The Mira Son digital art festival will open its 9th edition on November 5th with a larger, broader and more diverse program than in previous years. We enter an unknown and surprising field where disciplines coexist in a space designed for experimentation and innovation of the latest generation.

Robert Lippok & Lucas Gutierrez, “Non-face” (frame) (image via berlinerfestspiele.de)

For this festival, the concepts of 360º video art, immersive full-dome project, accelerated electronic music or light installation take on a holistic meaning that mixes and merges all the techniques to generate a new result, alien to the daily understanding of art and not suitable for classicists. The agenda is full of performances, conferences, screenings and lots of music.

Among the most outstanding contents, it is mandatory to talk about the cycle of screening in the MIRA Dome, a structure installed in the patio of the Fàbrica de Creació designed for 360º videos in which five selected pieces will on show. The staging is designed to offer an immersive experience that collapses the senses. For this reason, image and sound go hand in hand in these projects, many of them created thanks to the collaboration of visual artists with sound artists.

"Elektra" is a work that reflects on the passage of time and the relationship between past and present, with a piece produced by the Metahaven design studio and music by Kara-Lis Coverdale. On the other hand, the visual creator Lucas Gutiérrez has allied himself with the sound artist Robert Lippok for his work “Non-face”, where a sensory game between the credible and the hypothetical in our tangible reality is considered. A similar collaboration is that of "Realness", an artwork that invites to experiment with new ways of life other than human life, the result of the work of the digital artist Sandrine Deumier and the composer Myriam Bleau. Jordi Massó dares with a futuristic proposal, "Smartzombies", where our daily life is almost supplanted by technological gadgets. Finally, “Xpansion” stands out, a piece inspired by the constant expansion of the universe and some of the lastest astronomical concepts such as dark energy, created by the V.P.M. study, one of the winners of the Open Call of MIRA x Hangar.

Gabriela Prochazka, “Galaxy of Stars (Kiss Me)” (image via gabrielaprochazka.com)

We must also highlight the space dedicated to audiovisual installations, where digital art becomes the protagonist. Among the foreign guests is Audint (collective founded in 2008, with European artists) with his multisensory work "Obsidisorium" and Rick Farin (USA) with "Breach Act". In the national production are the students of Elisava with “Alice”, and the installation “Dualismo” of the artist Carlos Sáez, one of the greatest representatives of Spanish digital art who has already exhibited at the MoMA and the Whitney Museum in New York.

The festival promises innovation, lasers, DJs, electronic music, technological art, criticism of the social state, audiovisual symbiosis, and endless experiences where there is also space for reflection and exploration on the future of contemporary creation.

ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. PERFORMANCE CYCLE X ART MADRID'26

Art Madrid, committed to creating a discursive platform for artists working within the field of performance and action art, presents Abierto Infinito: lo que el cuerpo recuerda, a proposal inspired by Erving Goffman’s ideas in The Presentation of Self in Everyday Life (Amorrortu Editores, Buenos Aires, 1997).

The project unfolds within a theoretical framework that directly engages with these premises, conceiving social interaction as a stage of carefully modulated performances designed to influence others’ perceptions. Goffman argues that individuals deploy both verbal and involuntary expressions to guide the interpretation of their behavior, sustaining roles and façades that define the situation for those who observe.

The body — the first territory of all representation — precedes both word and learned gesture. Human experience, conscious and unconscious alike, is inscribed within it. Abierto Infinito: lo que el cuerpo recuerda departs from this premise: representation inhabits existence itself, and life, understood as a succession of representations, transforms the body into a space of constant negotiation over who we are. In this passage, boundaries blur; the individual opens toward the collective, and the ephemeral acquires symbolic dimension. By inhabiting this interstice, performance simultaneously reveals the fragility of identity and the strength that emerges from encounter with others.

PERFORMANCE: ALTA FACTURA. BY COLECTIVO LA BURRA NEGRA

March 4 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.

"Discipline for Power.” Performance by La Burra Negra for Displacement of the Congress of Deputies by Roger Bernat. 2025.

Alta Factura subverts the conventional structure of the fashion runway to foreground the often-invisible processes that underpin artistic production. Through a series of conceptual textile works, the performance draws attention to the discipline of craft and the artist’s vulnerability, ultimately revealing those seams typically consigned to the margins, behind the scenes.

Colectivo La Burra Negra.

ABOUT EL COLECTIVO LA BURRA NEGRA

La Burra Negra is a nomadic performance art collective based in Málaga, founded in 2024 following its first residency in Totalán. The group is self-managed by Ascensión Soto Fernández, Gabriela Feldman de la Rocha, Sasha Camila Falcke, Sara Gema Domínguez Castillo, Sofía Barco Sánchez, and Regina Lagos González—six artists from diverse backgrounds and trajectories who met at the Hospital de Artistas at La Juan Gallery.

The collective brings together practitioners working across jewelry, painting, the performing arts, music, dance, cultural mediation, and arts management. Its activities include an annual residency in Totalán, the production of performative works, cultural mediation initiatives, and site-responsive interventions.

Since its inception, the collective has participated in the Periscopio series at La Térmica; presented A granel at the MVA in Málaga; carried out a number of actions in Totalán—the most recent during its second annual residency—and contributed its own proposals to the performance Displacement of the Congress of Deputies by Roger Bernat in Madrid.

At the core of La Burra Negra lies a commitment to collective creation and the exchange of knowledge. United in their effort to experiment with and disseminate performance art, the group explores the invisible dimensions of artistic labor—its temporalities, efforts, and relational dynamics, which so often remain unseen—as a form of critical affirmation.

Their practice emerges from dialogue and shared reflection, in the pursuit of decentralized spaces where art can be experienced and its processes made visible. Each residency and each action becomes an attempt to inhabit creation collectively, challenging conditions of precarity while fostering networks of care and collaboration that sustain both their own practice and that of those around them.