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2025

OPEN CALL

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OPEN CALL

Open Call: Submit Your Creative Proposals
Date: May - August 2025

We Are Looking For:

  • Artists, curators, or collectives interested in showcasing exhibitions, installations, performances, or research-based projects.

  • Innovative and experimental proposals that engage with space, materiality, or audience interaction.

  • Projects that foster discussion, exchange, and exploration of new ideas.

How to Apply:
Please send an application including:

  • Project proposal (max. 500 words)

  • Portfolio or website link

  • Technical requirements (if applicable)

  • Preferred dates (between May/August)

Submit your application to: seelabprojectspace@gmail.com
We look forward to seeing your ideas come to life at See Lab!

more information

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En par. - Ch.I ——— dusk

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En par. - Ch.I ——— dusk

Solo Exhibition: En par. Ch.I ——— dusk
Artist: Renata Mirón
Date: 14-16 February, 2025
Opening hours:
Opening: February 14, 17:00 - 20:00 H
Exhibition hours: February 15-16, 12:00 - 18:00 H

About:
From February 14 to 16, SeeLab hosts En par. Ch.I ——— dusk, a solo exhibition by Renata Mirón. This installation delves into the concept of duality—the coexistence of contradictions, the movement between opposites, and the equilibrium that emerges from tension and transition.

Guided by intuition and curiosity, Renata explores duality through myth revisioning, addressing the absence of nuance in gender ideology. Drawing inspiration from feminist reinterpretations of Mesoamerican and European pre-patriarchal cosmologies, she weaves seemingly unrelated narratives together in an attempt to break free from the patriarchal gaze.

Through clay sculpture and water fountains, she shapes botanical and mythological figures, their voices entwining stories of hope and ruin. En par. Ch.I ——— dusk reflects on resistance to ecocide and the rise of fascist politics, with water serving as a portal—an animate force connecting all species and their myths into a shared reality.

Renata’s ongoing research into form is deeply rooted in the methodology of repetition, a practice inherited from her background in textile production. Through repetitive gestures in clay, she continues to push the boundaries of material exploration over long durations.

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