A tour through the studios of the artists selected for the edition of “Thinking the city 2024”. Part 1
This article takes a journey through the works of the selected artists to explore their research and creative visions and to analyze how their participation in this initiative has influenced their work.
In September, the Pensar la Ciudad (Thinking the City) call, within the Art U Ready program promoted by The Sibarist, summoned emerging artists to make a call for reflection on the contemporary city. Their proposals established a dialogue on the subject by contributing their real experiences, research and desires marked by a critical perspective. The result of this first call for artists, carried out by The Sibarist, with the collaboration of a jury composed of urban planner Asun Rodríguez Montejano, gallery owners Elba Benítez and Javier Aparicio, artist Carlos Garaicoa, cultural manager Paco de Blas, editor Carlos Álvarez and Silvia Hengstenberg, from The Sibarist & ART U READY, fulfilled the objective of giving voice to these particular creative visions. This collective offered a new reading of urban landscapes and societies and this article proposes a tour that will have two installments and that stops at the proposals of the 14 artists selected to expose their conclusions and the impact on their work by participating in this bet dedicated to promote emerging art and to act as patrons in the dissemination of new artists.
Solange Contreras
Solange Contreras (1975) is a visual artist who works with mixed media, focusing on gender inequality and disconnection with nature. She uses sewing and carpentry to recover ancestral thinking and question the neoliberal model. She has participated in exhibitions such as Authenticity (2020) and Restlessness (2021), and has received grants for residencies such as CIAN Fabero and Kárstica.
Infraestructura vegetal highlights the human connection to the land, underlining how urban trees improve air quality, reduce heat and promote social well-being. The project advocates a harmonious coexistence between urbanization and plants, promoting diversity in limited urban spaces.
What is your greatest concern about the contemporary city from your own perspective as an artist?
I believe that at the turning point in which we find ourselves, in the face of the climate crisis it is important to renaturalize our spaces within the city and not idealize natural spaces as mere green landscapes found outside urban areas, but to bring green infrastructures to our neighborhoods, squares, gardens, buildings, etc.
What has it meant in your career to participate in this Art U Ready initiative?
For me, participating in the Thinking the city call was a very interesting experience that opened new perspectives in my artistic career, since I received the first prize of this call and allowed me to develop a solo exhibition, from the conception of the concept, work and accompaniment of the process by the commission of Sibarist.
What do you see as the idyllic urban landscape of the near future?
Personally, I consider that the idyllic landscape does not exist, I faithfully believe in the coexistence of human and non-human life in collaboration, this means letting nature do according to its rules, trying to adapt to its growth dynamics, in a non-hierarchical and horizontal way. Today more than ever it is necessary to have more green areas on the facades of buildings and in squares, thus generating other trophic chains such as insects and birds, necessary for the proper functioning of life in the city.
What are you working on now and what has participating in the Thinking the City initiative influenced?
Now I am working on the next solo exhibition, to be held at El Invernadero de Sibarist during the week of Arcomadrid, in which the space will be activated with specific works for this site, generating an aesthetic and sensory experience in front of the installation that works as a refuge or as small possibilities of calm in front of the accelerated pace of the city.
Chema Rodríguez
The work of Chema Rodríguez (1988) revolves around the scenographic, which leads him to work in a variety of formats, including photography, sculpture and installation.
His work addresses human intervention through substance, phenomenological and semiological aspects, considering his work as an ongoing investigation rather than a finished work. His multidisciplinary process, although seemingly fragmented, reflects a unity that questions the perception of the world and the relationship with the environment and human interactions. Her project Thinking the City explores the dynamics of making and unmaking structures, following Derrida’s deconstructionism to question traditional dualisms such as presence/absence and reason/emotion. The work includes an interactive sculpture of reconfigurable modules that exemplifies the flexibility and shifting nature of meaning. The author has held residencies in various international programs and has participated in multiple exhibitions, with his work present in several art collections in both Europe and America.
What is your greatest concern about the contemporary city from your own perspective as an artist?
My greatest concern has much to do with the various drifts to which some cities are subjected, first of all the difficulty of access to housing due to rising prices and all that this entails in terms of a healthy social development in relational matters; overcrowding in tiny spaces full of deficiencies from the most basic things that a house should have: light and ventilation. Then the elimination of green areas for the construction of hard squares, this is something that is happening even in towns where you expect green areas abound.
