Blanca de la Torre

Hello,
I'm Blanca
de la Torre

ABOUT

Blanca de la Torre is a Spanish curator, art historian, researcher, and ecofeminist whose professional work lies at the intersection of visual arts, political ecology, and sustainable creative practices. Her professional activity, which she has developed both inside and outside of Spain, includes, in addition to curating exhibitions, artistic director of projects, seminars, workshops, curatorial residencies and international symposiums.

Until this year she was chief curator of the 15 International Cuenca Biennial, and artistic co-director of the Overview Effect Project at MoCAB Museum of Belgrade and Con los pies en la T(t)ierra at CAAM, Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, where she is also head of the Aula Sostenible. She has curated exhibitions developed for the Network of Cultural Centres of AECID in its different Latin American venues. In all the aforementioned projects she developed sustainability guidelines to reduce the ecological footprint.

From 2009 to 2014 she was chief curator for ARTIUM, the Museum-Center for Contemporary Art of the Basque Country (Vitoria-Gasteiz, Spain). She has since curated exhibitions at international museums and art centers, among which the Salzburger Kunstverein, Salzburg, Austria; EFA, Elisabeth Foundation Project Space, New York; the Center for the Arts of Monterrey, Mexico; the Carrillo Gil Museum in Mexico City; the Contemporary Art Museum of Oaxaca, Mexico (MACO); NC-Arte Bogota, Colombia; RAER, Real Academia de España en Roma, Rome, Italy; LAZNIA Center for Contemporary Art, Gdansk, Poland, Exhibition Center Alcalá 31, Madrid;  CentroCentro Art Center, Madrid; NGMA, National Gallery, Delhi, India; 516 Contemporary Arts Museum Albuquerque, USA, and the MUSAC, Contemporary Art Museum of Castilla y León.

From an approach close to eco-aesthetics and political ecology, she understands art as an instrument of knowledge to rethink and reformulate other possibilities for “the common”. She has also published more than a hundred specialized texts in books, catalogs and magazines, and regularly participates in international conferences and symposiums on culture and sustainability. She is part of the REDS Community of Knowledge and Practice on Sustainable Development.

"The time is now. The climate clock is ticking, indicating the urgent need to expand our capacity for planet empathy. We have to listen to the past and look to the future with our feet in a present where there is a need for a change in the rules of the game. It is now more than ever when art appears as an effective space for positive awareness. It is the time to imagine futures, not ideal but possible futures, to rescue the importance of aesthetics in the construction of new narratives and to get rid of those that no longer serve us, in order to once and for all begin to build a new paradigm. That paradigm turn will be ecological or won’t be at all."

EDUCATION

  • 2010

    Art Criticism Short Course
    University of the Arts
    Central Saint Martins, London (UK)

  • 2003

    Catalogación y clasificación
    Instituto Madrileño de Estudios Documentales IMED, Madrid (Spain)

  • 2003

    C.A.P. Certificate of Teaching Capacity
    Universidad Complutense, Madrid (Spain)

  • 2001

    Postgraduate program in Art Appraisal Expertise
    Escuela de Arte y Antigüedades, Madrid (Spain)

  • 2001

    M.A. Design and Management of Exhibition Spaces (MDE)
    CSA/CEU University. Centro Superior de Arquitectura, Madrid (Spain)

  • 2000

    B.A. Art History
    University of León, León (Spain)

ADVISORY BOARDS & COMMITTEES

Member of think tank The Contribution of Culture to Sustainable Development.
REDS, Red Española para el Desarrollo Sostenible

Sep. 2017 – Dec. 2020
Acquisitions committee of MUSAC, Museo de Arte Contemporáneo de Castilla y León (León, Spain)

Associate curator Artport Making Waves (international curatorial organization focusing on art projects that explore climate change and sustainability)

Member of Cultura Sostenible Platform (part of REDS, SDSN Sustainable Development Solutions Network)

Member of Disorderly Women. The Alliance of Women Leaders in Culture

Member of IKT International Curators of Contemporary Art

Member of MAV Women in the Visual Arts

"It's not that we should choose the path of sustainability as if there were other alternatives. It is not a matter of choice, it is the only possible way, the other roads are cut, they are a cul-de-sac, a dead end…"

PROJECTS

At this moment

Blanca de la Torre is Head Curator at 15th Cuenca Biennial (Ecuador) and is working as Curator and Artistic Director of the Overview Project, a global project by the MOCAB Museum (Belgrade, Serbia), involving a transnational network of museum partners. She is also the Head of the Aula Sostenible, the long-term platform to implement a roadmap of Sustainability in the CAAM Museum (Canary Islands, Spain).

