Y me convierto en un río, cuya lengua marrón no descansará [I become a river whose brown tongue never rests]

In our contemporary relationship with nature, plants and technical systems are intertwined, transforming both the environment and our self-awareness. The works featured in this project explore that liminal condition, displacing the centrality of the anthropocentric voice to broader forms in order to better understand our surroundings and ourselves. This generates new interactions between art, nature and technology, as well as giving rise to other regimes of perception.

Far from viewing nature as a passive background, the curatorial proposal conceives it as an active system of relations, able to perceive, adapt and respond to the transformations of its surroundings. In a context marked by the ecological crisis and the growing technification of the world, the biological and the computational cease to operate as separate realms and become interdependent systems in which sensors, infrastructures and living organisms share the same fabric of interaction.

From this perspective, the curatorial proposal presents a displacement: it’s no longer a question of only thinking about how technology transforms nature, but also of how nature incorporates and reconfigures those systems in its own processes of adaptation.  This shift implies a reconsideration of self-awareness, understood not as an exclusively human quality but as a distributed network of responses, perceptions and relations.

The exhibition is articulated through the practices of four artists who, each through their own language, address these topics. The installations and paintings of Cecilia Fiona imagine hybrid ecosystems in which bodies, organisms and matter are intertwined in processes of continual transformation, proposing a vision of the world based on interdependence and coexistence.

In dialogue with these speculative forms of life, Leticia Martínez Pérez builds structures that oscillate between organic and artificial, activating mechanisms of perception that displace the interpretation to the spectator and reveal the ambiguity of systems of representation. Her works present nature as a field of signs where beauty and danger, attraction and strangeness coexist.

Meanwhile, Leonor Serrano Rivas develops sculptural devices that combine scientific processes, organic materials and symbolic references to generate settings in constant transformation. Her pieces operate as living systems in which matter circulates, is altered and is reorganised, blurring the boundaries between natural, technical and alchemical.

Lastly, Lola Zoido investigates the relationship between landscape and technology through digital tools like 3D modelling and virtual reality, giving rise to forms that oscillate between physical and simulated. Her works explore the fragility of an environment whose existence is mediated by processes of capture, translation and algorithmic reconstruction.

The curatorial proposal conceives the exhibition space as an expanded greenhouse in which each installation develops its own microclimate and pace of growth. This device, historically associated with experimentation and anticipation, is activated here as a place for testing other forms of relationship with the environment. Inside, minor variations generate new configurations, inviting us to imagine possible futures beyond the logics of control or exploitation.

The room becomes a living landscape in which the pieces form an integral part of an ecosystem in resonance. An experiential space that invites us to rethink our relationship with nature from the perspective of our bodies.

Rather than offering answers, the exhibition proposes a change of sensibility: an invitation to live in a world in which perception, matter and life are understood as interconnected, open processes in constant transformation.