What has it meant in your career to participate in this Art U Ready initiative?
It has been very positive for my career, thanks to this initiative more people have approached my work than I expected, there have been interesting interactions. On the other hand, I have developed the concept of the Do-Do-Do project, subjecting it to an evolution whose result is being translated into various multidisciplinary works. And of course, meeting the great team behind all this, who have been super nice at all times and to whom I am very grateful for their attention and resolution of issues that have been appearing from time to time.
What do you see as the idyllic urban landscape of the near future?
My idyllic urban landscape would be one that is primarily pedestrian-focused, as pedestrian-focused cities improve quality of life by encouraging physical activity, reducing pollution, and offering safe and quiet spaces that strengthen social interaction. They also promote environmental sustainability and boost the local economy by promoting local commerce. This inclusive and resilient urban model creates healthier, more equitable and connected communities, but of course, to achieve something like this requires a lot of awareness and sensitization and I believe that this is something that cannot be done on the street, it must come from a political level that is truly committed to it.
What are you working on now and what has participating in the Thinking the City initiative influenced?
I am immersed in a project that will see the light in the gallery Untagged Art Domo in Seville, a unique space with two levels that combine an interesting architectural dialogue, the level at street level obeys more to the concept of the white cube, very bright and with high ceilings, however, the lower level is an old cistern, a cave that belongs to the basement of the Jewish quarter. In this space will see the light the project called Undo a mountain make another, multidisciplinary character of unpublished works and whose text will be by Jordi Pallarès. The influence of this project comes from the one I did in Pensar la Ciudad. In this case, I have detached myself from the deconstructionist character and I have taken it to a more personal space, to the dynamics of human circularity in a dialogue that seeks to question established narratives, symbolizing a cycle of destruction and reconstruction, both in the environment and in social dynamics, through haptic agitation and collective construction of perception.
Daniel Hernández Barrio
Daniel Barrio (1988) is a Cuban visual artist based in Madrid. He began his training in painting at the Academy of Visual Arts in Cienfuegos and expanded his knowledge with studies in Art Direction at the School of Cinematography in Madrid. He addresses cultural, social and political issues through an interdisciplinary approach that fuses visual and scenographic skills. He uses painting as an expressive and political tool, manipulating images to generate new meanings about contemporary society. He has participated in solo and group exhibitions, including El espacio es el Paisaje (Madrid, 2024) and Debajo de Cada piel (negra) siempre hay otra piel (Madrid, 2024), as well as fairs such as Estampa (Madrid, 2023).
His work reflects on how migration transforms identity and addresses the ephemeral permanence of homes in contexts of displacement. Influenced by Henri Lefebvre’s sociology of space, he examines how globalized urban environments dehumanize people under the control of governments and corporations. In this context, art is presented as a refuge from surveillance and the commercialization of identity, promoting cultural resistance and the preservation of diversity.
What is your greatest concern about the contemporary city from your own perspective as an artist?
What worries me most about the contemporary city is its voracity, its capacity to grow without pause and, at the same time, to forget. The city devours itself: it builds, erases, reconfigures. Spaces lose their history, objects are discarded before they have completed their cycle, and memory is diluted between noise and speed. I am obsessed by this constant tension between what remains and what disappears, between resistance and oblivion. In my work I try to confront this frenetic rhythm with a slow gesture, with processes that demand slowness, attention and care. I work with materials that the city rejects (packing cartons, advertising fragments, forgotten papers), to give them a new meaning, to rescue from them that memory that threatens to vanish. I believe that the city is also a great ruin in constant construction, and my concern lies in how we can stop to listen to these ruins before they are completely lost.
What has it meant in your career to participate in this Art U Ready initiative?
When the invitation to participate arrived, I was already immersed in the creation of works that revolved around memory and transience. I worked with frescoes on materials that, at first glance, seemed to have no value: used packing cartons, fragments of abandoned advertising… objects that someone discarded and that I picked up because of the silent history they carried. This forgotten material was already part of my reflection on what the city leaves behind, on the fragility that envelops the everyday.
But Art U Ready opened another door for me. It stopped being an intimate dialogue between my hands and those materials and became a collective conversation. I was no longer alone in the studio, but within a broader framework where other artists were also questioning how we inhabit and think about the city. Suddenly, those contemporary ruins that usually go unnoticed became more meaningful, not only as a working material, but also as part of a shared language.