Other projects include Estado de sitio at Sala Amós Salvador in Logroño (Spain) and Fabular un mundo diferente for AECID (Spanish Agency for International Development Cooperation).

She works as part of the think-tank “knowledge and practice on Sustainable Development”, at REDS, Red Española para el Desarrollo Sostenible, among other projects related to ecology, culture and sustainable development.

2020-2014

Among her last projects stand out Concierto para el Bioceno (Concert for the Biocene) at the Gran Teatre del Liceu (Barcelona, Spain) and Indian Odyssey at Fernán Gómez Centro Cultural de la Villa de Madrid (Madrid, Spain). She has also curated outstanding international group shows like Hybris. Una posible aproximación ecoestética, MUSAC, Museo de Arte Contemporáneo de Castilla y León, (León, Spain, 2017); Imbalance, Łaźnia Contemporary Art Center (Gdansk, Poland, 2017); Cartografías Líquidas, MACG, Museo de Arte Contemporáneo Carrillo Gil (Mexico City, Mexico, 2017-2018); and co-curated the trilogy of projects Invisible Violence (2014-2016) that was developed at ARTIUM (Vitoria-Gasteiz, Spain), the Salzburger Kunstverein (Salzburg, Austria) and the MoCAB – Museum of Contemporary Art of Belgrade (Serbia).

She has also directed and curated national and international projects, of which the following stand out: Cromática (2015-2020), at MACO – Museo de Arte Contemporáneo de Oaxaca (Oaxaca de Juárez, Mexico), ExConvento del Carmen (Guadalajara, Mexico), Museo de Arte Contemporáneo de Sonora (Hermosillo, Mexico), Museo de Arte de Ciudad Juárez (Ciudad Juárez, Mexico) and the Albuquerque 516 Arts, (Albuquerque, USA); Fingers Crossed, ADN Platform, Barcelona (2019-2020); PHY, NGMA, National Gallery Delhi, (India, 2019); La oficina del agua/The Water Office at the Fine Arts Museum of Asturias (Oviedo, Spain, 2019), and the Former Residence of the Ambassador in Washington D.C. (Washigton D.C., Spanish Embassy, USA); Sostener el infinito en la palma de la mano in Alcalá 31 (Madrid, Spain, 2018)La NO Comunidad. A modo de ensayo sobre la soledad en el tardocapitalismo (co-curated with Ricardo Ramón Jarne) at CentroCentro (Madrid, Spain, 2018); Un Inferno Comodo at Fondazione Baruchello (Rome, Italy) and RAER Real Academia de España en Roma (Italy, 2018); El futuro no es de nadie todavía (2015-2016) at the Centro de las Artes de Monterrey (Monterrey, Mexico), Museo Carrillo Gil (Mexico City, Mexico), MACO (Oaxaca de Juárez, México) and NC-Arte (Bogotá, Colombia); A Certain Urge at the Elizabeth Foundation for the Arts Project Space (New York, USA, 2016)There Is Only One Catch and That Is Catch 22, Y Gallery (New York, USA, 2015); PIGS at Galeria Municipal do Porto (Porto, Portugal, 2016); Piel de Gallina and Palimpsesto Caníbal at the CAAM Centro Atlántico de Arte Moderno (Las Palmas de Gran Canaria, Spain, 2011 and 2014). She has also undertaken several projects for Spanish Cultural Centers in Latin America (Miami, Montevideo, Mexico City, Havana…).

 

2009-2014
Curator and Director of Exhibitions & Projects at ARTIUM Museum Center of Contemporary Art (Vitoria-Gasteiz, Basque Country, Spain)

Curator of exhibitions such as Diálogos (2009), Video(s)torias (co-curated with Imma Prieto, 2011), Piel de Gallina: Regina José Galindo (2011) [Tours: TEA – Espacio de las Artes. Tenerife, Spain / CAAM – Centro Atlántico de Arte Moderno. Las Palmas de Gran Canaria, Spain], Time of Emergencies (2012), Montage of Attractions (2012), Of more than voice: Katarina Zdjelar (2013), Palimpsesto Caníbal: Enrique Chagoya (2013).

