Bellas Artes, Universidad Complutense de Madrid, Spain



ARTIST:  Patricia S. Gracia Artero 

TITLE: La laguna salada más grande y demacrada de EuropaTECHNIQUE: Óleo y tinta sobre lienzo

Due to the eutrophication problems that the mar Menor has had for over thirty years, the lagoon is reaching limits never seen before. The accumulation of organic waste (mostly from nearby agriculture), uncontrolled urban planning, the cold drop and political unconcern, cause the proliferation of algae and other organisms that consume all the oxygen in the water and cause the death of thousands of fish in these waters. The solution must be quick and effective in order to avoid further damage to such a valuable nature.

ARTIST:  Mauro Hernández

TITLE: TOXFISH, TECHNIQUE: Técnica mixta sobre papelo. 30 x 40 cmTITLE: TOXFISH, TECHNIQUE: Técnica mixta sobre papelo. 30 x 40 cmTITLE: TOXFISH, TECHNIQUE: Técnica mixta sobre papelo. 30 x 40 cm

ARTIST: Miranda Pastor

TITLE: Acidificación: Blooms, Jellyfalls y vuelta a empezar (2019), TECHNIQUE: Óleo sobre tela, dos piezas de 50x 40 cm

The diptych focuses on the effects of global warming on jellyfish blooms. Although some studies claim that the acidification of water and rising temperatures in the oceans favor the generation of large masses of these animals, given the circumstances and the amount, they often lead to collapse. As a consequence, a large part of the individuals in the mass die, which after star to decompose. Several studies show that, from the decomposition, the pH of the zone is lowered and therefore the previous effects of the acidity are reinforced. Through these paintings, it is not pretended to represent jellyfishs as winners with acidification of the oceans, but as others among those affected. In other words, they are harmed likewise the general components of this network of bonds and dependencies the ecosystems are.

ARTIST:  Sam Cuadrado

TITLE: Climatic Alarm (Ocean Life Awareness) TECHNIQUE: Rotulador sobre papel

A través del lenguaje gráfico y, en concreto, del diseño de Anne Lund Smiling Sun, que sirvió como imagen de la lucha contra la energía nuclear desde la década de 1970, la obra se apropia de la estética nostálgica de las imágenes que nacieron como propaganda o como logotipos y que se convirtieron en iconos de la comunicación del siglo XX; estas son la excusa para alertar a la población sobre la pérdida de ecosistemas en los mares a consecuencia de la acidificación, articulándose así un vínculo entre la problemática a la que se enfrenta el movimiento ecologista en la actualidad y a las que hizo frente entonces en el siglo pasado. La configuración del mismo motivo dispuesto de forma repetida, como hizo Andy Warhol, recuerda a las tiradas de imprenta desde donde se generan y difunden este tipo de imágenes publicitarias, casi como si se tratase de pegatinas.

ARTIST:  Iñaki Van den Brule Roldán

TITLE: Pasado y presente subacuático
TECHNIQUE: Mecanizado y Fluidpaint, 2 relieves, 100cm alto x 70cm ancho x 10cm grosor.

El fondo marino como paisaje a representar. El pasado y presente de un medio que artística e históricamente no ha sido representado. Un medio que allí donde vayamos podemos comprobar las malas acciones de la humanidad. Acciones que perjudican gravemente a este medio y a nuestra propia existencia. En los últimos 50 años la degradación de los océanos, mares y de las especies que lo habitan ha sido la más devastadora desde la extinción de los dinosaurios. Los creadores debemos asumir la representación de este medio en nuestras obras para producir una concienciación del público y una cultura global al respecto en el futuro. Con estas dos obras se representa una interpretación de cómo era el fondo marino al sumergirse en él hace 50 años y como es en la actualidad. Pretendiendo concienciar al receptor de que como se ve el subacuatico en la actualidad no es lo normal. Y que en sus manos reside la acción de resolver este grave problema.

ARTIST:  Gabriela De Castro

TÍTULO:  Todo río llega al mar, TÉCNICA: Video, DIMENSIONES / DURACIÓN: Variables- 2:00 min

The comparison and relationship between the two types of images, creates a kind of “cartography” about the representation of the ocean through images taken from the Internet, along with the video of a river, that intervenes into the idea of ​​nature as something static, but which in turn is part of the same water system where everything is connected.

The river is the first contact that centralized cities have with the ocean, these rivers that cross large capitals are usually controlled and distanced from the idea of nature, thus putting a barrier between the human being and what is considered nature, as well as the representations that we see on internet about landscapes and the sea, that we end up enrolling in a universal view of landscape. The work raises the action of thinking from the local to the global and rethinking the vision of nature and the control that has been exercised over this representation through images.

