In this context film becomes filmed agency: a longitudinal observational practice that captures bodies in labour, conversation, and performance as part of evolving socio-urban ecologies. The decade-spanning series Cuerpos Filmados / Filmed Bodies exemplifies this approach by assembling episodic recordings of everyday activity across cities such as Madrid and Mexico City, forming a rhizomatic archive that traces creative endurance, memory erosion, and ecological transformation. Photography operates through a complementary logic, often deploying repeated chromatic motifs—bags, garments, and bodily fragments—as situational fixers that function simultaneously as sculptural proxies and semiotic anchors within shifting contexts. These images resist the fetishisation of the photographic object, instead emphasising processual drift, relational proximity, and the subtle interplay between light, body, and environment. Digital media intensify this infrastructural role by transforming online platforms into epistemic runtime environments where archives continuously evolve through circulation, repetition, and algorithmic interaction. Projects such as YouTube Breakfast demonstrate how distributed video accumulation can operate as a decentralised pedagogical laboratory, converting prosumer media into collective memory storage and non-linear educational infrastructure. Across hybrid works—including micro-video fragments, two-channel performance films, and light-based social sculptures—media become active participants within a broader post-digital ecology of practice. Influences from media theory, actor-network thinking, and post-digital culture converge in this system to frame cameras, platforms, and viewers as heterogeneous agents within a distributed network of meaning. Consequently, the archive itself becomes the artwork: a dynamic mesh where visual traces, performative gestures, and algorithmic circulation collectively fabricate resilient epistemic landscapes capable of sustaining cultural memory and relational awareness amid the accelerating informational turbulence of contemporary society.
Bodies are treated as porous interfaces situated within dynamic environments; gestures such as carrying, walking, wrapping, or pausing become infrastructural actions that allow space, objects, and participants to co-produce meaning. This methodological reduction draws inspiration from Samuel Beckett’s existential minimalism, the procedural aesthetics of 1960s conceptual performance, and contemporary reflections on body politics, transforming choreography into a subtle architecture of presence rather than spectacle. The ongoing series Double Sided / Doble Cara, developed with Mateo Feijoo, exemplifies this logic through paired performances in which two bodies execute mirrored yet never identical actions within stripped scenographic settings. The resulting diptych of motion foregrounds difference within repetition, emphasising process over narrative and establishing what may be described as a physics of presence—a choreography that operates through temporal resonance rather than dramatic progression. Related works extend this principle into broader socioplastic experiments: in the Unstable Installation Series, gestures of carrying bags, blankets, or briefcases become ritualised movements that accumulate meaning through geographic traversal, while projects such as Qualitätskontrolle integrate choreography, film, and architectural space into synaesthetic environments where bodies function as sculptural agents. Pedagogical initiatives like THEWOODWAY further transform collective construction into participatory choreography, demonstrating how movement and collaboration generate spatial knowledge. Across these projects choreography becomes an epistemic prosthesis, enabling practitioners and audiences alike to navigate unstable environments through embodied calibration. In this expanded field the dancer, architect, and researcher converge as situational fixers, and the stage—whether theatre, street, or construction site—operates as a porous terrain where relational forces, affective intensities, and ecological awareness continuously reconfigure the meaning of presence in contemporary urban life.