Director of projects like Biting the Hand that Feeds you: Jaime Davidovich (2010), From Here to Everywhere. Profiling Postcity: Aitor Lajarín (2010), UN (inverse): Txuspo Poyo (2010), Deals, Shapes and Voids: Miguel Ángel Gaüeca (2010), Midnight in the City (2011), Santiago Sierra: No Global Tour (2011), Planificación y Estrategia: Ángel Marcos (2011), En cuatro movimientos: Esther Ferrer (2011), This is not the end: Ignasi Aballí (2012), Plagaro: Álvarez Plagaro (2012), Feria: Iñaki Larrimbe (2013), among others.

Curator and founder of the PRAXIS program, a series of experimental projects underpinned by values such as recycling, process, the relational, social ecology, direct action and DIY culture. 

Founder of GREY FLAG program. Series of banners commissioned to artists for the exterior façade of the museum.

Founder of MUTATIS MUTANDIS program. Site-specific projects commissioned to artists in order to activate collateral spaces of the museum.

Member of the Acquisitions Committee. Colección ARTIUM.

2004- 2009 

Exhibitions Coordinator
MUSAC, Museo de Arte Contemporáneo de Castilla y León (León, Spain)

Art Critic
Arte al Día International. International Magazine of Contemporary Latin American Art (New York, USA)

Co-director
Virgil de Voldere Gallery (New York, USA) 

Development Director
VideoArtWorld

Artist Liaison
Singapore Biennale (Singapore)

Curator and director of projects like Arte Madrid 06: Destino Futuro, Sala de Exposiciones de la Comunidad de Madrid del Real Jardín Botánico / La Fábrica (Madrid, Spain, 2006); Peekskill Project, HVCCA. Hudson Valley Art Center (New York, USA, 2006); La Mano de Dios, Mirta Demare Gallery (Rotterdam, The Netherlands, 2006); Atlas Shrugged , White Box (New York, USA, 2009); Off Street , A Foundation (London, UK, 2009), The Promised Land, Chelsea Art Museum (New York, USA, 2008); and curator of three editions of the TINA.B Festival of Contemporary Art in (Prague, Czech Republic, 2008, 2009 & 2010).

PUBLICATIONS, CATALOGUES & BOOKS

Overview Effect
Blanca de la Torre and Zoran Erić
MoCAB, Museum of Contemporary Art (Belgrade, Serbia, 2021)

Hacia una cultura sostenible. Guía práctica para integrar la Agenda 2030 en el sector cultural
REDS Red Española para el Desarrollo Sostenible (2021)

Apuntes improvisados sobre ecofeminismo
Campo de Relámpagos (2021)

Resetear el GPS cultural: La hoja de ruta sostenible
Periférica. Universidad de Cádiz (Cádiz, Spain, 2020)

Libro de recetas para un planeta otro
Cuenca Biennial (Ecuador, 2020)

Double Ecologies
Double Square Gallery (Taipei, Taiwan, 2020)

Conversaciones con la materia (sobre el cambio climático). Miguel Sbastida
Pinacoteca Municipal de Langreo (Langreo, Spain, 2020)

Museos en Acción
. En Cultura y Desarrollo Sostenible. REDS. Red Española para el Desarrollo Sostenible. En colaboración con el Ministerio de Cultura. (Madrid, Spain, 2020)

El Mundo que hemos creado
Campo de Relámpagos (2020)

Arte y Violencia Ecológica en 9 Oiko Epistemes 
Revista Accesos 3, Universidad Complutense de Madrid (Madrid, Spain, 2020)

The Green Book/El libro verde: Sostenibilidad e instituciones culturales.
Instituto Cervantes (Madrid, Spain, 2019) (upcoming)

Nada Prjla. Subversion to Red. The Large Glass Magazine 
The Pavillion of the Republic of North Macedonia. 58th Venice Biennale (Skopje, North Macedonia, 2019)

XIII Havana Biennale
Hart Magazine (Antwerp, Belgium, 2019)

Tal vez no vivamos tiempos tan interesantes. 58th Venice Biennale
Campo de Relámpagos (2019)

