Lex Wolf  reverses the narrative tradition of wolves as mythological otherness and malevolent figure and proposes the listener a corporeal experience in the form of an Audiowalk. A lone foreigner she-wolf speaks about borders and bodily frontiers. These new multispecies stories are about fear of hybridization, gene introgression or buffer zones and lead the geopolitical trade redefining wilderness and its possible borders.    Listen the Audiowalk here (please use headphones):  https://soundcloud.com/nieves-de-la-fuente-334147369/lexwolf-loud     Documentation by Pascal-Marcel Dreier
 Temporary open space scent intervention and installation  Mixed media: unknown wolf’s urine, glass object, paper    The scent will be refreshed everyday before the gallery’s opening times    In the European human fable tradition, encounters with wolves are a topos of fear, with often severe consequences for the wolf. Wolves live a hidden life, trying to hide their big ears, big mouths, and their unrestrained hunger, until getting expelled from the human geographies.  The Unfrightened  adopts a non-human perspective where narrations and boundaries are led by odours, giving the insentient almost magical dynamics.Wolf’s urine will be sprayed in different corners of the square in front of the exhibition space everyday before opening hours. Visitors can buy an edition of the perfumed stripes.
  Live feature performance from the chamber music hall in Deutschlandfunk by Nieves de la Fuente Gutiérrez, music by Raffael Seyfried.   With: Nieves de la Fuente Gutiérrez , Claudia Mischte, Kerstin Fischer, Daniel Berger, Jean-Paul Back, Ilse Strambowski, Susanne Flury, Volker Niederfahrenhorst, Carlos Lobo & Robert Dölle  Sound technicians: Christoph Rieseberg, Daniel Dietmann  Director: Anna Panknin and Hanna Steger  A village transformed by mining in the midst of a hostile landscape: using virtual reality and sound, Nieves de la Fuente plays with the image of a place in between sci-fi and the documentary, industrialization and nature or auto-induced alien-ess.  The Andalusian village of Minas de Riotinto differs from all the other villages in the area, as mining has been practiced here for almost 5,000 years. The village was already completely demolished once and moved to another location, due to the importance of the extracted metals. Today, almost all the old mines have closed, but in 2016, one of them was put back into operation because of the commodity prices' rising.  The ongoing exploitation of the soil has created an empty, barren, red-colored landscape around Minas de Riotinto. "Mars landing in Riotinto" traces this development on a "red river" (Riotinto) - with the help of the people who live there and have participated in it. On the other hand, the artist shows us in this feature that nature does not give up her territory without a fight...  At the Cologne Congress 2018, the author will present a VR and sound installation for the audio track of the feature, live in the Deutschlandfunk Chamber Music Hall and in the Deutschlandfunk radio program. The production is based on an artistic installation  "No habrá servicio los domingos ni en cumpleaños de la Reina Victoria" .
 Sound performance based on introspective, deep, bare tones that are a translation of the sound captured by contact microphones incorporated to a sculptural modules. These modules will act as instruments activated by the interaction with self designed 3D printed “claws” inspired by the metal subculture.  We use the elements and symbols from the subgroups of the subcultural metal scene as instruments on stage, that as part of an aesthetic, have lost their original “purpose” to feed a new symbolic reason to be.  As an artistic duo,  Raffael Seyfried  and I, both interested in music (also metal music), new media and materiality we are rethinking this objects not only as aesthetic containers, but also as actors/instruments. In our praxis together we have always been interested on translation between the spatial, haptics, resonant and sound fields.  The sound process of the piece is defined by multiple intertwined feedback loops forming a network of emerging chaos. These feedback networks are violently interrupted by the other specially created sculptural sound objects which are being struck with metal claws by the performer. The resulting vibrations are picked up by contact microphones. The sound process is implemented as a patch on a modular synthesizer system. The patch consists of three main elements: distortion, reverberation and delay. These are configured in such a way that they feed into each other and feed back into themselves. One of the more unique ways in which sound is treated in this work is the frequent translation from the electronic into the physical realm and back. Sound is not only fed from the physical sound objects on stage into the electronic synthesizer but also inside the synthesizer the signals are fed through multiple physical springs. In this way the sound takes on an organic and unpredictable quality.  Posters for the event, Containerklang #9 BRUTAL in Artheater Cologne by  Johnny Riesgo , documentation by  Andreas Keller
 The exhibition "Bridge" provides an insight into the collections of (extra)terrestrial research in recent years. In her observations of landscapes and mission simulations Nieves de la Fuente Gutiérrez shows materials and testimonies from the preoccupation with past and future places, landscapes characterized by transformative-terrestrial actions, rediscovered as memories in their own imaginary.  In dialogue with  Karin Lingnau , Nieves de la Fuente Gutiérrez constructs the image of a research station as a display of different formats of fictional and factual entanglements. It presents textures and artifacts, collected and considered again, extracted from the original habitat, reset, in booklet, text, image, sound.
