From July 6, 2023 to July 28, 2024 (August closed)
– Opening Thursday, July 6 at 7:00 p.m.
– Faster, Higher, Stronger, Thursday, July 6, 8 p.m. Performance by Mary Maggic in collaboration with Lara Brown and Euyín Eugene.
Resisting comfortable pessimism, which resigns itself to enunciating the ecological debacle at such a level of systemic complexity where the self hardly seems to have any agency anymore, Climate Fitness proposes an essay in critical thinking that is generative and purposeful, intervening in those diffuse and malleable limits of an adaptive, mutant and symbiotic capacity. Operating from the interrelationships and learnings of postmodern ecology, ecofeminist theories, biology or speculative fabrication, this project embarks on activating and thinking from some (of the many) critical interactions that shape our world and interspecies entanglements. That composes. Climate Fitness It is a meeting in constant evolution that invites us to decode ourselves, to think collectively, to think of ourselves as an individual, to situate ourselves in the contemporary moment, and re-situate ourselves to find agency, agency of change and planetary affection. Understand the limits and inexorable flows between our body and the planet we inhabit and redefine them from mutuality.
The exhibition Climate Fitness is curated by Maite Borjabad, articulated by the spatial installation conceived by Common Accounts (Igor Bragado and Miles Gertler) that expands their essay Planet Fitness (2019), and which houses works by Faysal Altunbozar, Itziar Barrio, Ibiye Camp, Irati Inoriza, Mary magical.
Common Accounts [estudio de diseño experimental con sede en Madrid y Toronto dirigido por Igor Bragado (Gernika, España, 1985. Vive y trabaja en Madrid, España) y Miles Gertler (Toronto, Canadá, 1990. Vive y trabaja en Toronto, Canadá)]is responsible for the installation Planet Fitness (2023) which, expressly conceived for this project, spatially articulates the Una nave of Nave 17 and houses the exhibition of works by other artists. Common Account continues the research developed in his essay Planet Fitness (2019) that collected different cultures around the climate fitness. Identifying the limitations of architecture as a mediator between the body and the environment, Common Accounts vindicates the body as a legitimate place of intervention for architectural intelligence and self-design.
Faysal Altunbozar (Istanbul, Turkey 1993. Lives and works in London, United Kingdom) is an interdisciplinary artist whose work materiality and form make up intimate micro-stories full of detail that, however, remain shrouded in ambiguity. His series of sculptures titled Carriers (2022-2023), exhibited at Clima Fitness, continues the artist’s investigation of bird observatories in Chicago, opened in 2020 with Chicago Gears (chaser) and Chicago Gears (better view desired), Faysal’s extensive research on the Montrose Point Bird and Butterfly Sanctuary (also known as Magic Hedge) and the Bill Jarvis Migratory Bird Sanctuary, both in Chicago.
in the work of Itziar Neighborhood (Bilbao, Spain 1976. Lives and works in New York, USA) Language is knowledge and reality is constantly recreated. His film piece MML ROBOTA (2019-2023) is part of a trilogy of multidisciplinary projects that explore the intersection of technology, work, identity and matter. The emerging discursive tapestries reveal complex reflections on identities cyborgas well as the notion of hybrid and non-binary bodies challenging the very definitions of what is human.
Ibiye Camp (London, United Kingdom, 1991. Lives and works in London) is a multidisciplinary artist whose work relates to technology, trade and materials within the African diaspora, rethinking the role that postcolonial frameworks of thought and technology play. in the production of the built environment. Installation Mutant-Tees – Replicants of a mutated Kola-Nut Production Line (2023) explores the notion of decay, aging, deterioration, mutations or evolutions of different kinds, which arise in diasporic exchanges as a need for adaptability.
The practice of Irati Inoriza (Balmaseda, Spain 1992. Lives and works in Bilbao, Spain) stands between visual essay and the construction of artistic ecosystems. Through the relationships of the context, he argues about well-off notions of the construction of the individual and his identity, in a constantly changing technified society. In his video installation Exercises for Ofelia (2021), Irati articulates a choreography that becomes sculpture and a sculpture that becomes video, giving shape to a dance that springs from the semi-human corporeal essence of the Lamia, a being that according to Basque mythology finds a home in the riverbed. Similarly, sculptures Suspended on the line, sculpture-springboard (2023) and Elevate, sculpture-stairs (2023), point to that moment in which the body submerges or emerges from the water, sustaining that moment of transformation.
The work of Mary Maggic (Los Angeles, USA. 1991. Lives and works in Vienna, Austria) encompasses amateur science, workshops as research methodology, performance, installation, documentary film, and speculative fiction. your piece Faster, Higher, Stronger (2022-2023) is articulated in a multiplicity of formats such as installation, performance, DIY (Do It Yourself) production, biohacking or the video. Inspired by the official Olympic motto, Faster, higher, stronger, together, This work combines human-powered exercise machines that power a bioreactor that, in turn, maximizes SCOBY’s production of microbial cellulose, the basis of the kombucha.
Andrea Muniáin has been the project manager Oscila was in charge of the installation and design of the lighting. The installation has been produced by the ArtWorks company, the audiovisual service is provided by the Zenit Audio company, and the assembly of the exhibited works has been carried out by the Ademobe Make company. The graphic identity of the project has been made by Kiwi Bravo.
Organized by Intermediae Matadero.