La exposición reúne a artistas y diseñadores cuyas prácticas transdisciplinares se sitúan entre la arquitectura, el diseño y el arte contemporáneo. A través de trayectorias internacionales y enfoques críticos, sus trabajos proponen formas disruptivas de producir mundo, más allá de la representación. Concebida específicamente para Intermediae/ Matadero, la exposición no solo desarrolla el marco curatorial de MAYRIT 2026, sino que también activa las singularidades y el potencial propio del espacio expositivo. Museography: Daniel Holzl and Abie Franklin Sound design: Abbas Zahedi in collaboration with Dave Meckin Participating artists (12): Ece Canli, Adrià Julià, Lúcia Prancha, Hugo Canoilas, Adad Hannah, Daniel Holzl, Abie Franklin, Attila Richard Lukacs, Babak Golkar, Abbas Zahedi, POoR COLLECTIVE, and john gerrard Organized by: Intermediae Matadero With the support of: British Council, Batalha Centro de Cinema, The New Centre for Research & Practice, CEAA Centro de Estudos Arnaldo Araújo, Escola Superior Artística do Porto (ESAP) and Resucitadero

The installation proposes a physical and speculative translation of the lifecycle of industrialized materials, particularly wood in board form, through a narrative in which a series of sculptural entities unfold from inside the boxes containing them. Their journey progresses from an apparent organic emergence toward phases of increasing control, imposed order, and regulation, culminating in disintegration and chaos. Far from understanding this disorder as an external failure, the work sets it, from the notion of entropy, as an inherent consequence of the very systems that seek to optimize, predict, and contain matter. Thus, the installation suggests that materials retain a latent agency that resists their total assimilation into industrial, technological, or computational models, reemerging through deviation, rupture, and transformation. In this sense, Unboxing questions the contemporary belief in absolute control and posits that material life, even under the strictest production logics, always ends up exceeding the frameworks that attempt to contain it. Sponsored by: FINSA With support from: Delegación Valonia-Bruselas en España

Over the course of ten days at the Camper Foundation headquarters in Mallorca, participants from Spain, Switzerland, Brazil, Belgium, and France responded to a common brief exploring the relationship between chaos and conformity in their practices, as part of the tenth edition of CAMP, the foundation's residency program. The product design team developed prototypes and samples to investigate materiality, process, production, cultural references, and function, while the art direction team documented and contextualized the work's development. The result is presented at La Mosca, within Mayrit, as an open and processual exhibition. At its center is a binding station where the public can assemble their own version of the Caos Infinito! publication, freely collecting and ordering materials generated during the residency. Diseño Expositivo: Andrea Muniain Instalación sonora: Lolo y Sosaku Participants: María Alborés, Lena Bernasconi, Isabela Bueno, Iris Gerbex, Florentin Mathon, Rocío Rodríguez, Remy Rodríguez, Remy Rossier, Noah Stanley, Nacho Errando Supported, organised and sponsored by: Fundación Camper

Lazy Pot Society is an immersive installation exploring new forms of intimacy, consumption, and self-exposure in the post-digital era. Using everyday elements like the bed and the “lazy pot” (an electric pot popularized on TikTok), the project investigates “supermodels of domestic virality”: dynamics that transform personal routines into replicable, visible content. The installation recreates a hyperstimulated bedroom, traversed by screens, live streams, and consumer objects. During the exhibition, Lazy Pot Society by U-tad will take place; a live podcast broadcast from Bate Social Store, coordinated by U-tad, the official collaborating school of the exhibition. Conceived as an open conversation space, the session will address the impact of digital supermodels on Generation Z, bringing together U-tad students and Violeta Kausika Perez Hurtado, the installation’s author. Sponsored by: U-tad

Jardín de Hildegarda is an audiovisual proposal conceived as a speculative garden in motion. Drawing from the tradition of botanical atlases and historical herbaria, the project reinterprets these representational languages to transform them into an open field of fabulation, where the vegetal ceases to be a static classification system and becomes an expanded, hybrid, and contemporary ecology.

