PAULA RAMOS MOLLÁ
EXHIBITIONS & ART PROJECTS
Muniáin, Andrea, and Ramos Mollá, Paula, eds. El Giro Fotogramétrico: Truncando el 3D [The Photogrammetric Turn: Truncating 3D]. Bartlebooth Publisher, 2024. Mediaciones Collection.
What does the perimeter of an object reveal, and what does it conceal? How accurately do the technological tools that mediate our gaze measure and enclose an object? El giro fotogramétrico is a pubication that investigates the possibilities as well as the material and economic implications of short-range photogrammetry today. The book emerges from an artistic intuition and the contemporary urgency to explore the act of capturing and freezing the objects that surround us by means of its scientific claims.
Through an essay and the transcription of a series of three conversations, the book explores the applications of this technique in diverse fields such as forestry, modern medicine, and the digitization of the work of art. Its pages examine the possibilities and limitations of photogrammetry in relation to topics such as property, colonialism, knowledge structures, extractivism, the creation of archives, biopower, conservation, sovereignty, restitution, reparation, and the complexities of determining who lives and who dies.
Besides Andrea and I as the two editors, contributors include Marina Otero Verzier, Desmusea, Helen Torres,Jara Rocha, Femke Snelting and Manuel Franquelo-Giner.
Andrea Muniáin (2024), Centro Cultural de España en México. Ciudad de México. Text selection and production by Paula Ramos Mollá.
For a set period, this space at CCEMx, thanks to the project Ambient para leer, is transformed into a reading room activated through curated text excerpts, a spatial intervention by a visual artist, and a sound atmosphere created by a sound artist.
In the intervention of visual artist Andrea Muniáin, the rotating cylinder becomes light—essential to reading and inherent to digitality. As Donna Haraway notes, digital machines are “made of sunshine,” existing as signals and electromagnetic waves. Digital language depends on light, radiating content outward.
The room is reimagined as a field of luminous points: rotating cylinders projecting words and images. Their movement creates an immaterial spatial boundary for exploring themes such as copies, scanners, digital 3D representation, and the physical implications of virtual volumes on flat screens. Through the accumulation of these small light elements, a new spatial totality is formed.
For El de un giro que es luz, my responsibilities included text selection and production assistance throughout the development of the project.
Panel talk at Centro Cultural de España en México (2024), Ciudad de México. Hosted by Paula Ramos Mollá and Andrea Muniáin. Part of the larger research project Apuntes truncados.
A series of conversational research sessions, part of the project Apuntes truncados was organized at the Centro Cultural de España en México, featuring contributions from Sergio Beltrán, Doreen A. Ríos, and Marcela Flores Méndez.
A conversational research methodology was implemented to open the research project Apuntes truncados to diverse sensibilities and interdisciplinary perspectives. This approach facilitated collaborative knowledge production and the creation of new professional networks, resulting in an investigation that integrates multiple voices and areas of expertise.
Panel talk at Centro Huarte (2023), Navarra. Hosted by Paula Ramos Mollá and Andrea Muniáin. Part of the larger research project Apuntes truncados.
A series of conversation research sessions, part of the project Apuntes truncados, hosted at Centro Huarte with invited participants Femke Snelting, Helen Torres, Desmusea, Manuel Franquelo Giner, and Jara Rocha were published in El Giro Fotogramétrico: Truncando el 3D. Mediated and organised by Andrea Muniáin & Paula Ramos Mollá
A conversational research methodology was implemented to open the research project Apuntes truncados to diverse sensibilities and interdisciplinary perspectives. This approach facilitated collaborative knowledge production and the creation of new professional networks, resulting in an investigation that integrates multiple voices and areas of expertise.
Léa Porré, Patara Gallery (2024), solo show, Tbilisi, curated by Lava Art Gallery.
Ianitores terrestres is an immersive installation my colleague Belinda Martín, from Lava Art Project, and I curated and produced in Patara Gallery in Tbilisi by artist Léa Porré. For this immersive installation, Porré transforms Patara Gallery into a portal to another dimension. The entire room is overtaken with digital prints on the walls and a series of small wooden doors disseminated across the walls, enhancing the transformative nature of the space. On the floor, the landscape is completed with the oxidised sculptures rescued from the city’s debris, creating depth and an otherworldly quality to the room.