Putting my work in dialogue with other gazes and with the city itself was revealing. It reaffirmed the importance of that slow gesture with which I work, almost as an act of resistance against the frenetic rhythm with which everything is consumed and forgotten. I understood that what I seek is not only to rescue discarded materials, but also to offer the observer the possibility to stop, to look with different eyes.
Thinking the city was not only an opportunity to exhibit my work, it was a space where my artistic process expanded. Beyond the pieces, it became a living dialogue with the urban memory, with its silences and its fissures. A reminder that, sometimes, what is truly valuable is in what we take the time to observe.
What do you see as the idyllic urban landscape of the near future?
I am not interested in imagining a perfect city. Perfection, in the end, is cold, rigid…, inert. I prefer to think of a city that allows itself to be vulnerable, that does not hide its wounds under layers of smooth cement and impeccable facades. I am attracted to the idea of walking through streets where the walls tell stories, where the new has not swept away what was, but coexists with it, like two different voices that cross each other in the same conversation.
I dream of a place that does not live obsessed with moving forward, with producing, with erasing the past at all costs. A city that knows how to stop, to breathe, to listen to the echo of what was. Where abandoned spaces are not covered with oblivion, but are integrated into the present as reminders that everything is fragile, that nothing is eternal.
I imagine squares where people can sit unhurriedly, without the feeling that time is on their heels. Places where art is not hung on the walls as something decorative, but sprouts from the cracks, invades the walls, transforms forgotten corners. That makes us stop, look, think.
That city would not be afraid of its contradictions. It would move forward, of course, but it would also know when to stop, when to look back. It would be a city that accepts its shadows, its emptiness, its ruins. A city that is not ashamed to show its scars, because it understands that there, precisely there, is where its truth lies.
What are you working on now and what has participating in the Thinking the City initiative influenced
Right now I am still immersed in Ozymandias and El Sembrador-projects that have grown and breathed in a different way since my time at Pensar la Ciudad. I work with frescoes on supports that, in their origin, were sown-yes, sown-physically or mentally: worn-out papers, deformed cardboard, forgotten books, objects that once had meaning and now… now wait. Materials that were born from the earth and that, when discarded, return to a cycle of transformation-like us, like everything else.
These supports, fragile and defeated, are reflections of our own bodies. We are that: skin that breaks, bones that creak, memory that erodes. Just as paper crumbles between our fingers or cardboard bends with humidity, we too are matter exposed to time-inevitable wear and tear.
And that is where Octavia Butler’s The Parable of the Sower strikes a chord. Her understanding of sowing as an act of faith and awareness resonates deeply in my work. To sow is to accept that all can be lost, but it is also to trust that something new can grow. Similarly, to intervene these broken materials is to acknowledge their fragility and, at the same time, their potential to sustain new narratives. By touching these objects, I try to sow questions-questions that remain beating-about how we inhabit the world, how we face the passage of time… how we relate to the certainty of the transitory.
At the same time, Ozymandias dialogues with the work of Percy Shelley, who reflects on the transience of power and the vulnerability of the constructed. The places we occupy, like the empires Shelley mentions, are destined to disappear. However, they are also spaces that mold us, shape us. Gaston Bachelard said that the spaces we inhabit also inhabit us, and this idea has been key to understanding how these discarded objects can be transformed and recover meaning.
Thinking the City reinforced all this. It pushed me to go deeper, to understand that each work can be a sowing-a resistance against oblivion, but also a serene acceptance of the ephemeral. Art is not only about creating; it is also about letting something germinate. My works are fragments of cities, of bodies, of stories that, though worn out, though cracked, still have something to say. And I just try to listen.
Carme Aliaga
Carme Aliaga (1971) was born in Terrassa, where she currently lives and works. She graduated in Fine Arts with a specialization in painting from the University of Barcelona. Over the last few years, she has presented several solo exhibitions and has participated in numerous group exhibitions in cities such as Madrid, Barcelona, Lleida, Copenhagen, Odense, Skagen, Amsterdam, Buenos Aires, Strasbourg and Paris. Some of Carme Aliaga’s works are included in prominent art collections. Among her achievements, she was awarded the First Ricard Camí Prize, which allowed her to become part of the BBVA-Caixa Terrassa Collection. In addition, her work is present in the Testimoni Collection of Caixabank, in the Collection of the Fundació Banc de Sabadell and in the Fundació Vila Casas Collection.