La sostenibilidad del arte y la cultura
Revista Duende 20 aniversario. Especial Sostenible (Madrid, Spain, 2019)

Echar la vista atrás y contemplar todos los paisajes. Arancha Goyeneche.
La Rambleta (Valencia, Spain, 2019)

Informe sobre el Estado de la Cultura 2018
Observatorio de Cultura y Comunicación, Fundación Alternativas (Madrid, Spain, 2019)

Museos en Acción. Sostenibilidad en modos y medios (with Kristine Guzmán)
El Registro de Museos en el Siglo XXI. Revista ICOM (Madrid, Spain, 2019)

Flavor. El lado oscuro del sabor. Luna Bengoechea Peña
El Almacén (Lanzarote, Spain, 2019)

Cambiar todo para que el clima no cambie
In Imaginar la transición hacia sociedades sostenibles. Universidad Politécnica de Valencia (Valencia, Spain, 2019)

An Art Walk Through Madrid
Hart Magazine (Antwerp, Belgium, 2019)

Cuadra Minerale. Tierras raras y minerales críticos. Rosell Meseguer
Fundación Marcelino Botín (Santander, Spain, 2019)

A modo de complejo paisaje de datos. Esther Pizarro
Tabacalera (Madrid, Spain, 2018)

Sostener el infinito en la palma de la mano
Sala de Exposiciones Alcalá 31. Comunidad de Madrid (Madrid, Spain, 2018)

Unclassifiable Water Ecologies
Exile Books (Miami, USA, 2020) (Upcoming)

Breve tratado de ecología cromática
En Cromática. Tania Candiani. Museo de Arte Contemporáneo de Oaxaca (Oaxaca de Juárez, Mexico, 2018)

Un intento de salir del claroscuro
In El pilar fundamental. Acaymo Cuesta. CAAM Centro Atlántico de Arte Moderno (Las Palmas de Gran Canaria, Spain, 2018)

Cuando el paisaje se convierte en política y la política en paisaje
In Carne triste. Juan Carlos Batista. Casal Solleric (Palma de Mallorca, Spain, 2018)

Future Relics. Elena Lavellés
Blue Project Foundation (Barcelona, Spain, 2018)

Hybris. A possible Approach to Ecoaesthetics
In Hybris. MUSAC (León, Spain, 2018) 

Missed Call. Gema Rupérez
Espacio Dörffi (Lanzarote, Spain, 2018)

Cartografías Líquidas
In Cartografías Líquidas. Museo de Arte Carrillo Gil (Mexico City, Mexico) & ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2017)

Conectando Audiencias
Asimétrica. Especial Arte y Sostenibilidad #12 (2017)

La semilla como materia política
Campo de Relámpagos (2017)

Imbalance
In Imbalance. LAZNIA Museum (Gdansk, Poland, 2017)

Dark Matter
In Generación 2018 Caja Madrid. La Casa Encendida (Madrid, Spain, 2017)

Novus Ordo Seclorum (nuevo orden de los siglos). Luna Bengoechea
CAAM. Centro Atlántico de arte moderno (Las Palmas de Gran Canaria, Spain, 2017)

155. La Balada de Simon
In Gonzalo Elvira. 155 La Balada de Simon. Palau de la Virreina (Barcelona, Spain, 2017)

Where Is Ecofeminism/s?
In Where Is Diana. Tabacalera (Madrid, Spain, 2017)

On Amy Balkin, an archive of Sinking and Melting
In Evidentiary Realism. Fridman Gallery (New York, USA, 2017) and Nome Gallery (Berlin, Germany, 2017)

Lucía Vallejo y las edades del Oro
In Lucía Vallejo. Tabacalera (Madrid, Spain, 2017)

Invisible Violence
In Invisible Violence. MOCAB (Belgrade, Serbia, 2017) and ARTIUM (Vitoria-Gasteiz, Spain, 2017)

(Kl) Juan Zamora
In Kl, Nirox Foundation (Johannesburg, South Africa, 2016)

Aproximaciones ecoestéticas y sandwiches vegetales
EXIT-Express (2016)

El arte existe en diferentes contextos que incluso se contradicen (Boris Groys interview)
EXIT-Express (2016)

