Ventana Projects
Ventana Projects (Berlin, Madrid)
Ventana Project is an independent gallery that began in Berlin and is currently expanding its activities in Madrid. Coordinated by Roberto Rivadeneira, Aquiles Jarrín, and Irving Ramó, it rethinks contemporary art exhibition practices through mobile structures, commercial display windows, metro stations, and residencies, creating connections between art, the city, and the viewer.
It also maintains more permanent spaces in Berlin and Madrid, while retaining a critical approach to the white cube and cultural institutions, positioning itself at the intersection of the conventional and the experimental.
Proposal
Ventana Project presents a booth built as scaffold: raising the exhibition space itself and
forcing the viewer to climb in order to see the work.
The project sits at the intersection of industrial production and artistic process, asking to what
extent art functions as a system that produces objects for consumption in the same way
industry does. It is a reflection on what labor means today, on the artist as worker, and on
exhibition-making as a form of production.
At the same time, the scaffold points beyond the factory: its structure echoes forms found in
nature, framing industrial process as one more reflection of the systems we build and inhabit.
The booth becomes both subject and method, a structure that stages the questions it raises.
Their practice revolves around the creation of interfaces and situations that probe the sensitive relationships between body, space, and object. The experience of discomfort, fragility, and ambiguity informs their research into the taming of social, natural, and built environments. This approach, intimately linked to the contexts in which their interventions take place, generates performative activations and installations that combine textiles, objects, photography, drawing, video, and artist books.
Working from a condition of in-betweenness, their interest lies in the effects produced at the junction of concepts that are somewhat polarized. Depending on the project, antinomic intersections emerge between private/public, comfort/discomfort, personal/interpersonal, interior/exterior, objectivity/subjectivity, veiled/unveiled, awake/asleep, and animate/inanimate.
Within their presentation contexts, the sculptural devices take the form of body extensions (prostheses, membranes) or spatial extensions (surfaces, compartments) and are activated through public performances, in situ interventions, or collaborations with participatory audiences. These bodily actions—wearing, deploying, attaching, moving—imbue the sculptural objects with a living character. Movement emerges as an active agent of physical and psychological transformation.
The sensory qualities of these experiences open up intuitive and somatic potentials linked to the intelligence of gesture, from which vulnerability, empathy, and affect emerge. In this sense, their work explores the sensitive manifestations of a plural, circular, and interconnected sense of togetherness.
Sofía Alazraki was born in Buenos Aires, Argentina, in 1991. Trained as an art historian and holding a postgraduate degree in furniture design, she further developed her education through numerous workshops and artist-led seminars, building an independent artistic education and practice.
She currently lives and works in Madrid as a photographer, art director, and video artist. Her professional work focuses primarily on communication and advertising within the fields of fashion and technology.
In 2026, she presented a performance with Bárbara Sánchez Kane at Performance Space New York, in collaboration with Kurimanzutto gallery. She was also invited as an artist-curator to the Boisbuchet Museum in France to develop its annual exhibition, working with the collection of Alexander von Vegesack, founder of the Vitra Design Museum, among other institutions. She has been invited to teach at FADU (UBA), Boisbuchet (France), and IED (Spain).
In 2025, she published Fortuna y Fetiche, a photobook created in collaboration with Bárbara Sánchez Kane, commissioned by Kurimanzutto (Mexico) and Dashwood Books (New York), and accompanied by an exhibition in New York. That same year, she was invited to lead a workshop at Boisbuchet. The workshop, Infinite Games, explored the animation of objects, giving them new meanings and forms of agency. She was subsequently invited to develop an exhibition drawn from the Boisbuchet collection for summer 2026. In 2024, she presented two solo exhibitions, in Buenos Aires and Tbilisi.
Raised by a Deleuzian psychoanalyst, her practice emerges from a deeply autobiographical investigation. From her childhood spent in analysis, through her previous work as a meditation guide and yoga teacher, to her current practice in visual communication, her research unfolds as a centerless system in which objects connect in multiple directions.
Paco Ladrón de Guevara Rodríguez
Paco Ladrón de Guevara Rodríguez (Granada, 1997) is a visual and performance artist whose practice investigates the boundaries between installation, drawing, video, and dance. He graduated in Fine Arts in 2018 and subsequently pursued an independent education in dance in Brussels and Berlin, later working professionally as a performer with Aura Dance Theatre (Lithuania) and Ballet Pforzheim (Germany). Since 2022, he has developed his practice as a freelance artist, currently living and working between Madrid and Stuttgart, while presenting his work across cities in Spain, Germany, Italy, and Switzerland.
His recent production moves between site-specific performance, cinema, and new stage technologies. In 2025, he premiered MENTIRAS, a stage work created under the LASOLADRÓN label, and Autopsy of a Soft Wreck // Bby Cnt U See?, a site-specific performance for CURRENT Festival (Stuttgart/Barcelona). That same year, he presented PEGAJOSO, his latest solo exhibition at Künstlerhaus Stuttgart, a multidisciplinary project combining installation, an opening performance, and a DJ set.
In 2026, he directs Can I Pet That Dawg?!, a piece created in collaboration with Irene Moina that incorporates a Unitree Go quadruped robot, as part of the European program Digital On Stage. The work has been presented at MMMAD Festival (Madrid), La Térmica (Málaga), and Kilowatt Festival (Sansepolcro).
His current visual practice focuses on creating physical works that combine materials such as beeswax, metal, and burnt glass. These materials are manipulated to produce images rooted in photography and drawing. He is currently developing a new series that deepens recurring themes within his research: the oral cavity, the tension between the liquid and the fluid, and explorations of air and wind in relation to the body.
Alongside his artistic practice, Paco works as an educator, leading workshops in movement, contemporary drawing, and professional performer training in Spain, Germany, Lithuania, and across Asia, including Hong Kong, China, and Taiwan.
Mariona Berenguer lives and works between Berlin and Barcelona. She graduated with honors from the Massana School in Barcelona and received the Extraordinary Award from the University of Fine Arts of Barcelona. Berenguer’s practice spans a wide range of materials and techniques, primarily articulated through sculptural and installation-based works. With a critical and poetic gaze, she takes conflict as a point of departure, exploring fundamental tensions within human experience such as desire, loss, and identity. In recent years, her work has focused on investigating how labour -now moved to the center of human consciousness – shapes creative processes and the value and belief systems underlying them. Her work has been presented in numerous international solo and group exhibitions, including cities such as Barcelona, Lisbon, Chicago, New York, Berlin, Flensburg, Milan and Paris.