ARTIST:   Edison Casamin

Título: SICD, Técnica: Escultura mixta espumaflex, ramas y pega, Dims 40cmx40cmx40cm.

While I make my daily journey to the university I always find different elements around me. I am always redefining my sculptures with the diversity and nobility of the material in a more solid state such as stone, marble, wood and iron, but this time I have decided to experiment with other materials of different composition. As an evolutionary selection, I have been collecting leaves that have come off the trees that are on my way to the Faculty of Fine Arts as I pass through the paths of the University. I select the largest sheets for my project, one by one, until I reach the sculpture workshop and the; I intervene, each sheet, which is manipulated and redesigned in its original form, while I make a new one; Creation granting sculptural character to these new forms and leaving them in their neo-natural state so that time and space do their daily work and just as the human being has done it through history because their intervention has only led us to the; Destruction of our fragile and irreversible ecosystem. This ephemeral sculpture is only a sample of the fragility of nature and as the human being with fervor to industry, technology and excessive consumption we have only led to its destruction.

ARTIST:   Bárbara Arcos Técnica

Título: A piece of ocean Escultura Dimensiones: 42,5x13x53,5cm

La sobrepesca, y es uno de los problemas actuales más incomodos para la industria pesquera, a su vez, es uno de los mayores problemas que favorece el impacto del cambio climático. Y es que el calentamiento del océano provoca la disminución de las poblaciones de peces, a lo que se incrementa con la existencia de una pesca y un consumo de la misma insostenible. Muchos sistemas de pesca como el de arrastre, no hace discriminación alguna a la hora de seleccionar la variedad de peces, lo que provoca la muert innecesaria de algunas de otras especies no utilizadas para el consumo y que son imprescindibles para la sobrevivencia de la vida acuática. Propongo un dispensador de peces en papel de plástico reciclado, un objeto cotidiano que utilizamos en el día a día, y cuyo consumo se establece durante continuos y pequeños espacios de tiempo.

ARTIST:   Carmen Sousa Martínez

The project is a two-part video installation that consits of a 49cm x 52cm poster and a 3 minutes and 17 seconds animation (with no sound) played on a TV screen. The piece intends to draw forth the problem of ocean acidification and how it affects the lives of the creatures that inhabit them, specially the negative impact on species such as the clown fish. Cientific researches have recently found out that decreasing levels of the ph of the sea could lead to negative consequences on these animals’ auditory and nervous systems that could cause desorientation and make them more vulnerable to predators. 

The animation represents, in and slow and unharry way, the apparent emptiness of the depths of the ocean while there is also an expressive use of color, like an x-ray. It’s a tongue-in-cheek representation of the image of a fish swimming aimlessly in a fish bowl that it is actually the ocean. The poster includes the title of the piece that has been intencionally avoided on the animation in orther to make it more visually effective when it is played on a loop. It is also a motionless representation of the same idea of emptiness and slow movement. 

ARTIST:   Víctor García Peco y Nerea Garzón Arenas

The project Foraminifera arises in the academic context for the subject Art, Science and Nature of the Master in Research in Art and Creation. The main objective is pedagogical. Through scientific dissemination by artistic means, foraminifera and the problems of climate change and acidification of oceanic waters are rigorously made visible in relation to them. In addition, the pieces are created in PLA (polylactic acid, a biodegradable material) so people with functional diversity can also appreciate them.

The representations are a series of three protozoa belonging to the order Foraminifera, modeled in monster clay, digitalized by photogrammetry and printed in white PLA for healthy specimens, and in transparent PLA with the corresponding deformations (carried out in the Blender software), product of the dissolution of the calcareous shell as a consequence of the acidification of sea water.

The project has been realized by the graduates in Fine Arts: Víctor García Peco and Nerea Garzón Arenas, tutored by Dr. Concha Herrero Matesanz, specialist in microfossils and belonging to the Department of Geodynamics, Stratigraphy and Paleontology of the Faculty of Geological Sciences UCM and Dr. Pablo de Arriba del Amo and Dr. José Carlos Espinel belonging to the Department of Sculpture and Artistic Formation of the Faculty of Fine Arts UCM. Being this a collaboration between both faculties.