Act Natural, Farida Sedoc, Lente Kabinet (2024), Art Programme at Lente Kabinet, art installation, Amsterdam, production by Paula Ramos Mollá.
SunRa, David Bernstein, Lente Kabinet (2024), Art Programme at Lente Kabinet, Amsterdam, sauna installation, production by Paula Ramos Mollá.
019, Lente Kabinet (2024), Art Programme at Lente Kabinet, Amsterdam, artist’s flags installation, production by Paula Ramos Mollá.
Love in the Digital Age & Tyce, Nelly Dansen & Joseph Wilson, Lente Kabinet (2024), Art Programme at Lente Kabinet, Amsterdam, video installation, production by Paula Ramos Mollá.
Entrance installation, Kenneth Letsoin, Lente Kabinet (2024), Art Programme at Lente Kabinet, Amsterdam, metal sheet installation, production by Paula Ramos Mollá.
Parallel to the festival Lente Kabinet 2024 a full art programme was developed which took place during the festival days. These art projects included astroturf canvases arranged throughout the woods by Farida Sedoc, metal sheet installations that decorated the festival entrance, video & flag installations that were part of the festival layout and performative installations such as SunRa, where the crowd could participate in. I coordinated and produced, alongside with the Lente Kabinet on-site team, all these projects, engaging as a liaison between the artists and festival tech team.
Carolina Lindberg, Kupfer Project (2023) solo show during Frieze Week, London, curated by Lava Art Project.
During Frieze Week in London, Lava Art Project curated and produced alongside artist Carolina Lidnerg this exhibition in project space Kupfer.Entitled Deprisa, deprisa [“Quickly,quickly”], Carolina’s solo show in the UK consists of new ceramics, installations and textile works that hover in the space between the surreal and the rational, between the dreamlike and the graphicality. A new body of work that plays with our collective consciousness of time and with our own personal experience of time. The former is associated with a standard chronological experience of time and the latter with an intersubjective fragmentary one. By means of intertwining tradition and contemporaneity, Carolina manages to capture a particular time-image, the result of the merging of craftsmanship and new design tools show us a new way of crafting, of making.
Bat-Ami Rivlin (2023), L21, solo show, Mallorca, production and research by Paula Ramos Mollá.
Boat, Plastic, Tire was a solo show by New York-based artist Bat-Ami Rivlin. Presented in L21 in Mallorca, I assisted on the research and conceptual development of these piece as well in its production. The exhibition consisted of two monumental installation pieces accompanied by three processual drawings, the result of Rivlin’s residency during the month of June at the gallery, located in Palma de Mallorca.
Both installations, Untitled (boat, 3kg rag, tire) and Untitled (plastic, duct tape), are part of the research conducted prior to the residency in Mallorca and during the latter, revolving around the yacht industry on the island. The two installations are fabricated exclusively from locally sourced materials. Untitled (boat, 3kg rag, tire) is built from the (still) recognizable deck of a small abandoned boat on the shores of the island, 3 kg of wholesale-store rag, and a discarded tire from a local car scrapyard. Untitled (plastic, duct tape) is a seemingly unaltered construction of different pieces of surplus contaminated shrink-wrapping plastics.
The Clemente Center (2022), group show, NYC, curated by Lava Art Project.
(In)Tangible World: Posdigital Corporeality was the first exhibition curated & produced in the USA by Lava Art Project, a platform run by me and Belinda Martín. It brought together recent and new iterations of works by eight Spanish-based artists, many of whom share a Latino background and whose practice is embedded in what the curators call the ‘digital corporeality’ turn in the visual arts. These works place the human body, in all its fullest materiality, amidst the digital and material culture we live in and investigate affective responses of today’s society to such hybrid artworks.
TEA (2022), group show, Tenerife, curated by Paula Ramos and Yosi Negrín.
