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MOMENTUM: AN AUGMENTED REALITY EXPERIENCE (AR) AT ART MADRID'25

From March 5 to 9, Montalbán street will transform into an immersive digital environment with Ciudad Sutil, an innovative augmented reality experience led by multimedia artist Susi Vetter. This project is curated in collaboration with CRU and is part of the parallel program of Art Madrid'25. The proposal invites the public to explore an alternative layer of reality through technology, offering a sublimated vision of the urban environment and the city's landscape.

Momentum. Digital scketch. WIP.

Ciudad Sutil: A new way of inhabiting urban space.

Ciudad Sutil is a program that proposes ephemeral artistic interventions in public spaces, exploring new ways of inhabiting and perceiving the city. Through digital art and augmented reality, it seeks to reveal hidden layers of the urban environment, questioning the rigidity of the built landscape and opening spaces for imagination and reflection on our relationship with the city and nature.

Susi Vetter. Momentum. AR Art Installation. Technologies used: Adobe After Effects & Photoshop, Procreate, Blender. Processor: 8th Wall. 2025.

Momentum: Redefining the relationship between City and Nature

In Momentum, the urban landscape with its ordered architecture, paved streets, and precise geometry suddenly opens up to reveal a living canvas that challenges our perception of city spaces. At the end of the street, a forest emerges between the buildings. From this wild growth, a giant mask arises, initially blank and inert, which is pushed upward toward a triangulated glass ceiling, reminiscent of the Galería de Cristal of the Palacio de Cibeles. The mask remains suspended there, between the artificial world below and the contained sky above.

Its eyes slowly open, as if seeing the world for the first time. From one of them, tender plants begin to sprout, initially shy, then with increasing vigor, transforming the sterile façade into a living, organic entity.

As nature claims the mask, the glass ceiling above it – that meticulous human attempt to frame the sky – begins to crack. Fragments of glass fall like rain, breaking the barrier between the built space and the open air. The mask, now covered in vegetation, slowly descends until it disappears.

Momentum. Digital scketch.

A reflection about the urban future

This augmented reality experience invites us to reconsider our relationship with the natural world in urban environments. The street, with its rigid lines and concrete certainty, becomes a space for exploration to imagine new forms of coexistence between the built and the organic. The mask symbolizes our artificial relationship with nature — how we perceive ourselves as separate from the wild, until nature finds ways to break into our spaces.

In the age of the Anthropocene, where human impact shapes every ecosystem, Urban Rewilding questions whether our future lies in continuous separation or in seeking new ways of coexistence between our built world and natural systems. As the boundaries between the city and the forest blur in this augmented reality experience, we glimpse possibilities for urban spaces where nature is not just a contained or decorative element, but an essential and transformative force.

Technology and creative process

The piece Momentum has been developed using various digital tools, including Adobe After Effects, Photoshop, Procreate, and Blender. Its processing is based on the 8th Wall platform, allowing for a seamless and immersive integration of virtual elements into the urban landscape.

Susi Vetter. Invited artist at Ciudad Sutil.

About the artist: Susi Vetter

Susi Vetter is an illustrator and multimedia artist based in Berlin. Her work focuses on telling immersive stories that blur the boundaries between physical and digital realities. Her tools include the web, augmented reality, and map projections, with the aim of creating experiences that invite reflection on the relationship between humans and their environment.

From March 5th to 9th, at Montalbán street 1, at the entrance of the Galería de cristal of the Palacio de Cibeles, you can enjoy Momentum.

The work of Julian Manzelli (Chu) (Buenos Aires, Argentina, 1974) is situated within a field of research in which art adopts methodologies close to scientific thinking without renouncing its poetic and speculative dimension. His practice is structured as an open process of experimentation, in which the studio functions as a laboratory: a space for trial, error, and verification, oriented less toward the attainment of certainties than toward the production of new forms of perception. In this sense, his work enters into dialogue with an epistemology of uncertainty, akin to philosophical traditions that understand knowledge as a process of becoming rather than closure.

Manzelli explores interstitial zones, understood as spaces of transit and transformation. These ambiguous areas are not presented as undefined but as potential—sites where categories dissolve, allowing the emergence of hybrid, almost alchemical configurations that reprogram the gaze. Geometry, far from operating as a normative system, appears tense and destabilized. His precarious constructions articulate a crossing between intuition and reason, play and engineering, evoking a universal grammar present in both nature and symbolic thought. Thus, Manzelli’s works do not represent the world but rather transfigure it, activating questions rather than offering closed answers.

Avícola. Escultura magnética. Madera, imanes, laca automotriz y acero. 45 x 25 cm. 2022.

Science and its methods inspire your process. What kinds of parallels do you find between scientific thinking and artistic creation?