One of his most significant works is Origami Urbà, a mixed media work on wood that combines collage and paper folds to create visual prisms. This piece fuses the art of origami with the representation of the urban environment, using the city as a metaphor for human complexity and its constant transformation. The work highlights the interaction of light with architectural forms and the geometries it generates, contrasting the solidity of the structures with the fragility of the paper. Through the superimposition of times and experiences of spaces, he creates pictorial structures that expand into sculptural space, using vibrant colors and random texts to suggest, rather than describe, the essence of the urban environment.
What is your greatest concern about the contemporary city from your own perspective as an artist?
That they lose their identity and authentic personality. That they all end up looking too much alike. That they end up becoming theme parks. And above all, I would like to see remnants of what they once were. To preserve parts of the past even as they evolve, that we see layers of all the previous moments. I like that different moments and eras coexist.
What has it meant in your career to participate in this Art U Ready initiative?
A chance to exhibit again in Madrid and give visibility to my work outside my usual environment. Also to have a good feedback.
What do you see as the idyllic urban landscape of the near future?
That they include and respect green spaces and above all that there is an aesthetic criterion. Even when arranging the spaces in a functional way, the human aspect should not be excluded. Make things beautiful and pleasing to the eye.
What are you working on now and what has participating in the Think the City initiative influenced
I am preparing an exhibition for April and I am exploring new forms and ideas always with the background of architectural structures. I have reaffirmed the path I began to explore from the piece I presented Origami urbà. Building from fragility to make things more human.
Rodrigo Moreno Pérez
Rodrigo Moreno (1994) is a visual artist focused on painting and drawing. His academic training was developed at the Complutense University of Madrid, where he obtained a Degree in Fine Arts, in addition to completing a Master’s Degree in Research, Art and Creation and another in Teacher Training. Rodrigo Moreno is developing his doctoral thesis on graphic visions and their connection with the arts and architecture. His career has been supported by grants and artistic residencies, such as those of San Millán and Ayllón, and he has received awards from the Canalejas Center and Four Seasons. His work, recognized in national and international exhibitions, focuses on the contemporary city and architecture as a reflection of human progress.
Through his research on modern architecture, he considers this discipline as the “sculpture of the 21st century”. His work addresses the duality between the fascination for architectural innovation and the challenges of sustainability, social equity and cultural preservation. Examples such as Torre A, inspired by the renovation of the Santiago Bernabeu, combine photography and digital editing to show the aesthetic and social complexity of architecture, inviting us to reflect on the dynamics of power and progress in modern cities.
What is your greatest concern about the contemporary city from your own perspective as an artist?
In trying to understand the meaning of art for human beings, I see the need to understand the world around us, both the social context and the physical space we inhabit: architecture . Whether within buildings or the spaces defined between them, we are continually situated around environments transformed by human ambition.
Architecture, conceived as the sculpture of the 21st century, is an art form in which we live and is in continuous relationship with the life of the human being. Like plastic art, it evolves and adapts to the current world in which we live as we acquire new knowledge or experiences. In this way, when creating or building, we try to find our identity as individuals.
Starting from the exploration of the contemporary city and focusing on the intricate relationship between human ambition and the technological power that drives urban development, I seek to reflect this duality in the development of my work through places of great architectural expansion.
In these enclaves, architecture stands as a living testament to the dynamism and innovation that seeks to be in constant transformation. From towering buildings that soar skyward, to avant-garde structures that defy the limits of creativity, each building tells a unique story of ambition, power and progress.
However, behind the futuristic and dazzling appearance of many of these architectural projects also lies a complex reality. Rapid urban sprawl and accelerated urban development pose significant challenges in terms of sustainability, social equity and cultural preservation. Human ambition and technological power, while driving growth and modernization, can also generate tensions and inequalities in the social and environmental fabric.
My work therefore seeks not only to capture through the visual arts the stunning visual beauty of these evolving urban landscapes, but also to delve into the underlying forces and dynamics that shape their development. Through a multidisciplinary approach that combines architectural research, socio-economic analysis and cultural reflection, it aspires to shed light on both the positive and challenging aspects of contemporary architectural expansion.
What has it meant in your career to participate in this Art U Ready initiative?