COLAPSO is an exhibition I curated alongside artist and curator Yosi Negrín that seeks to propose a philosophical and artistic approach to the concept of waste, of that which is “left over” – that matter that is out of place. We aim at experiencing the exhibition space as an accumulation of residual strata, a mutable experiencing that shifts through time and never remains universal. An exhibition that amalgamates metaphorical, human and ecological waste in three months. Waste is conceived as the opposite of that which is valuable, permanent. Something that does not deserve to be preserved. In this sense, garbage is that which stands in the way of progress. A form of imbalance of the beautiful and of the productivity chain that regulates and organizes matter. From food waste to human waste – garbage is something we want to hide because it is the frightening yet ineffable consequence of a late capitalist system whose progress has no end. Not even waste itself, paradoxically a concept associated with the end of matter’s life, has an end within late capitalism. Waste can always be recycled, returned to the system which it comes from and which capitalizes even this “second life” of matter. The concept of zero waste conceals an untamed notion of never-ending progress – a utopian fantasy of a self-regulated system.
Andrea Muniáin (2022), solo show, Hybrid Fair, curated by Lava Art Project.
Whose Complexity Comes Naturally was an intervation by multidisciplinary artist Andrea Muniáin at a hotel room, during Hybrid Fair in Madrid. Andrea proposes a single site-specific show curated & produced by Lava Art Project in which, through a series of ready-made objects the artist questions the relationship between our body and its reflection. Andrea starts from the very nature of the hotel as a space characterised by avoiding any type of trace of the body that preceded the one that now occupies it in order to create her works.
Las Cigarreras (2022), group show, Alicante, curated by Lava Art Project.
No es propio de esta época was a group exhibition curated and produced by Lava Art Project at Las Cigarreras — an exhibition part of the Negre project. The exhibition invites us to rethink the way we relate to the past and how it shapes our ability to take responsibility for present injustices. In other words, the series of works presented by Lava Art Project explores a non-simultaneous relationship with our time in order to reveal new ways of engaging with our past.
Habitación Número 34 was an independent installation space open 2020-2023 in Madrid, Spain.
Habitación Número 34 was an installation space opened from 2020-2023 in Madrid. Alongside Belinda Martín, I curated and produced one installation per month in this showcase space, whose concept was born during COVID. An art showcase inaccessible to the public but that was open 12 hours a day, only closing in the night, trying to promote art accessibility in a peripheral neighborhood in Madrid.
The following pics are a compilation of some of the most remarkable installations that Lava Art project curated and produced during the three years that the project lasted, which ascend to a total of 36.
Yosi Negrín (2021), solo show, El Tanque, Tenerife.
Still the most monumental exhibition in which I have participated till the date. For this solo show by Yosi Negrín, Lava Art Project did, in collaboration with the artist, all the production plus the curation of the show. Zona Cero also had a publication that features in this portfolio.
Zona Cero, Cenotafio Digital was an immersive and interactive installation that proposes the construction of an architecture of exception through the search and commemoration of the digital death of the image and the landscape. Where does the image die? Where do images go when they are forgotten? How much physical space does the digital image occupy?
Andrea Muniáin and Adina L. Velázquez (2020), Absolut Manifesto 20: We Are a New World, Madrid.
The Bodies Are Manufactured was an installation performance that understood that the way we conceive of the body is constructed—whether historically, socially, politically, economically, or medically. For this case, Lava Art Project did the assistance production for this piece. We live in a world shaped by new discourses centered on the digital and the virtual. If we are capable of generating new conceptions of the body, why not manufacture our own using the tools of our technological context?
Filip Custic (2019), solo show, La Térmica, Málaga.
Homo-? Was curated by Lava Art Project, who also edited the catalogue of the exhibition. This exhibition inquired about the evolution of Human kind in a way that played with symbolism and chronology from an outside-the-box perspective. Chronology, in this case, is not linear by done through the mental associations of the artist; time is deconstructed in order to show another possible evolution of Humanity.
Filip Custic (2019), solo show, Fundación César Manrique, Lanzarote.
Lava Art Project curated this solo exhibition by Filip Custic in Fundación César Marique. The exhibition revolved around a conversation between the contemporary artist and César Manrique, where Filip re-interpreted César’s infamous wind toys in a way that put the figure of the artist in the middle. The main artwork on this exhibition featured a hyper-realistic sculpture of Filip, whose detailed work blended craftsmanship with the complexity of the artist’s own symbolism and imagination.
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