Es imposible, no puede ser is a speculative film that works with fragmented elements of a Spain’s ruinous landscape and collective imaginary— responding to the complexity of capturing something that is not here anymore. La Ruta del Bacalao was a club scene that appeared magically and disappeared tragically between 1977 and 1993 along the highway CV-500 near Valencia, Spain. I went to look for vampires where the images were missing. Set in a car trapped at full speed on the CV-500, the script is a fictional reconstruction of ruins of a future in a past that cannot be. The film crosses archeological and speculative means to sculpt an impossible dreamscape outside of time.
Recent screenings: Het Hem, Amsterdam, Filmhuis Den Haag, Den Haag, Cinema Galeggiante, Venice, Autocine Madrid Race, La Casa Encendida, Cineteca Matadero, Madrid, and Tabakalera, Donostia. Awarded the arts prize Circuitos de Artes Plásticas de la Comunidad de Madrid 2021.
First picture by Máher Fahim Fernandez
Damos vueltas en la noche y somos consumidas por el fuego
Sound installation, double stereo, 22´ 53´´
"Damos vueltas en la noche y somos consumidas por el fuego" is a sound piece created in collaboration with Eva Geist for the exhibition "Las Malas," curated by Nuria Gómez Gabriel at La Casa Encendida (Madrid) from May to September 2022. The work builds upon the research materials from the film "Es Imposible No Puede Ser" (2020) and the performative lecture "Una película sin película" (2021). It explores the concepts of sound and the idea of circular time within an experimental interior landscape.
En Castilla la Mancha hay más de cien polideportivos iguales
(There are more than a hundred repeated sports pavilions in Castilla la Mancha)
Book, 560 p., 12,5 x 17,6 cm
In Castilla La Mancha, Spain, a project designed for a specific place was replicated, turning it into a particular distortion of a generic typology. During the summer of 2017, Íñigo Barrón and I visited almost a hundred villages in Castilla la Mancha, from Toledo to Albacete, documenting the same building repeatedly and repeatedly and bringing stories from one to another. An architecture turned infrastructure that cannot be understood without its material narratives and inhabitants—a neverending example of the overlooked architectures and their placements.
Public installation and event
Parkineo consisted of twenty cars playing loud music parked in the main square of Matadero Madrid. A ready made that transposes an informal urban configuration into a cultural infrastructure, the summer program of Matadero Madrid and explores the possibilities and contradictions of this displacement and the car as a mediator device. The incredible imagery and stories about Parkineo, the name given to this phenomenon of disco car parks, explain cars and their expanded uses as one of the main innovations of club culture in Spain in the 90s. The cars for Parkineo were selected with a local association of tuning called KDD Madrid. Each car was associated with a local music collective that curated their music, playing twenty of them simultaneously.
A project in collaboration with Paula García – Masedo and Lorenzo García Andrade, commisioned by Playdramaturgia and elgatoconmoscas.
Pictures by Bego Solís and courtesy of Matadero Madrid.
Printing Services is a nomadic newsroom that develops experimental publications showcasing the editorial process on-site. Through interviews, hybrid formats between audio and mobile print, immediate news, and performative printing acts, Printing Services produces content and publications rooted in the space and time they occur.
The prototype edition during the Sandberg Graduation Show 2019 took place in collaboration with PUB Radio and PING. Printing Services has been activated on several occasions, the last of them in La Casa Encendida, Madrid, during Libros Mutantes 2021.
A project in collaboration with Nicolò Pellarin and María Mazzanti.
Gotelé + Project for the recovery of an art gallery's smooth walls
Site-specific intervention, book, 21 x 29.7 cm, 5 signed copies
A solo show at Twin Gallery, promoted by Caniche Editorial. The mural paint Gotelé carries a profound and forceful meaning as it is applied to the vertical surfaces of the gallery, depicting a radical and violent expression. After completion, the walls will return to their sterile state, representing an unproductive process that ultimately leads to nothing. The aim of the Project for the recovery of the gallery's smooth walls is not to document the intervention but rather to contemplate its future. It serves as a research endeavor, presenting an unofficial narrative that explores the connections between the mural paint Gotelé and the extensive urban developments in Spain throughout the last century.
A project in collaboration with Paula García–Masedo.
Pictures by David Díez.