It has been a very significant experience in my artistic career. Being part of such an attractive project, with such an approach, has not only been an opportunity to share my vision and work, but also to connect with a theme that links directly with the philosophy and approach that I develop in my work.
The central theme of this project, the contemporary city, coincides directly with my artistic interest in exploring the relationship between human beings and their built environment through spaces under construction, architecture and the elements that make their transformation possible. My work seeks to capture and reflect on the dynamic processes that shape the spaces we inhabit, and participating in Art U Ready has allowed me to delve deeper into these concepts by offering me a platform for dialogue with other artists and audiences who share similar concerns.
What do you see as the idyllic urban landscape of the near future?
From my perspective, the urban landscape of the future should emerge from a reflection on the relationship between human ambition, technological advancement and the need for sustainable social balance and cultural preservation. Rather than a fixed concept, this landscape represents a city in constant evolution, combining architectural innovation with the ability to respond to the social, cultural and environmental challenges inherent in its development.
I envision cities where architecture not only symbolizes technological, creative and modernizing progress, but also acts as a conscious and functional tool that serves the needs of the present while projecting a sustainable future. This urban landscape grows from its roots and is enriched by integrating historical and cultural heritage into its contemporary narrative, achieving a dialogue between past, present and future.
What are you working on now and what has participating in the Think the City initiative influenced?
Currently, I continue to work around the same ideas that have guided my artistic career: the exploration of spaces under construction and the processes that transform our urban environment. As an artist, I do not conceive of my work as something that must adjust to diverse and changing themes depending on the context or the public I am addressing. Rather, my work is based on a solid conceptual line that reflects deep concerns, as I have always been fascinated by issues related to architectural development, both from a visual and conceptual point of view.
Participating in Pensar la Ciudad has been an enriching experience that not only reaffirms my commitment to these ideas, but also encourages me to continue developing them.
Delfina di Giacomo y Wanda Acevedo
Delfina Di Giacomo (2001) and Wanda Acevedo (2001), both Argentinean students of Image and Sound Design at FADU (UBA), met while collaborating in the making of the documentary short film Albores, directed by Acevedo and edited by Di Giacomo. Together they were also in charge of the sound design of the work. In 2022, they began a joint research that would culminate in Urdimbre: morphologies and identity in public space, an experimental video essay that explores human behavior and its conditioning in the public sphere. This project has been selected in several independent festivals and exhibitions in Buenos Aires, standing out in the fourth edition of Muestra Magma (2022), in the first Amorina Cine Bar Short Film Festival (2023) and in the 12th edition of the Cajeta de Pandora Festival (2023). Recently, Di Giacomo premiered Repercusión, a minute animation video, at the second edition of the Ezeiza Film Festival, while Acevedo presented his most recent work, Periferias, at the Vereda Sur Festival.
Urdimbre delves into how the lines, paths and forms of public space configure a continuous network of circulation, reflecting the constant flux of urban life. Inspired by the analogy between wool fabrics and ‘non-places’-impersonal, automated spaces-the creators explore how perpetual mobility in these environments promotes uninterrupted forward motion, without the possibility of stopping or turning back without altering the flow. This phenomenon contributes to the loss of individual identity. The project seeks to reclaim these urban spaces, inviting a more active and conscious interaction with them.
What is your greatest concern about the contemporary city from your own perspective as an artist?
Urdimbre is a project in which the lines, paths and forms that emerge in public space are put into play. This project was born as a response to visual curiosity, or as a reflection of it. To pass over and over again the same areas led us to try to identify/invent a logic behind them.
We saw in the wool fabrics a kind of connection, an analogy (not little explored), which is the perception of public spaces as woven and mediated networks where individuals circulate, but more specifically, move forward. Our focus is then placed on non-places, these public, impersonal and automated spaces where constant mobility and circulation delegate individual identity to the background. This loss of identification prompted us to look for a way to reclaim the urban, to be able to generate our own, active and conscious connection with those spaces that seem to have little of us.
What has it meant in your career to participate in this Art U Ready initiative?
We are two students of the public university of Argentina, without a doubt having had the opportunity to show our project in another country, in charge of an exhibition has meant to us, not only a great opportunity for exposure, but also a great opportunity to learn about the international movement of artworks. Having participated in Art U Ready implies a first step in our formation as visual artists.
What do you see as the idyllic urban landscape of the near future?
