CREATION & PRODUCTION
Feréstegues. A Radical Editing Fanzine (Konvent, 2025)
Feréstegues is a fanzine created for the Art+Feminism Edit-a-thon held during the A Love Supreme festival (Konvent de Cal Rosal, August 2025), with the support of the Wikimedia Foundation. Conceived as a radical and affective guide for feminist editing on Wikipedia, the fanzine combines critical reflection, practical tools, and resources for both new and experienced editors on the use of ChatGPT for critical editing. It builds on a central idea: editing is an act of love and resistance, a way to undo silences and dispute collective memory.
The fanzine offers advice on how to detect and create articles, examples for translating or improving content, strategies for responding to patrollers, and a reflection on the critical use of artificial intelligence in editing processes. It also denounces Wikipedia’s structural biases and questions supposedly neutral concepts such as notability, verifiability, and neutrality, showing how these often operate as barriers to feminist, community-based, and dissident knowledge. The publication embodies the spirit of the feréstegues—rebellious, creative editors—who turn the encyclopedia into a battlefield and a shared memory site, and anticipates its future adaptation into essay form.
Les Flors sóc jo / Miratges i flors. Converses probables amb Mercè Rodoreda (Konvent, 2024)
This performing and digital arts project investigates the creative potential of artificial intelligence and deepfake technologies to reimagine the work of Mercè Rodoreda and bring it into dialogue with her readers. Drawing on floral and landscape references from novels such as Broken Mirror, a language model was trained to mimic the author’s style and generate imagined conversations with her. The aim was to explore how technology can open new ways of engaging with text and play, while reflecting on the intersections between literature, nature, and technology.
The first presentation took place in residence at Konvent (Berga, 2023), with the installation Les flors sóc jo. The space, conceived as a floral altar, combined books, fresh flowers, and the projection of a deepfake Rodoreda reciting a ChatGPT-adapted version of Richard Brautigan’s poem All Watched Over by Machines of Loving Grace. This text was transformed through Rodoreda’s own words and combined with the sound of my son’s fetal heartbeat, building a bridge between body, memory, and technology. The piece invited audiences to imagine what a probable dialogue about flowers and landscapes with one of Catalonia’s most important authors might look like.
Acción Política y Design Justice. Fanzine (2019)
The fanzine Political Action and Design Justice was created within the framework of the Barcelona City and Science Biennial (2019), during a citizen science and public policy hackathon. Edited by Liquen Data Lab, this collective document compiles protocols, recommendations, and frameworks for applying the principles of design justice theories and methodologies to various fields: culture, mental health, sexual health, mobility, and technopolitics. The event brought together feminist collectives, researchers, and institutions to critically rethink how design systems reproduce structures of domination (heteropatriarchy, white supremacy, colonialism, and capitalism) and what strategies can counter them.
The result was a set of sector-specific decalogues, understood not as closed solutions but as starting points for feminist political action. The fanzine argues that design must be participatory, collaborative, and radically situated, placing affected communities at the center of the process. The experience transformed an open venue into a safe, intersectional workspace, bringing care and lived knowledge to the heart of the debate. This project consolidated Liquen Data Lab’s position as a reference point in connecting citizen science with data justice from a feminist, critical perspective.
Art+Feminisme Barcelona Edit-a-thons (2018 - 2025)
Since 2018 I have organized and coordinated Wikipedia edit-a-thons with a gender perspective as part of the global Art+Feminism initiative, with the aim of reducing the encyclopedia’s gender gap and giving visibility to cis and trans women, non-binary people, feminist movements, and artistic practices. Over the years, different editions have been held: at Sala Apolo in Barcelona (2018 and 2019), focused on new technologies and urban music; an online gathering during the pandemic (2020), dedicated to contemporary art and urbanism; and more recently at Konvent (2021 and 2025), focused on the performing arts, with a special emphasis on sound art in the latest edition. These events have consolidated themselves as collective spaces for creation and learning, combining technical training in editing with critical reflection on who writes history and how shared knowledge is constructed.
The accumulated impact includes over 64.5 million words added, nearly 200 new references, 183 edited articles, 43 created, and 49 uploads to Wikimedia Commons, with more than 91 million visits to the resulting articles. This work is rooted in a long-standing issue: as early as 2011 the Wikimedia Foundation reported that fewer than 10% of editors were women, and the Community Insights survey of 2024 showed that thirteen years later, female participation had only risen to 14%. In this context, edit-a-thons are an essential tool to make absences visible, build community, and bring feminist and dissident narratives into one of the world’s most consulted knowledge archives.