ARTIST:   Mayka Rodríguez Jiménez

TÍTULO: Seabed, TÉCNICA: Grabado calcográfico. Punta seca, DIMENSIONES: Tamaño de la plancha: 30cm x 25cm

The engravings shown at this exhibition are inspired by the issue of ocean acidification and how this phenomenon affects the sense of smell in fish and cephalopods. If we think about the different problems our oceans are threatened by, pollution, overfishing, ocean warming and even eutrophication will easily come to our minds. There is however another alarming factor that is threatening all marine biodiversity, which, unfortunately, suffers from a lack of awareness due to an absence of information and visibility. The issue in question is the acidification of the oceans, which is caused by CO2 released into the atmosphere through the usage of fossil fuels. This CO2 is absorbed by the ocean, which creates carbonic acid. Protons are released through simple chemical reactions, which reduces the pH of the water and increases its acidity.

This phenomenon affects both unicellular microorganisms such as phytoplankton and multicellular organisms, for instance marine flora and fauna. In the case of fauna, the acidification process causes the loss of the sense of smell in fish and cephalopods (squid, cuttlefish and octopus). This makes them disoriented. Because of this, they are unable to find their way back to their shelters. It also leaves them exposed to predators: since they cannot smell them, they cannot notice their presence.
The aim behind these art works is highlight this environmental problem, in order to raise awareness in society of the high level of risk in which our oceans are together with the imminent need for a change in our interaction with the planet.

ARTIST:   Reyes Osb

Titulo: Los cocolitóforos en estado precario, Técnica: montaje fotográfico, y acuarela.
Dimensiones: 6 fotografías que estarán colocadas en fila horizontal, cada fotografía es un folio A4., la acuarela es un A3.

En el último siglo, los océanos han absorbido más de una cuarta parte del dióxido de carbono (CO2) producido por los humanos, así alterando la química del agua y estimulando la acidificación de los océanos, por otra parte, el aumento de las temperaturas provocado por el calentamiento global, ha contribuido a que la superficie del océano esté más caliente, originado grabes problemas para las especies. Los cocolitóforos es un grupo numeroso de fitoplancton calcificado el cual juega un papel importante en la regulación del clima de nuestro planeta. Estas algas ínfimas constituyen la base que sustenta la cadena trófica marina, la desaparición masiva del fitoplancton hace que dicha cadena trófica se en encuentre en precariedad, ya que el zooplancton no dispondrá de tanto alimento, lo que repercute al mismo tiempo en todos los restantes organismos marinos, y brotará una alerta peligrosa por el posible parón de la productividad de los océanos. Mi trabajo pretende evidenciar el proceso de destrucción de los cocolitoforos por el aumento de las temperaturas y también mostrar la importancia que tienen en la cadena trófica.

ARTIST:   Julián Barrale

We know less about what occurs at the bottom of the sea than what happens in space. That place, both so close to and so far away from humans, presents itself as devalued and inaccessible at the same time. We live in an increasingly polluted world as a consequence of our habits. Plastics, most of all, as many single-used waste products, are generated by our consumption system and the speed of our capitalist era.Our garbage has reached the most remote areas of the planet and, due to ocean

streams, has gathered to create the so-called “seventh continent” in the Pacific Ocean. The following drawings aim at making visible what is invisible as well as resignifying what exists under the surface as a fragile, mutating spot where junk uses up oxygen and wipes out purity. The remains of terrestrial life accumulate to break up subaquatic landscapes and construct monstrosities. Mythological beings appear to untie tangles, protect animals, collect rubbish and inhabit these environments that range from natural to artificial ones. We are the actors and the public of the unknown, brooding without seeing and ignorant of the depths

ARTIST: Nacho Limpo

TÍTULO: En caída libre TÉCNICA: Audiovisual DURACIÓN: 6 min 50 seg

An artificial intelligence, interactive cartographies, satellite views and 3D representations help to build this discourse on the current climate crisis, all from a non-anthropocentric prism, narrated by voices and looks of human and non-human entities. An approach to models of representation of the world that propose a new awareness of globality, ecosystems and the environment. Rethinking conventional ecological models inherited from modernity to reset them to a new territory, where the insertion of technocapitalist logic becomes a response against our own sustainability. Through different theories and images, which take the voice of NASA, Timothy Morton, a bamboo forest in Taiwan or EvieBot, this audiovisual essay tries to approach a format in which research and artistic production merge into a model only. 