We feel that we are beginning to see and notice the cracks in the structures we thought were firm. In Urdimbre we explore this: the cracks, the disarranged, what goes unnoticed to those who do not look, but what those who observe cannot overlook. In the idyllic landscape of the future, the nets that bind us together tighten until they break and give way to what we overlook.
What are you working on now and what has participating in the Thinking the City initiative influenced?
Thinking the City has reaffirmed our interest in the city, our behaviors in it and the way it influences our lives. Both in our personal projects, as well as in those we carry out together, this continues to interest and cross us.
Dayana Trigo
Dayana Trigo (1990) is a Cuban artist who moves between Havana and Madrid, where she obtained her doctorate in Fine Arts at the Complutense University. With a solid pedagogical training at the San Alejandro National Academy of Fine Arts in Cuba, she has been part of major events such as the XI and XIII Havana Biennial, and has been selected for artistic residencies at Azkuna Zentroa.
His work, deeply influenced by architecture, explores concepts such as object-witness and sensorial architecture. Through installations and objects that function as time capsules, Trigo invites us to question the sources and meanings behind his creations. A prominent example is his diptych, which plays with the interplay between the intimate and the social through the figure of the “soul”, the small wooden column inside the violins.
The piece includes a looping video and a circular score: the video repeats over and over again the failed attempt to place the soul in the violin, transforming this gesture into a political metaphor that symbolizes the constant search for a place in a harmonic space. The circular score, accompanied by urban photographs of the soul in different scenarios, uses an improvised notation to reflect the incompleteness and constant search for the soul, both in music and in urban life.
Through this fusion of video, photography and score, Trigo poses a reflection on the construction of the individual and the collective, and on the relationship between sound architecture and urban architecture, inviting viewers to a sensory and reflective experience on space, time and identity.
What is your biggest concern about the contemporary city from your perspective as an artist?
I am interested in the city as a territory where virtual, social and human pathologies are activated; the city that manifests a tension between its material structure and its symbolic and historical dimensions, between the private and the intimate, between the public and the social; the city where languages burst, dismember and reconnect continuously.
From this perspective, the work Lugar del alma (register 2) works the city as a resonance box that metabolizes energies, flows and meanings that we somehow contribute to modulate, and where what we deliver is returned to us, amplified and transformed, as a simultaneous echo of vitality and attenuation.
The city that can be recognized in this work is the result of a search and a drift enhanced by situations of harmony and uprooting that evidence the human complexity and fragility in the face of its longing for transcendence, for permanence. These concerns are represented through photographic gestures captured in the city walk and that point out possible scenarios for the “soul”, name of the small wooden column located inside the fretted string instruments.
What has it meant in your career to participate in this Art U Ready initiative?
My participation in Art U Ready has meant a tributary in my career that has become a center, another center from which I have discovered and begun to make visible ideas that I was just beginning to pay attention to or that were concealed within other projects. In general, it has given me the possibility of interacting with other artists and art professionals in a context that was unprecedented for me, highlighting its capacity for expansion and its intention to generate proposals in multiple directions, which has led to an opening towards new perspectives and collaborations.
What do you see as the idyllic urban landscape of the near future?
One that recognizes its incompleteness, empowers multiple realities and does not restrict the space of affectivity and improvisation. I imagine a landscape that invites its characters to interact with its limits, to mold them, and where each element is a reflection of a harmonic architecture and dissonance. A city as an ecotone -a concept I have used in the unpublished project “Liquid Witness”- and which consists of a transition zone where species from various ecosystems coexist and where the tension between its components is manifested in a productive way. A space of maximum interdependence between bordering communities, between divergences. The city where every corner is re-signified by those who inhabit it.
What are you working on now and what has participating in the Thinking the City initiative influenced?
I always work on several projects at the same time so that ideas can be aired and I don’t get bored. As for Lugar del Alma (register 2) and my participation in Pensar la Ciudad, it has been a starting point and exploration to develop this series of works in different formats and from multiple city locations. The initiative of this call in particular has incited me to create various arrangements of the same idea, and whose set will show those subway threads that trace the entropic and changing complexity that accompanies every creative process. This series invites us to reflect on the traces of old structures, visible or not visible, and on the ways in which each intervention can be a vanishing point that reconfigures a flow of energy and matter, generating amplified, distorted and reconstructed visions from art.