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December 19, 2025

Miss Espacial 2025

Group exhibition @PLUTO, Valencia
November 22 – December 22, 2025

ANXEL ARIAS Silver Lining Materials: iron, 3D printing. Description: A series of metal sculptures reflecting on reconstruction, guided by the idea of the brightness revealed in metal when altered by plasma heat.

Borja Docavo – Blanca Santos – Sara Willa – Oscar Carretero – Anxel Arias – Parafeno – Mulak Mulak – Rasconse.

“ We are not in nature, but rather we are nature thinking itself. We are matter that feels, suffers, and desires.”

—Donna J. Haraway

This collective exhibition brings together the results of the artistic residencies proposed by Pluto, forming a corpus that explores the experience of life from the perspective of the body. As Byung-Chul Han states, “the body becomes the medium of experience.” Living is therefore understood as an act of experiencing the relationship between the being and the environment in which it coexists—between us and the rest, between our body and the collective body which, to borrow Haraway’s words, are two sides of the same coin.

In the work of the artists of the 3rd edition of the Miss Espacial grant, this desire to highlight vital experience appears as the leitmotif shaping their projects. Through installations, performances, and sculptures, they reveal how existence is felt, endured, and inhabited physically.

Despite their material and formal diversity, the pieces share an interest in the organic. Skin manifests in the canvases extending the flesh in Borja Docavo’s work, or in the cracked paraffin of Blanca Santos. The visceral pulses in Sara Willa’s intestinal assemblages and in Oscar Carretero’s work, situated on a threshold between emotionality and artifice. Light—whether as reconstructive plasma in Anxel Arias’s metal or as digital shimmer in Mulak Mulak’s ecosystem—converses with the penumbra of Parafeno’s recycled panels and the pictorial limbo of Rasconse.

Ultimately, these installations do not merely present bodies—they build spaces that make us aware of our own corporeal being, inviting us to inhabit the shared pulse of what is organic, fragile, and transformative in lived experience.

