R. Guggenheim para realizar prácticas de comisariado. Además, ha desarrollado prácticas y estancias en Artium Museoa y Bulegoa z/b.

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Zineb Sedira (París, 1963) estudió en Central Saint Martins, la Slade School of Fine Art y el Royal College of Art de Londres. Actualmente vive entre Londres, París y Argel. Su práctica abarca la fotografía, el cine y la instalación, con un enfoque particular en los archivos, especialmente los archivos cinematográficos, a través de los cuales cuestiona las narrativas históricas que contienen. Las historias y los recuerdos de su propia familia también han sido fundamentales en muchas de sus obras. Desde 2002, la artista ha expuesto regularmente en exposiciones individuales y colectivas y ha participado en varias bienales, entre ellas la Bienal de Venecia y la Bienal de Sharjah.

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\n\n

 

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Este programa tiene como objetivo principal proporcionar acompañamiento en procesos artísticos y de creación, tanto técnico como conceptual.
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Una instalación de Mikel R. Nieto e Illart Alkorta que tiene como protagonista a una colonia de ranas.

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Artista sonoro, investigador independiente y comisario ocasional.

\n\n

Sus investigaciones se centran en el estudio de los distintos aspectos socioculturales y políticos que residen en el acto de escucha. Trabaja con grabaciones de campo y las transforma en una práctica y teoría fonográfica radical. Entiende el acto de escucha como un acto político para la creación artística y de situaciones sonoras específicas con el objetivo de crear un pensamiento crítico. 

\n\n

Su obra parte del estudio del acto de escucha como gesto para la creación artística contemporánea mostrando los aspectos socioculturales y políticos del mismo cuestionando sus límites éticos y estéticos. Actualmente está investigando sobre la relación entre la música, el sonido y el acto de escucha con la finitud existencial, la impermanencia y la muerte. 

\n\n

Es profesor de “Deep Listening y registro del Paisaje Sonoro” en el Máster de Arte Sonoro de la Universidad de Barcelona.

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