 For this second work in the series “Topologie in 2 Medien” the artist Raffael Seyfried and I decided to scan the gallery room in Baustelle Schaustelle in Essen. We captured the tracks of the previous exhibition in the gallery and created a 3D impression of the space.  As it has been in the first work of “Topologie in 2 Medien”, for us was important to create some kind of communication between two different representation systems, sound and 3D. Thanks to its digital structure, the code of the 3D object that was the room, allows us to develop a program that transforms the coordinates of every point into different parameters of a sound. The sound tries to modify again the three-dimensional structures and in this process the room starts to vanish. This will be repeated until the communication between both is not possible anymore and the program breaks down.
 In this project I produce objects that are able to be part of two worlds. These are objects that seem to be obtained in a lab research. Inspired in the form of Petri dishes I recreate an environment for growing bacterias where actually no bacterias are involved and the aim of the investigation is not to obtain useful information about/for the world, but to produce something beautiful. I try to stay critical with the pictures that "decorate" the scientific research, we believe in what they tell us. I like to think that something such as scientific photography doesn't exist as an independent genre, but it is a part of the so called arts and involved in a system of beliefs.
 Origamazing! is an application created on processing that reflects on the transformation or translation from text into an object, a 3D object. The process of translation starts with the understanding of the structure of 3D data. Every point that builds the object is placed on space, being its position described by 3 coordinates, X, Y, Z. Every point exists just in the virtual space, like the one that is created between the speakers in a conversation, where the words that are already said, live.  Through the writing of different words and constellations of sentences, 3D objects fold, floating in the digital space. In this project I think of the moment in which the common language, or slang and scientific language meet. By scientific language I mean the one from the computer, with a closed structure of numbers and coordinates where poetry has no place to be. When they meet, a conflict is created, a tension for the position-in and possession of the room provided.
 “A robotic voice sounds from the receiver of a classical telephone. A letter is recited, written by Hugo von Hofmannsthal as his alter ego Lord Chandos to Francis Bacon in 1902.  A video installation composed of three screens shows early twentieth century recordings - short sequences of a coach journey, a river, and a landscape reminiscent of England. Hofmannsthal retreated to the British province to understand the language of nature and escape the confusion of his occupation with language and literature. A few seconds later, the black and white image starts to flicker, colorful codes run across the screen. Just like when fast-forwarding a videcossette, and the needed data is not rendered in time, the clips show contortions, flickers and pixels in foreign colors.  In her work FEHLERFAKTOR the young artist Nieves de la Fuente Gutiérrez generates glitches in the rendering processes of analog and digital data.  A hex-editor-Software allows her to view the collected data and to access their inner structure. similar to biology, de la fuente Gutiérrez understands the digital image as a system with a phenotype and genotype. She decoded the genotype of the three video clips of fehlerFaktor and inserted the code into a text. This second text is also a letter with the title “an lord Chandos, ein Fax aus der Zukunft (To Lord Chandos, a fax from the future)” written by Durs GRünbein in 2002. In this letter to hofmannsthal’s alter ego he addresses the natural changes of language in the course of time.  The errors in FEHLERFAKTOR originate from a misinterpretation of data are determined by the system and can be compared to a mistake that occurs in a translation of literature or a misinterpretation of a daily situation due to unfamiliar parameters.  The artist creates errors and glitches that provoke and challenge the viewer’s perception. The work addresses the dificulties and sheer endless possibilities of interpretation of the complex digital system  (...)” Julian Schneider
 Imaginarium is a work related with the idea of producing fake astronomical pictures in order to place them in the private sphere.  We believe in the pictures that show us the new discoveries of humanity because we do not own the instruments needed to produce these pieces of evidence. What we own, on the other hand, are the tools to produce those pictures, not in a documentary, but in an artistic way. I just make use of the “sientific themes” in photography to re-think it as an ornament.
 This project is a collaboration with the artist Raffael Seyfried that we developed during an artist residency in Montepulciano, Italy.  It is a game based on the different structures of language. We play with the unpliable physic form of an “analogic” rock, that stays there for ages, uttering inaudible murmurs of History. This rock was found on the walls of Montepulciano and has been translated into its digital form to gain a malleable structure which makes it fold in the room.  As it starts to fold, so it starts to sound, so you can listen now the mute speech of the rock.