Amondarain. A modo de prontuario
In Catálogo Jose Ramón Amondarain. Gobierno Vasco (2016)

El juicio de los sujetos o los sujetos del juicio
In Los sujetos. Spanish Pavillion, 56th Venice Biennale (2015)

Una aproximación ecoestética a los cuerpos de agua
In Generaciones / La Casa Encendida. Fundación Montemadrid (Madrid, Spain, 2016)

The Performative Force of Gravity
In The Prague Quadrennial of Performance, Design and Space Catalogue. Helenic Center of the International Theater Institute (Prague, Czech Republic, 2015)

De-Escribir una corriente de aire
In Eugenio Ampudia: una corriente de aire. Museo Gas Natural Unión Fenosa (A Coruña, Spain, 2015)

De esas palabras que habría que revisar: Mediación
In Series Múltiples. Estíbaliz Sádaba (Bilbao, Spain, 2015)

SOS. Lenguaje, poder y el signo de los tiempos
In SOS: Eugenio Ampudia. Ministerio de Cultura & Museo Nacional de Artes Decorativas de Madrid (Madrid, Spain, 2014)

Palimpsesto caníbal
In Palimpsesto caníbal: Enrique Chagoya. ARTIUM Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2014) & CAAM Centro Atlántico de Arte Moderno (Las Palmas de Gran Canaria, Spain, 2014)

Ese oscuro objeto del delirio
In Albur de Amor: Teresa Serrano. CAAM Centro Atlántico de Arte Moderno (Las Palmas de Gran Canaria, Spain, 2013) & TEA Tenerife Espacio de las Artes (tenerife, Spain, 2013)

Crisis As A Degenerative Disease And Other Degenerations
En INPUT #5 BLOCKHOUSE. INPUT Foundation (New York, USA, 2013)

Of More Than One Voice
In Of More Than One Voice: Katarina Zdjelar. ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2013)

Curating Concepts
In La Curatela in tre mosse. Art Tribune (Italy, 2012)

Piel de Gallina
In Piel de Gallina: Regina José Galindo. ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2012)

Ni son todos los que están, ni están todos los que son (Del lado de allá)
In Video(S)torias (with Imma Prieto)ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2011)

D-effect for Fake
In Michał Brzeziński: Fake Art. Sztuki Współczesnej Gallery, Małopolskie Centrum Kultury (Poland, 2011)

My Aural Guilty Pleasures
In The Book of Guilty Pleasures. Song-Ming Ang & Kim Cascone (Republic of Singapore, 2011)

Ikeizando la postura
In Los Peligros de la obediencia. Itziar Barrio. BAD Festival Bilbao (Bilbao, Spain, 2011)

Douche Bag City
In Federico Solmi: Douche Bag City, CHARTA (Italy, 2010)

Let’s Spit On The Genius
In TINA B. The Prague Contemporary Art Festival. Vernon Fine Art (Prague, Czech Republic, 2010)

Remapping the Kitsch
In Atlas Shrugged. White Box (New York, USA, 2009)

Off Street
In A Bulletin. A Foundation (London, UK, 2009)

Welcome to Yoshitomoland
In ArtScape magazine (New York, USA, June-August 2009)

The Threshold of the Noosphere
In TINA B. The Prague Contemporary Art Festival. Vernon Fine Art (Prague, Czech Republic, 2009)

Itaca
In Welcome to the New Paradise: Itziar Barrio. The Farm (New York, USA, 2009)

All That Is Solid Melts Into Air: Alternative Revolutions
In TINA B. The Prague Contemporary Art Festival. Vernon Fine Art (Prague, Czech Republic, 2008)



Magazine Arte al Día Internacional
Selected articles published 2008-2009

Fortunate Objects.
Ella Fontanals-Cisneros Collection, CIFO, Miami. Arte al Día Internacional. International Magazine of Contemporary Latin American Art N. 122 P126-127.

Parsing Spirituality. Affirmation Arts, New York. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 127.

Art Basel Miami Beach. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 122, P. 100-104.

Carlos Amorales. Yvon Lambert, New York. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 122, P. 122.

Priscila de Carvalho. Jersey Museum, New York. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 127.

Gonzalo Lebrija. I-20 Gallery, New York. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 127.

Rirkrit Tiravanija. Nyehaus, Gramercy Park, New York. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 127.

