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 travesías infinitos y corrientes intemporales/ infinite crossings & timeless currents,  2019-2024

For a spatial artistic intervention centered around the phrase "The future is migrant” questioning the fixed, linear framework of time imposed by western thought, where the future is seen as a distant point to be reached or attained. Instead, this work imagines the future as something inherently migrant—not fixed in place, always moving, shifting, and escaping the rigid boundaries of linear time. By claiming “the future is migrant" this intervention resists the teleological notion that the future lies ahead, waiting to be constructed along a singular path of progress. Like migration itself, the future is not confined to a specific destination or predictable trajectory. It exists in a constant state of flux, moving between spaces, histories, and possibilities. In this sense, even the future itself may be sturbbon enough not to stay in the future of linear time as proposed and forced upon us as the only valuable framework for perceiving time and creating futures. Just as what is named migration involves crossing borders and territories, the future crosses temporal boundaries, defying the conventional narrative that time moves forward in a straight line. The future is always in transit, never anchored to a single moment, and refuses to conform to predetermined pathways of what is named progress in time. And yes, me as an artist and living matter I reject the idea that the future is something to be 'achieved' in a linear manner. Instead embracing multiple temporalities that coexist and intermingle, allowing for migrant futures that are cyclical, relational, and unpredictable and everlasting. Reclaiming the “future” as a space of movement, multiplicity, and potentiality—where new temporalities can emerge outside the constraints of ‘western progress narratives”. This intervention not only critiques the rigid boundaries of linear time but also celebrates the migratory nature of both people and futures, imagining a worlds where temporalities are as diverse and unpredictable as the movements of those who traverse them.

travesías infinitas y corrientes intemporales/infinite crossings & timeless currents is an installation that challenges the stigmatization of migration by asserting that "the past," "the present," and "the future" are inherently migratory. The piece declares, "the future is migrant," which challenges the barriers and systemic inequities imposed by nation-states, perpetuating unequal treatment of the right to migrate and the unfulfilled rights of all inhabitants for equal rights to cross borders. The installation features carrier objects with narrow apertures, each with a phrase "Occupado Pensando" (Occupied Thinking) repeating itself. These objects suggest an interior space concealed from view , inviting the recipient to imagine its contents and contemplate its im_possibilities. Each object is inscribed with a letter from the statement "the future is migrant." The artwork urges a reexamination of the "migration narrative," advocating for its recognition as a fundamental, enriching, and legitimate aspect of human existence. Shifting the narrative from "the future is female" to "the future is migrant" desires to amplify our understanding of migration, integrating it into multiple and pluriversal narratives of the present and future. The piece celebrates in resisting to highlight the inherent strength, energy, and experience associated with the migratory process, encapsulating and radiating  a power that no one can remove or stop.

UNBURY TOMORROW: Against the Normalisation of War is a variable installation
composed of printed micro-essays (multilingual, free for circulation), a portable analogue television
(Tele Star 4004, late 1980s), a telescopic antenna, a white textile, plastic and electricity.

The installation is variable in scale, approximately 250 × 130 × 120 cm.

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UNBURY TOMORROW: against the normalisation of war, constitutes the second public occurrence within
Chimeric Embassy of Cosmic Concerns (2025–2028), a semi-nomadic research project initiated by Mirjam Kroker.
The project unfolds through invitations from institutional, semi-institutional, and independent spaces,
forming temporary assemblies and shared inquiries.

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UNBURY TOMORROW: against the normalisation of war unfolds from the recognition that war is not an exceptional rupture of order, but a recurrent power logic through which order itself is produced and maintained. Historically, war has structured the world through cycles of conquest, destruction, repair, reconstruction, and renewed militarisation. These cycles are reproductive. They generate infrastructures, industries, political vocabularies, and aesthetic regimes that stabilise power while rendering violence necessary, manageable, and legitimate.

Within this logic, war does not need to declare itself. It operates as an atmospheric condition—shaping perception, affect, and time. Its visual languages are deeply sedimented: images of damage, restoration, resilience, and post-conflict repair circulate with strong aesthetic force. Contemporary art and critical practices are not outside this economy; they are often drawn into reproducing its grammars, even when opposing its outcomes.

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UNBURY TOMORROW does not seek to counter this condition with alternative images or representations. Instead, it acknowledges the persistence of this power logic and withdraws from its modes of production. The work refuses the aesthetic operations through which war renders itself intelligible, 'attractive', and culturally operative. The installation consists of multiple elements arranged horizontally. None of them functions as a centre. This lack of hierarchy is deliberate. Centrality reassures; it stabilises meaning. It mirrors the logics of targeting, focus, and command that structure militarised perception. By refusing a centre, the work resists the comfort of orientation and the expectation that meaning must be anchored in a dominant object.

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A portable analogue television, Tele Star 4004, is present among the elements. Designed for terrestrial signal reception, the device no longer receives any broadcast. Its screen flickers continuously, producing electronic noise without legible image. The words UNBURY TOMORROW are handwritten directly onto the glass surface. This flicker is not an absence of image, but an image rendered unreadable. The refusal to repair or replace interrupts the familiar cycle of damage and restoration—a cycle deeply aligned with the temporal logic of war, in which destruction is followed by repair, reconciliation, and renewed violence. By remaining unresolved, the device withdraws from productivity, resolution, and narrative completion.

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Attached to the television’s telescopic antenna is a white cloth. The configuration frequently evokes the image of a flag. This reading is neither accidental nor corrected. It functions as a moment of exposure. The immediacy with which the cloth is perceived as a flag reveals how deeply perception is trained by sovereign and militarised aesthetics—how quickly fabric, elevation, and visibility are associated with territory, allegiance, and security politics. The cloth, however, is not a flag. The antenna is not a flagpole. The antenna no longer receives signals; it does not transmit messages or claim ground. It has been repurposed into a support without function or designation. In this misrecognition, viewers might encounter their own habituation to the aesthetic value of power and the visual attraction of war’s ordering forms.

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Equally present are the micro-essays, printed in Spanish, English, and Spanglish, and currently being translated into Arabic and Hebrew. These texts are made available for free circulation. They do not explain the installation. They move alongside it.

Their circulation from hand to hand, rather than from screen to screen, follows a different historical logic of transmission. Hand-to-hand circulation is slow, contingent, and relational. It depends on proximity and trust rather than speed, scalability, or control. It resists the militarised infrastructures of contemporary media, which privilege surveillance, optimisation, and algorithmic reach. The texts do not produce visibility metrics, data traces, or stable archives. Circulation here is understood as companionship rather than dissemination.

UNBURY TOMORROW does not name an alternative condition or offer a reconciliatory horizon. Instead, it opens a field of questioning:


How might perception be loosened from militarised habits of seeing?
How might language be relieved from the pressure to justify, secure, or stabilise?
How might one begin to live otherwise, without transforming uncertainty too quickly into answers?

These questions are not posed from a position of certainty. They are part of the work’s own hesitation. The installation does not instruct; it attends. It remains with the difficulty of recognition, with the unease of not knowing how interruption might look or feel.

In this sense, UNBURY TOMORROW operates as an insurrection at the level of perception—not through confrontation, but through attentiveness. An insurrection that does not overthrow, but subtly disorients; that does not declare, but circulates; that does not resolve, but stays present with the conditions that make resolution appear necessary.

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