— Pablo Quesada

ANXEL ARIAS Silver Lining Materials: iron, 3D printing. Description: A series of metal sculptures reflecting on reconstruction, guided by the idea of the brightness revealed in metal when altered by plasma heat.
ANXEL ARIAS Silver Lining Materials: iron, 3D printing. Description: A series of metal sculptures reflecting on reconstruction, guided by the idea of the brightness revealed in metal when altered by plasma heat.
ANXEL ARIAS Silver Lining Materials: iron, 3D printing. Description: A series of metal sculptures reflecting on reconstruction, guided by the idea of the brightness revealed in metal when altered by plasma heat.
ANXEL ARIAS Silver Lining Materials: iron, 3D printing. Description: A series of metal sculptures reflecting on reconstruction, guided by the idea of the brightness revealed in metal when altered by plasma heat.
ANXEL ARIAS Silver Lining Materials: iron, 3D printing. Description: A series of metal sculptures reflecting on reconstruction, guided by the idea of the brightness revealed in metal when altered by plasma heat.
ANXEL ARIAS Silver Lining Materials: iron, 3D printing. Description: A series of metal sculptures reflecting on reconstruction, guided by the idea of the brightness revealed in metal when altered by plasma heat.
BLANCA SANTOS Everybody looks solid from the outside, but we all have a crack Materials: paraffin, net curtain, steel. Variable dimensions. Description: A reflection on the fragility and hardness involved in holding a shape together. A veiled presence, contained fragility, something on the verge of breaking but still maintaining itself. The crack becomes an opening where darkness escapes so that a ray of light can illuminate the viewer. Fragility becoming structure.
BLANCA SANTOS Everybody looks solid from the outside, but we all have a crack Materials: paraffin, net curtain, steel. Variable dimensions. Description: A reflection on the fragility and hardness involved in holding a shape together. A veiled presence, contained fragility, something on the verge of breaking but still maintaining itself. The crack becomes an opening where darkness escapes so that a ray of light can illuminate the viewer. Fragility becoming structure.
BLANCA SANTOS Everybody looks solid from the outside, but we all have a crack Materials: paraffin, net curtain, steel. Variable dimensions. Description: A reflection on the fragility and hardness involved in holding a shape together. A veiled presence, contained fragility, something on the verge of breaking but still maintaining itself. The crack becomes an opening where darkness escapes so that a ray of light can illuminate the viewer. Fragility becoming structure.
BLANCA SANTOS Everybody looks solid from the outside, but we all have a crack Materials: paraffin, net curtain, steel. Variable dimensions. Description: A reflection on the fragility and hardness involved in holding a shape together. A veiled presence, contained fragility, something on the verge of breaking but still maintaining itself. The crack becomes an opening where darkness escapes so that a ray of light can illuminate the viewer. Fragility becoming structure.
BORJA DOCAVO Cutting a Body Materials: painting on canvas, ropes, paint buckets. Description: A visceral pictorial installation composed of suspended and tensioned canvases. Paint acts like a wound or a vomit; fragments of bodies hang, fold heavily, float or separate. A crack invites the viewer inside, to rummage through blood and stain everything with a sad purple—intestines, flesh, giant eyes, and dense eruptions. A gesture of letting go, refusing to ‘learn’ in order not to stop doing.
BORJA DOCAVO Cutting a Body Materials: painting on canvas, ropes, paint buckets. Description: A visceral pictorial installation composed of suspended and tensioned canvases. Paint acts like a wound or a vomit; fragments of bodies hang, fold heavily, float or separate. A crack invites the viewer inside, to rummage through blood and stain everything with a sad purple—intestines, flesh, giant eyes, and dense eruptions. A gesture of letting go, refusing to ‘learn’ in order not to stop doing.
BORJA DOCAVO Cutting a Body Materials: painting on canvas, ropes, paint buckets. Description: A visceral pictorial installation composed of suspended and tensioned canvases. Paint acts like a wound or a vomit; fragments of bodies hang, fold heavily, float or separate. A crack invites the viewer inside, to rummage through blood and stain everything with a sad purple—intestines, flesh, giant eyes, and dense eruptions. A gesture of letting go, refusing to ‘learn’ in order not to stop doing.
BORJA DOCAVO Cutting a Body Materials: painting on canvas, ropes, paint buckets. Description: A visceral pictorial installation composed of suspended and tensioned canvases. Paint acts like a wound or a vomit; fragments of bodies hang, fold heavily, float or separate. A crack invites the viewer inside, to rummage through blood and stain everything with a sad purple—intestines, flesh, giant eyes, and dense eruptions. A gesture of letting go, refusing to ‘learn’ in order not to stop doing.
ÓSCAR CARRETERO LUCA (Last Unicellular Common Ancestor) Materials: resin 3D print, servos, Arduino, PVC. Description: A vulnerable animatronic suspended between the living and the mechanical, resting within an artificial ecosystem. A top light frames it with purity, touching the emotional and divine dimension of the artificial.
ÓSCAR CARRETERO LUCA (Last Unicellular Common Ancestor) Materials: resin 3D print, servos, Arduino, PVC. Description: A vulnerable animatronic suspended between the living and the mechanical, resting within an artificial ecosystem. A top light frames it with purity, touching the emotional and divine dimension of the artificial.
ÓSCAR CARRETERO LUCA (Last Unicellular Common Ancestor) Materials: resin 3D print, servos, Arduino, PVC. Description: A vulnerable animatronic suspended between the living and the mechanical, resting within an artificial ecosystem. A top light frames it with purity, touching the emotional and divine dimension of the artificial.
MULAK MULAK (collective formed by Nico Gay and Mateo Méndez) Feeding the Machine Materials: screens, melted plastics, 3D-print residue, recycled supports. Description: An interactive installation functioning as a speculative ecosystem in which the image digests its own residues and metabolises the material waste of digital production. and Leuconiquias Materials: wood, polymer clay, thermal insulation, polyurethane, bone. Description: A sculptural piece evoking the desire to empty the nails, clear the inner sky, and release what no longer flies. A poetic exploration of layers, fragility, and inner obstructions.