Stage Production (2012–2015)
Between 2012 and 2015 I collaborated with creators and performers who were transforming approaches to opera and the baroque repertoire by introducing new visual and dramaturgical languages. This period began during my Master’s in Music as an Interdisciplinary Art at the University of Barcelona, where I met stage director Rafael R. Villalobos. From our personal and professional relationship emerged a series of projects marked by an innovative vision within a sector often perceived as conservative.
My role focused on audiovisual and multimedia support, the production of visual materials, and, in some cases, assistant direction. Among the most notable projects were A Welcome Guest (2012), a micro-opera for a solo performer inspired by Purcell’s Dido and Aeneas; Noye’s Fludde (2013), premiered in Wiesbaden as part of the 7th Europäische Opernregie-Preis by Camerata NuovA; I Dilettanti (2014), created with countertenor Xavier Sabata and inspired by his family history; and Dido and Aeneas, a Hipster Tale (2015), presented at Teatro Real with dramaturgy by Villalobos and audiovisual projections produced by Ellen James. These projects opened opera to new audiences and demonstrated the potential of visual and digital arts to renew a historically rigid genre.
Sarajevo Winter Festival (curation, 2011–2012)
The Sarajevo Winter Festival is one of the Balkans’ most emblematic cultural festivals, founded during the siege of Sarajevo in the 1990s as an act of cultural and political resistance. Between 2011 and 2012 I was invited to participate as curator and producer, bringing around twenty Spanish and Catalan artists to the city. This work involved selecting photography and audiovisual proposals, as well as logistical coordination and ongoing dialogue with the local organization.
Beyond presenting works, my participation helped establish a cultural and political bridge between Barcelona and Sarajevo, reinforcing ties of solidarity and shared memory. This exchange consolidated Sarajevo as a key place in my creative and research trajectory, linking art with memory, politics, and the reconstruction of communities after conflict.
Folk Song / Cançó Popular (documentary, Sarajevo Winter Festival 2011)
Folk Song (Cançó Popular) is a mid-length documentary reflecting on how oral traditions can become forms of collective memory in times of war and post-war. The project combines interviews, archival footage, and sound material to build a collage of voices and stories about the conflict in Bosnia and Herzegovina. Through testimonies from journalist Plàcid Garcia-Planas, photojournalists Guillermo Cervera and Sandra Balsells, and Ibrahim Spahić—director of the Sarajevo Winter Festival—the film pays tribute to those who have sought to narrate the complex identities of post-war Europe.The premiere took place in February 2011 at the Sarajevo Winter Festival, a venue charged with cultural and political symbolism: the same stage where Susan Sontag directed Waiting for Godot during the siege of the city, and where Jean-Luc Godard recorded his masterclass for Notre Musique. In this context, Folk Song functioned both as a tribute to Bosnia and its cultural resistance, and as a vindication of folk songs and oral narratives as living archives of collective memory.
Learning from the Soulseekers (Magnum Workshop, Barcelona 2010, commissioned by IEFC)
This audiovisual project emerged during the Magnum Workshop held in Barcelona in 2010, organized by the agency Traffic. Assistants to photographers Chien-Chi Chang, Bruce Gilden, and Chris Steele-Perkins—three major names in international documentary photography—asked them about their creative processes and methodologies. From that dialogue came Learning from the Soulseekers, a piece that captures the transmission of knowledge between generations and reflects on what it means to observe, narrate, and document the world through images.
The project was produced by Ellen James and commissioned by the Institut d’Estudis Fotogràfics de Catalunya (IEFC), which incorporated it into its audiovisual collection. The piece highlights the voices of assistants rather than only those of established figures, challenging traditional authorship hierarchies and recognizing the role of collective processes in artistic creation. This work set a precedent in my trajectory, where documentation and memory are not just objects of study but also shared creative practices.
Ellen James (2009–2019)
Ellen James (2009–2019) was a cultural production and research collective focused on curatorial experimentation, critical storytelling, and collaborative creation. As co-founder and creative director, I led multidisciplinary projects in the performing arts, audiovisual media, and education, with a strong emphasis on feminist approaches to memory, identity, and digital culture. Core activities included artistic direction and cultural curation, developing concepts and creative strategies, producing multimedia campaigns and live events, as well as research and teaching in new media, performance, and visual narratives.Over its decade-long trajectory, Ellen James developed projects ranging from participatory performances and documentary productions to educational programs and digital campaigns, exploring contemporary culture and social justice from a transdisciplinary perspective. Highlights include collaborations with Magnum Photos, the Sarajevo Winter Festival, Teatro Real (Madrid), Camerata Nuova (Germany), Wikipedia, and the The Will to Leave Center (Vietnam). Among the most notable projects were the production of the contemporary opera Dido and Aeneas – A Hipster Tale and collaborations in international cultural festivals and institutions.