Carlos Cruz-Diez. Americas Society, New York. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 125, P. 90.

Ceremonies of Summer. Latincollector Gallery, New York. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 125, P. 91-92.

Vik Muniz. Sikkema Jenkins and Co Gallery, New York. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 125, P. 92-93.

Iran Do Espiritu Santo. Appearances Can Be Deceptive/Las apariencias engañan. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 126 P. 34-39.

Iran Do Espiritu Santo. Sean Kelly Gallery, New York. Arte al Día Internacional. International Magazine of Contemporary Latin American Art N. 125, P. 90-91.

Eduardo Navarro. Frederieke Taylor, New York. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 125, P. 93-94.

Teresa Margolles. Raid/Operativo. Arte al Día Internacional. International Magazine of Contemporary Latin American Art N. 124, p. 50-55.

Milagros de la Torre. Y Gallery, New York. Arte al Día Internacional. International Magazine of Contemporary Latin American Art N. 128, P.102.

53rd Venice Biennial Latin America’s Created Words/ Los mundos creados de Latinoamérica. Arte al Día Internacional. International Magazine of Contemporary Latin American Art N. 128, P. 84-87.

Adriana Varejao. Art as Transmutation. Arte al Día Internacional. International Magazine of Contemporary Latin American Art N. 128, P. 48-53.

Margarita Cabrera. Arte al Día Internacional. International Magazine of Contemporary Latin American Art.

Nicolás Consuegra & Mónica Páez. Magnan Emrich Contemporary. Arte al Día Internacional. International Magazine of Contemporary Latin American Art, N. 123, P. 111.

Patricia Esquivias. Murray Guy and White Columns. Arte al Día Internacional. International Magazine of Contemporary Latin American Art, N. 123, P. 111-112.

Sandra Cinto. Tanya Bonakdar. Arte al Día Internacional. International Magazine of Contemporary Latin American Art, N. 123, P. 109-110.

Gabriel de la Mora. Y Gallery. Arte al Día Internacional. International Magazine of Contemporary Latin American Art, N. 126, P. 92.

Cildo Meireles, Tate Modern. Arte al Día Internacional. International Magazine of Contemporary Latin American Art, N. 126, P. 84-86.

Ricardo Mazal. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 126, P. 94-95.

Ernesto Neto. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N.126, P. 95.

Beatriz Milhazes. James Cohan. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 126, P. 93.

Enrique Metinides. Josée Bienvenu. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 126, P. 94.

Arturo Herrera. Sikkema Jenkins and Co. Arte al Día Internacional. International Magazine of Contemporary Latin American Art. N. 126, P. 92-93.



Fanzines Praxis series of experimental projects underpinned by values such as recycling, process, the relational, social ecology, direct action and DIY culture 

Vicente y Fernando Roscubas. Superhéroe Euskalduntzarra
ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2010)

Jacobo Castellano. El Mantel y el Telón
ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2010)

Avelino Sala. Detente
ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2010)

Francisco Ruiz de Infante. El Factor Suerte
ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2010-2011)

Robert Waters. Uncover/Recover
ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2011)

Wilfredo Prieto. Pradera constructivista vista desde el sofá de la casa con los pies encima de la mesa
ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2011)

Itziar Barrio. Detrás, al final de la comparsa
ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2011)

Jenny Marketou. Paperophanies
ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2011)

Juanli Carrión. Construyendo la interminable ruina del mundo
ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2011)

Beatriz Olabarrieta. Motor-Motor
ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2012)

Guillem Bayo. Close Encounters With a Sofa
ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2013)

Elena Aitzkoa. Mujer Primitiva
ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2013)

Tania Candiani. Serendipia
ARTIUM, Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain, 2013-2014)

LECTURES & THEORETICAL EVENTS

Blanca de la Torre is a professor at the UFV University (Madrid, Spain) and has participated in numerous lectures and theoretical events worldwide, standing out:

  • Around Nature. National Academy of Sciences (Washington, USA, 2020)
  • The Trade of Nature. National Academy of Sciences (Washington, USA, 2020)
  • Prácticas Eco-conscientes en el sector cultural. Seminario Cultura y urgencia Climática, Festival Pirenart y Sismógraf. Ayuntamiento de Bilbao (Bilbao, Spain, 2020)
  • Arte sostenible o algo así. Universidad Complutense de Madrid (Madrid, Spain, 2020)
  • Chasing coral. La Casa Encendida (Madrid, Spain, 2019)
  • El arte de transformar la realidad: Objetivos de Desarrollo Sostenible y Cultura para el cambio social. Encuentros QUIERO Filosofía (Madrid, Spain, 2019)
  • Ecoaesthetics: Art in Water Problematics and Other ecological Issues. Jan Van Eyck Academie (Maastricht, The Netherlands, 2019)
  • Museos en Acción: Sostenibilidad en modos y medios. Jornadas ICOM, MUSAC. Contemporary Art Museum of Castilla y León (León, Spain, 2019)
  • III Jornadas Sostenibilidad e Instituciones Culturales. Instituto Cervantes (Madrid, Spain, 2019)
  • La representación de género en el arte. El Almacén (Lanzarote, Spain, 2019)
  • Confluencias. Feria ArteSantander (Santander, Spain, 2019)
  • Una aproximación ecoestética: narrativas artísticas y ecología. Jornadas de Sostenibilidad e instituciones Culturales. REDS. Universidad de Valencia, (Valencia, Spain, 2018)
  • An Ecoaesthetic Approach. School of Art and Design. Parsons. The New School (New York, USA, 2018)
  • El arte como estrategia contra el cambio climático y otras problemáticas ecológicas. Museo Artium (Vitoria-Gasteiz, Spain, 2018)
  • A Path Towards Sustainability Through Art and Pedagogy. Bangladesh Shilpakala Academy (National Academy of Fine and Performing Arts) (Dhaka, Bangladesh, 2018)
  • PHY. Yamuna River Project. GNAM, Nationall Gallery Delhi (Delhi, India, 2018)
  • A Possible Approach to EcoAesthetics. Art Center South Florida (Miami, USA, 2017)
  • Cambiar todo para que el clima no cambie. Alternativas y posibilidades desde el arte. Congreso Imaginar la transición hacia sociedades sostenibles. La Casa Encendida (Madrid, Spain, 2017).

WORKSHOPS & EDUCATIONAL EVENTS

  • Professor of Culture & Sustainability. Máster en “Producción más limpia y tecnologías verdes”. Centro de Excelencia Internacional Sergio Arboleda (Madrid, Spain, 2020)
  • Arte y Ecología, caminos comunes. XIII Bienal de La Habana (Havana, Cuba, 2019)
  • Museus SOS: Objectiu Ecoeficiencia. IVAM Instituto Valenciano de Arte Moderno (Valencia, Spain, 2019)
  • Arte y sostenibilidad. Un tándem indisoluble. Escuela de Artes y Oficios de Oviedo (Oviedo, Spain, 2019)
  • Arte y Ecología. Una lectura transversal. Festival Muchomasmayo (Cartagena, Spain, 2018)
  • Break Out Session: Sustainable Cultural Practices: Ideas for Institutional ResistanceCreative Time Summit (Miami, USA, 2018)
  • Los Museos ante el reto de la Sostenibilidad. VIII Escuela de Arte y Patrimonio Marcelino Sanz de Sautuola. UIMP (Santander, Spain, 2018)
  • Ecoestéticas: El arte como el medio para repensar la Ecología. Fundación César Manrique (Lanzarote, Spain, 2018)
  • Ecoaesthetics: Rethinking Environmental Aesthetics. Art Center South Florida (Miami, USA, 2017)

SELECTED LINKS

Moderator. Panel discussion The Trade of Nature
National Academy of Sciences (Washington, USA)

Lecture. Around Nature Series
National Academy of Sciences (Washington, USA)

Lecture. Cultura y emergencia climática [Culture and Climate Emergency]
Seminario Cultura y urgencia Climática, Festival Pirenart y Sismógraf
Ayuntamiento de Bilbao (Bilbao, Spain)

III Jornadas de Sostenibilidad e Instituciones Culturales
Instituto Cervantes (Madrid, Spain)

Sustainable Cultural Practices: Ideas for Institutional Resistance
Within the Creative Time Miami Summit (Miami, USA)

Museums facing the 2030 Sustainable Development Agenda
Summer Course by Blanca de la Torre, UIMP (Santander, Spain)