ARTIST: MARÍA DOLORES MARTÍNEZ RODRÍGUEZ 

TÍTULO: AÉMONAS DE HUMO,  TÉCNICA: ESTAMPACIÓN EN RELIEVE Y TÉCNICA MIXTA, DIMENSIONES: 50 X 35 CM • DURANCIÓN: 15 HORAS

The sand on the ocean floor has a layer of mineral calcite from skeletons and shells that helps neutralize the acidity of CO2. This natural defence is beginning to disappear in certain hot spots of the North Atlantic, which means a progressive lack of oxygen for the seabed and its ecosystem. This fact could well be compared with the effect of air pollution on our own respiratory system. To put us in situation, I have taken as reference the cut of a bronchiolo suffering an asthma attack. The contracted walls of the muscle compress the airways; the increase in mucus and inflammation due to the segregation of chemical substances as a response of the immune system cause a greater narrowing of the muscles of the bronchial walls. Starting from the embossing as a tool for a more analytical study where we can observe the effects of pollution in our body, continued with a more distant approach from which we can appreciate the ravages of environmental degradation. The choice of paraffin as the predominant material is due to its translucency and the possibility of being able to dye it hot and intervene once it has hardened. Conceptually, the properties of paraffin make it deform in the presence of a heat source, coming to represent how the warmth of our actions causes a series of very damaging consequences for the environment on which we depend. 

ARTIST: Nahia Bedialauneta Coira

Esta propuesta se compone de un objeto y de una pieza audiovisual. Debido a la acidificación de los océanos, y en concreto al estado en el que se encuentra el mar Mediterráneo, los corales que se encuentran allí están sufriendo grandes degradaciones. Los corales comienzan por perder el color, su número se ha visto radicalmente disminuido y actualmente corren peligro de desaparecer si la situación no se toman medidas urgentemente. Esta propuesta hace referencia a esa desaparición. Tanto en el objeto como en el material audiovisual se realiza una degradación ficticia de un coral ficticio, evidenciando de este modo un proceso de disolución.

El modelo 3D ha sido diseñado por PRATRIK https://cults3d.com/es/modelo-3d/casa/coral-
lampshade. La impresión de la pieza ha sido realizada por Mateo Antonaya

ARTIST: Rodrigo Moreno Perez

TÍTULO: “PLATAFORMA”, NOMBRE DEL  TÉCNICA: MIXTA SOBRE PAPEL DIMENSIONES: 40 X 50 CM

One of the main reasons for pollution is caused through the extraction and use of oil.  More specifically, the oil platforms are responsible for exploiting large deposits of gas or oil, causing a serious impact on the seabed and the landscape, especially those that are close to the coast. Due to their main activity, oil platforms are prone to accidents that can cause loss of human life, oil spills and serious ecological damage. As a denunciation of the massive exploitation of the oil fields and the political, social, environmental and human repercussions, I have decided to carry out a pictorial work, in which the main image is an oil rig.

ARTIST: Elvia Andújar Espada

Artivismo es una palabra portmanteau que combina “arte” y “activismo”. El artivismo se ha desarrollado en los años recientes al mismo tiempo que las protestas en contra de la globalización y los conflictos armados emergieron y proliferaron. En muchos de los casos los artivistas tratan de empujar agendas políticas a través del arte. De todas maneras este no es arte político como se ha visto anteriormente, en el sentido de trabajos artísticos con tendencia política. El artivista se encuentra involucrado muchas veces en arte callejero o arte urbano, manifestándose en contra de la publicidad (adbasting – subvertising) y la sociedad de consumo. 

A partir de esta definición se ha forjado este proyecto. Es como un foco de intención de los paisajes cambiantes, los paisaje que creamos y destruimos ¿Cómo genero un paisaje? ¿Puedo trasportar un paisaje? La intención de conservación esta implícito y la idea esta fija en mi cabeza. 

Los paisajes son cambiantes , dependiendo de la mano del hombre. Por eso elegí una localización en la que estaban todo estos requisitos 

La siguientes imágenes son la localización elegida para realizar la propuesta, desde capturas del google map 

La siguiente localización es la situación donde se va a realizar el proyecto. Es conocido como “ El cortao” de Aranjuez, cerca de la playa de La Pavera. Estos lugares ya obsoletas debido a la contaminación de las aguas del rio. Tienen antecedentes históricos de la época de Felipe v. Zona de recreo y coto de caza para reyes, paso a ser del pueblo y un lugar de encuentro social para luego volver a ser abandonado y dejar que la naturaleza volviera a recuperar su habitad. No hace tanto que estas “playas “se dejaron de utilizar, mis padres guardan muchos recuerdos en cambio mi generación ya no fue al rio. La importancia de este rincón son todas las características que acabo de enumerar,por ello decidí que este paisaje debía conservase , como en un capsula del tiempo, un lugar donde pudieran verlo y recrearlo las futuras generaciones que lo conocerán de otra manera