Manifesto Terricola DEM Holographic Installation
Solimán López
Description
DEM, short for Digital Elevation Model, is an immersive installation of Manifesto Terricola. It gives the project a body you can enter, stand inside and listen to.
In an isolated room filled with artificial water-based haze, a three-dimensional laser projection draws the glacier of Svalbard in the air, where an ear is introduced alongside other visuals, including a 3D version of the ear. The holographic terrain hangs in the haze and can be read from every side, a speculative vision of the ice rather than a documentary one, built from the same data that runs through the wider work. As the light moves, the orography stretches and contracts, and the ground appears to breathe.
A composition made from recordings of real glaciers in their own decomposition fills the space, turning the cracking and dripping of ice into a score. A video projection completes the installation. It unfolds the argument of Manifesto Terricola alongside graphics that set out the conceptual logbook of the work, the reasoning that takes a text written into synthetic DNA and buries it inside a glacier at the top of the world.
Affiliations
Spanish Embassy
CREDITS
Institute for Future Technologies
Bioprint: Gwendoline Roote
Bioinformatics: Javier Forment
Solimán López
Solimán López is a contemporary artist whose practice operates at the intersection of art, science, technology and ecological transition. His work investigates how information, memory and life can be stored, transmitted and transformed across physical, biological and digital systems, using technology as both a conceptual and technical mediator. Through environmental DNA, AI, data visualisation, blockchain, sound and immersive installations, López develops poetic and critical works that make the invisible visible: genetic traces, planetary data, non-human forms of memory and the hidden processes of contemporary technology.
His research addresses key issues of our time, such as ecological transition, digital sovereignty, biodiversity preservation, posthuman identity and the politics of data, and he frequently works in collaboration with scientists, laboratories and research centres. He is recognised for a conceptual, critical and aesthetic use of technology, where technological tools are inseparable from their cultural and ethical implications.
He has exhibited in more than 20 countries across Europe, the Americas, the Middle East and Asia, in museums, biennials, fairs, scientific forums and public spaces, including international contexts such as the Brazilian Digital Art Biennial, Ars Electronica, ISEA, and institutions such as the Centre Pompidou, Museo de Arte Contemporáneo de Chile, MAAT Lisbon and the IVAM. He also actively collaborates with scientific forums such as Xpanse, as well as with more than a dozen universities internationally.