TV Program about my exhibition Hybris, the first exhibition on Art and Ecology in a Museum in Spain taking into account sustainable criteria and carbon footprint 

Art as an strategy against Climate Change and the Ecological Problematics of the Present Time. Lecture by Blanca de la Torre ARTIUM Museum  

General Interview where I mention my interests on ecology and sustainability in Arteinformado  

Lecture Una aproximación ecoestética: relatos artísticos y ecología
Jornadas Sostenibilidad e Instituciones Culturales – Universidad de Valencia (Spain)

Lecture Changing Everything so Climate doesn´t change. Alternatives and possibilities from Culture. Within the Congress “Imagining transition to sustainable societies”. La Casa Encendida (Madrid, Spain)

 

Selected Interviews:

Interview Podcast New York Beez and Honey  

TVE 1. Canal 24 h. La hora Cervantes

Interview ARTSAIL. Research residency on art and climate change in collaboration with the Art Center South Florida and Frost Museum of Science (Miami, USA)

El Cultural. El arte combate el cambio climático

El Cultural. Eugenio Ampudia se planta en El Liceu

Arteinformado. Somos un sector muy reivindicativo pero a la vez muy cómodo 

Arteinformado. Me gusta pensar en la figura del comisario como un gestor de ideas

Asimetrica. Practical Experiences from the Cultural Sector on Sustainability

OTHER TALKS & ACTIVITIES

  • CAAM – Centro Atlántico de Arte Moderno (Las Palmas de Gran Canaria, Spain)
  • TEA – Espacio de las Artes (Tenerife, Spain)
  • MUSAC, Museo de Arte Contemporáneo de Castilla y León (León, Spain) 
  • ARTIUM Centro-Museo Vasco de Arte Contemporáneo (Vitoria-Gasteiz, Spain) 
  • IVAM Institut Valencià d’Art Modern (Valencia, Spain) 
  • ARCO Feria Internacional de Arte Contemporáneo de Madrid (Madrid, Spain) 
  • Bòlit. Centre d’Art Contemporani (Girona, Spain) 
  • Fundación César Manrique (Lanzarote, Spain) 
  • La Casa Encendida (Madrid, Spain) 
  • UIMP Universidad Internacional Menéndez Pelayo (Santander, Spain) 
  • CENDEAC Centro de Documentación y Estudios Avanzados de Arte Contemporáneo (Murcia, Spain)
  • Universitat de València (Valencia, Spain) 
  • Jan Van Eyck Academie (Maastricht, The Netherlands)
  • MA*GA Museo d’Arte Gallarate (Gallarate, Italy)
  • A Foundation (London, UK)
  • Manifesta Off (Palermo, Italy)
  • Bangladesh Shilpakala Academy (Dhaka, Bangladesh)
  • XIII Bienal de La Habana (Havana, Cuba) 
  • MOCAB Muzej savremene umetnosti (Belgrade, Serbia)
  • International Curators Forum (Yokohama, Japan)
  • Art Gwangju (Gwangju, South Korea)
  • Abrons Art Center (New York, USA)
  • Uniwersytet Gdański (Gdansk, Poland)
  • Diagonal Escuela Libre (Guadalajara, Mexico)
  • SOMA (Mexico City, Mexico)
  • Salzburger Kunstverein (Salzburg, Austria)
  • MUCA Roma (Mexico City, Mexico)
  • Art Center South Florida (Miami, USA)
  • NC-Arte (Bogotá, Colombia)
  • MAXXI Museum (Rome, Italy)

 

JURY

Blanca de la Torre has been part of numerous juries of grants and prizes, of which the following stand out: Premio Nacional de Artes Plásticas, Becas Multiverso de Videoarte (Fundación BBVA, Madrid, Spain), Becas Fundación César Manrique (Lanzarote, Spain) and Queens Council of the Arts (New York, USA), among others.

RESEARCH & RESIDENCIES

She has undertaken several residencies at the following spaces: ArtSail Residency (South Florida Arts Center & Frost Art Museum of Science, Miami, USA, 2018); Casa Wabi (Puerto Escondido, Mexico, 2015); Espacio Fonte (Recife, Brazil, 2014); IASPIS (Stockholm, Malmö & Ümea, Sweden, 2012); among others.

CONTACT

Drop me some lines