Marina Núñez, the tilled land

Madrid,

Hybrid, metamorphic beings with multiple identities populate the work, diverse in its techniques and open to the audiovisual, by Marina Núñez. The artist has been recreating impure and unstable subjectivities to claim that the notion of otherness does not arise to baptize what is external and alien to the individual, but rather its own hidden dimensions. In fact, between the figures of Núñez and their environment (landscapes and ecosystems, also technological ones) the barriers are diluted, ties of similarity and continuity are established. The skin that seems to delimit their bodies does not fulfill that purpose, but rather appears porous and fluid, promoting symbiosis.

After working from the collections or spaces of the Thyssen-Bornemisza Museum, the Lázaro Galdiano or the Burgos Cathedral, Núñez joins the program with which the National Museum of Anthropology commemorates its 150th anniversary.

Under the curatorship of Isabel Durán, and in collaboration with La Térmica Cultural de Ponferrada, it offers the project “So many worlds in this one”, halfway between visual poetry and critical reflection on the future of the ecosystems most modified by human hands.

It gives the title to this exhibition, which also comes as a preview of the cultural offer of the Climate Biennial, which will take place in Avilés (Asturias) in 2026, a composition of three hundred tiles measuring sixty centimeters on a side that have been printed using recent technologies and that occupy the light well of this museum. These pieces generate a map of the Earth, sometimes carved and sometimes wounded, and in any case pulsating and diverse.

Despite its unity, it is a complex work, which could not be explained without the presence of its dozens of minor elements, but with their own meaning, nor without the combination of almost artisanal plastic procedures and strictly contemporary image generation tools (3D simulation software and artificial intelligence). To paraphrase its name, it encompasses many worlds in one.

The extensive pavement is completed at the National Museum of Anthropology with a sound piece, prepared specifically for the exhibition by Luis de la Torre, and with a story by the curator. Furthermore, other recent creations by Núñez have been deployed around it: the videos Immersion, Mirage, Fading and Origin, destination; laser cut crystal pieces like Cosmos; digital prints like Dream or be dreamed of; or ceramic works Land and Journey to the center of the Earthwhich also respond to attempts by the Palencia to implant images on the same land with which their tiles were made.