Science and art are two disciplines that I believe share a great deal and are undoubtedly deeply interconnected. I am interested in that point of intersection, and although they are often placed in opposition, I think they share a common origin. Both involve a continuous search, a need for answers that stems from curiosity rather than certainty, and that often—or in many cases—leads both artists and scientists into uncomfortable, uncertain positions, pushing them out of their comfort zones. I believe this is a fundamental and very compelling aspect shared by these two disciplines, which in some way define us as human beings.

In this sense, both share experimentation as a core axis of their practice. Trial and error, testing, and the entire process of experimentation are what generate development. In my case, this applies directly to the studio: I experience it as a laboratory where different projects are developed and materials are tested. It is as if one formulates a hypothesis and then puts it to the test—materials, procedures, forms, colors—and outcomes emerge. These results are not meant to be verified, but rather, in art, I believe their function is to generate new modes of perception, new ways of seeing, and new experiences.

Receptor Lunar #01. Ensamble de Madera Reciclada torneada. 102 x 26 x 26 cm. De la serie Fuerza orgánica. 2023.

You work within the interstices between the natural and the artificial, the figurative and the abstract. What interests you about these ambiguous zones, and what kinds of knowledge emerge from them?

I have always been quite restless, and that has led me to immerse myself in different fields and disciplines. I believe there is a special richness in interstitial spaces—in movement back and forth, in circulation between media. These spaces have always drawn my attention: ambiguous places, hybrid zones. There is something of an amphibious logic here—amphibians as entities that carry and transmit information, that share, that cross boundaries and membranes. In my case, this is closely linked to what I understand as freedom, especially at a time marked by categorization, labeling, and a profound distortion of the very concept of freedom.

On another level, more metaphysical in nature, it is within the mixture—within that blending—that the living energy of creating something new appears, which is undoubtedly a fundamental aspect of what it means to be human. It is as if “one thing becomes something else outside the mold.” This interaction is necessary to break structures, to build new ones, to transmute—to undergo something almost alchemical. I believe fixation is the enemy. In a way, ambiguity is what allows us to reprogram our gaze and generate new points of view.

De la serie Naturaleza orgánica. Madera torneada recuperada de podas de sequía y rezagos de construcción. 2025.

Movement, repetition, and sequence appear as visual strategies in your work. What role does seriality play in the generation of meaning?

Movement, repetition, and sequence are very present in my work. I have a long background in animation, and in some way that interest begins to filter into the other disciplines in which I work. Thus, movement also appears in my visual art practice.

Seriality is a way of thinking about time and of introducing a certain narrative and sense of action into the work, while at the same time conditioning the viewer’s experience. It invites the viewer to try to decipher repetition as a kind of progression. I am particularly interested in more abstract forms of narrative. In this type of narrative, where there is no clear figuration, repetition begins to establish a pulse, a “beat” that marks the passage of time. What is interesting, I think, is the realization that repetition is not exactly duplication, and that what seems identical begins to mutate over time, through rhythm, or through its own unfolding history.

De la serie Naturaleza orgánica. Madera torneada recuperada de podas de sequía y rezagos de construcción. 2025.

You work with geometric and constructive systems. What role does geometry play as a symbolic language within your practice?

Geometry is present in my work in multiple forms and dimensions, generating different dynamics. Generally, I tend to put it into crisis, into tension. When one engages closely with my works, it becomes clear that constructions based on imprecise and unstable balance predominate. I am not interested in symmetry or exactness, but rather in a dynamic construction that proposes a situation. I do not conceive of geometry as a rigid system.

I believe this is where a bridge is established between the intuitive and the rational, between playfulness and engineering—those unexpected crossings. At the same time, geometry functions as a code, a language that connects us to a universal grammar present in nature, in fractals, and that undoubtedly refers to symbolism. It is there that an interesting portal opens, where the work begins to re-signify itself and becomes a process of meaning-making external to itself, entirely uncertain. The results of my works are not pieces that represent; rather, I believe they are pieces that transfigure and, in doing so, generate questions.

WIP. Madera torneada recuperada de podas de sequía y rezagos de contrucción. 2022.

To what extent do you plan your works, and how much space do you leave for the unexpected—or even for error?

In terms of planning, it depends greatly on the project and even on the day. Some projects, due to their scale or complexity, require careful planning, especially when they involve the participation of other people. In many cases, planning is undoubtedly essential.

That said, in the projects I do plan, I am always interested in leaving space for improvisation, where chance or the unfolding of the process itself can come into play. I believe this is where interesting things begin to emerge, and it is important not to let them pass by. Personally, I would find it very boring to work on pieces whose outcome I already know in advance. For me, the realization of each work is an uncertain journey; I do not know where it will lead, and I believe that is where its potential lies—not only for me, but also for the work itself and for the viewer’s experience.