The proposal is situated at the core of “Supermodels” as infrastructures of domination that do not represent the world, but rather organize it for exploitation. Under the title IBEX36, in direct reference to the Spanish stock market index, the museum is absorbed as just another company: number 36. Its collection ceases to be heritage and becomes instead a store of value, ready to be activated, calculated, and speculated upon. By translating each object into a financial asset, the project renders visible the total logic of neoliberalism: nothing remains outside the market. Everything is measured, everything is compared, everything is sold. The fiction of culture as a protected space collapses in the face of a global economy that requires everything to be turned into a resource. In this scenario, scarcity is not an exception but a produced condition; wars, geopolitical tensions, and the energy transition are not isolated crises, but mechanisms that sustain access to materials. The algorithmic model does not denounce—it executes. It connects the museum’s objects to international markets in real time, subjecting them to constant volatility based on the weight and value of the materials from which they are composed. Thus, the museum ceases to conserve in order to extract, ceases to narrate in order to be traded. IBEX36 is not a critical representation, but the exposure of a system already in operation, in which culture has been definitively subordinated to the logic of accumulation. Curated by: Saúl Baeza (DOES WORK and Visions by) Graphic design: A Forest Works (Lara Coromina and Ana Habash) Technological development: Eliza Struthers-Jobin Sponsored by: Elisava Madrid With coordination and support from the Ministry of Culture

The TAKK installation at the CAMPER Serrano store explores, from the scale of furniture, the possibilities of wax as a prototyping material in a context marked by dependence on petroleum-derived materials and their environmental impacts. Through open, modifiable, and adaptable pieces—understood not as final objects, but as material experiments for post-petroleum scenarios—the incorporation of wax as a construction material seeks to expand the available palette toward closer, renewable options tied to biological cycles. Supported, organised and sponsored by: CAMPER

The proposal explores as a fundamental theme the concept of “model” from an etymological standpoint, that is, a cell from which an organism is generated. In the case of the MADRE installation, this cell is undoubtedly the single light point, composed of stainless steel mechanical parts, electrical cables, the LED, and the shell. This module, imperfect in itself because it is characterized by natural elements, multiplies and repeats hypothetically to infinity to generate the entire installation.

Paratypology: towards a scrap theory of form is a project by Antonio Frederico Lasalvia that investigates the relationship between craft and digital fabrication through leather sculptures made from Moroso leather scraps. Using parametric systems, the project generates families of unique objects rather than standardized pieces, questioning industrial models based on repetition. Inspired by the distinction between “model” and “type,” it proposes a rereading of production processes where variation and contingency take center stage. The pieces reveal the tension between geometry and material, offering an alternative to contemporary (super)models by positioning difference as value, in dialogue with a publication that expands its theoretical and conceptual framework.

Over the course of ten days at the Camper Foundation headquarters in Mallorca, participants from Spain, Switzerland, Brazil, Belgium, and France responded to a common brief exploring the relationship between chaos and conformity in their practices, as part of the tenth edition of CAMP, the foundation's residency program. The product design team developed prototypes and samples to investigate materiality, process, production, cultural references, and function, while the art direction team documented and contextualized the work's development. The result is presented at La Mosca, within Mayrit, as an open and processual exhibition. At its center is a binding station where the public can assemble their own version of the Caos Infinito! publication, freely collecting and ordering materials generated during the residency. Diseño Expositivo: Andrea Muniain Instalación sonora: Lolo y Sosaku Participants: María Alborés, Lena Bernasconi, Isabela Bueno, Iris Gerbex, Florentin Mathon, Rocío Rodríguez, Remy Rodríguez, Remy Rossier, Noah Stanley, Nacho Errando Supported, organised and sponsored by: Fundación Camper

The project explores the relationship between teaching practice and professional practice in architecture and design. To this end, faculty whose work connects to exhibitions or object-based research have been invited to present a representative piece from their practice. Likewise, each teacher has selected works by current or former students that establish a dialogue with their own piece. The exhibition is structured around these groupings, highlighting how methods and approaches are transmitted and transformed across generations. Within the framework of (Super)Models, the project understands teaching as an active model that operates through variation rather than replication.

Dance Swarm Optimization, by Andrea Muniáin, presents an installation that scenographically physicalizes a vector graph. Specifically the one used to represent in (x)(y)(z), the so-called Particle Swarm Optimization (PSO) algorithm. In the installation, the ‘apparent’ computational logic is set aside to become a traditional dance, in an attempt to highlight the relationship between algorithms and rituality. Andrea depicts PSO as a dancing theater of winged figures. This algorithm is part of the Swarm Intelligence Algorithms, which aim to replicate the behavior of animals such as birds, wolves, cats, butterflies, shrimps, whales, or roosters, transforming it into mathematical code. Through this process, Dance Swarm Optimization reveals the modeling logic of the algorithm’s worldview: to observe, recreate, and repeat. The song accompanying the dance is the one used by the Navarrese dantzaris of Duguna folklore in the zinta-dantza. The dantzaris dance around a pole with braided ribbons, thanks to a rotational movement. This dance weaves and unweaves, actions that, according to tradition, seek to herald a good destiny. Dance Swarm Optimization offers its own “small theater of the world,” as Frédérique Aït-Touati might say, seeking to reconcile our relationship with computation through a simple mechanical gesture, an automatism moved by the rituality of dance.