MULAK MULAK (collective formed by Nico Gay and Mateo Méndez) Feeding the Machine Materials: screens, melted plastics, 3D-print residue, recycled supports. Description: An interactive installation functioning as a speculative ecosystem in which the image digests its own residues and metabolises the material waste of digital production. and Leuconiquias Materials: wood, polymer clay, thermal insulation, polyurethane, bone. Description: A sculptural piece evoking the desire to empty the nails, clear the inner sky, and release what no longer flies. A poetic exploration of layers, fragility, and inner obstructions.
MULAK MULAK (collective formed by Nico Gay and Mateo Méndez) Feeding the Machine Materials: screens, melted plastics, 3D-print residue, recycled supports. Description: An interactive installation functioning as a speculative ecosystem in which the image digests its own residues and metabolises the material waste of digital production. and Leuconiquias Materials: wood, polymer clay, thermal insulation, polyurethane, bone. Description: A sculptural piece evoking the desire to empty the nails, clear the inner sky, and release what no longer flies. A poetic exploration of layers, fragility, and inner obstructions.
MULAK MULAK (collective formed by Nico Gay and Mateo Méndez) Feeding the Machine Materials: screens, melted plastics, 3D-print residue, recycled supports. Description: An interactive installation functioning as a speculative ecosystem in which the image digests its own residues and metabolises the material waste of digital production. and Leuconiquias Materials: wood, polymer clay, thermal insulation, polyurethane, bone. Description: A sculptural piece evoking the desire to empty the nails, clear the inner sky, and release what no longer flies. A poetic exploration of layers, fragility, and inner obstructions.
MULAK MULAK (collective formed by Nico Gay and Mateo Méndez) Feeding the Machine Materials: screens, melted plastics, 3D-print residue, recycled supports. Description: An interactive installation functioning as a speculative ecosystem in which the image digests its own residues and metabolises the material waste of digital production. and Leuconiquias Materials: wood, polymer clay, thermal insulation, polyurethane, bone. Description: A sculptural piece evoking the desire to empty the nails, clear the inner sky, and release what no longer flies. A poetic exploration of layers, fragility, and inner obstructions.
MULAK MULAK (collective formed by Nico Gay and Mateo Méndez) Feeding the Machine Materials: screens, melted plastics, 3D-print residue, recycled supports. Description: An interactive installation functioning as a speculative ecosystem in which the image digests its own residues and metabolises the material waste of digital production. and Leuconiquias Materials: wood, polymer clay, thermal insulation, polyurethane, bone. Description: A sculptural piece evoking the desire to empty the nails, clear the inner sky, and release what no longer flies. A poetic exploration of layers, fragility, and inner obstructions.
MULAK MULAK (collective formed by Nico Gay and Mateo Méndez) Feeding the Machine Materials: screens, melted plastics, 3D-print residue, recycled supports. Description: An interactive installation functioning as a speculative ecosystem in which the image digests its own residues and metabolises the material waste of digital production. and Leuconiquias Materials: wood, polymer clay, thermal insulation, polyurethane, bone. Description: A sculptural piece evoking the desire to empty the nails, clear the inner sky, and release what no longer flies. A poetic exploration of layers, fragility, and inner obstructions.
MULAK MULAK (collective formed by Nico Gay and Mateo Méndez) Feeding the Machine Materials: screens, melted plastics, 3D-print residue, recycled supports. Description: An interactive installation functioning as a speculative ecosystem in which the image digests its own residues and metabolises the material waste of digital production. and Leuconiquias Materials: wood, polymer clay, thermal insulation, polyurethane, bone. Description: A sculptural piece evoking the desire to empty the nails, clear the inner sky, and release what no longer flies. A poetic exploration of layers, fragility, and inner obstructions.
MULAK MULAK (collective formed by Nico Gay and Mateo Méndez) Feeding the Machine Materials: screens, melted plastics, 3D-print residue, recycled supports. Description: An interactive installation functioning as a speculative ecosystem in which the image digests its own residues and metabolises the material waste of digital production. and Leuconiquias Materials: wood, polymer clay, thermal insulation, polyurethane, bone. Description: A sculptural piece evoking the desire to empty the nails, clear the inner sky, and release what no longer flies. A poetic exploration of layers, fragility, and inner obstructions.
PARAFENO — CUERPO MATERIALS: Salvaged seed trays, suspended structure. DESCRIPTION: A physical installation composed of eleven suspended panels made from seed trays rescued from a landfill. Conceived during the Espacial Grant, its grid forms a constructed sky designed to absorb the noise of the world. Within its structure emerges the body of a hive-mind — an organism shaped by our signal-saturated era, given form to touch what would otherwise remain an abstract murmur.
SARA WILLA SlitherDripShake Materials: found objects, bacterial cellulose, clay, latex, synthetic rubber. Description: An installation that reanimates discarded materials as serpentine, dripping creatures evoking digestion and transformation processes.
SARA WILLA SlitherDripShake Materials: found objects, bacterial cellulose, clay, latex, synthetic rubber. Description: An installation that reanimates discarded materials as serpentine, dripping creatures evoking digestion and transformation processes.
SARA WILLA SlitherDripShake Materials: found objects, bacterial cellulose, clay, latex, synthetic rubber. Description: An installation that reanimates discarded materials as serpentine, dripping creatures evoking digestion and transformation processes.

Miss Espacial 2025

PLUTO, Valencia
November 22 – December 22, 2025

Artists: Borja Docavo, Blanca Santos, Sara Willa, Oscar Carretero, Anxel Arias, Parafeno, Mulak Mulak(Nico Gay & Mateo Méndez), Rasconse.

Curation: PLUTO.

Text: Pablo Quesada.

Photography: Nacho Errando.
All images copyright and courtesy of their respective authors, photographers and, where applicable, the gallery.

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