Laura Vallés Vílchez

@lauravalvil

I curate projects in[ter]dependently 🤸🏽‍♀️ Co-founder of @editorialconcreta (Valencia, Spain) and CCA Senior Tutor at @royalcollegeofart (London, UK)
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Weeks posts
✨ En mayo, una figura clave del arte del siglo XX llega a Santander. El Centro Botín inaugura “Marisol: cuando todo está por comenzar”, la primera retrospectiva dedicada a los dibujos de Marisol Escobar. Conocida por su lenguaje único dentro del art pop y su mirada crítica y silenciosa, Marisol fue una artista adelantada a su tiempo, reconocida públicamente incluso antes que Andy Warhol. 📅 Desde el 23 de mayo 📍 Santander Una oportunidad para redescubrir a una de las figuras más enigmáticas y comprometidas de su generación. 👉 Comisariada por Laura Vallés Vílchez, esta exposición responde a una colaboración con el Buffalo AKG Art Museum; está coproducida por la Fundación Botín y MAC/CCB-Museu de Arte Contemporâneo y Centro de Arquitetura / Centro Cultural de Belém, Lisboa. . . . Marisol, Untitled,1961. Colección Buffalo AKG Art Museum. Legado de Marisol, 2016 (2023:114) © Estate of Marisol / VEGAP, Santander, 2026. Foto: Brenda Bieger, Buffalo AKG Art Museum @lauravalvil @buffaloakgartmuseum @macccb.museu
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19 days ago
Still thinking about this. Fandom remains a strange sociological phenomenon… it’s always fascinated me. At a time when identities are shaped by the pressures of social media, it feels striking that younger audiences are engaging with thinkers like Simone Weil, Ursula K. Le Guin and/or Chris Kraus, while holding on to questions of tradition, translation and complexity in response to this record. We’re living in an era of shrinking attention spans, where the literal and the representational dominate the contemporary moment. Beyond the misunderstood (and misfortunate) postmodern debates about “-isms” or questions of who can speak/from where, what this woman is developing feels genuinely worth following. I saw the show on Saturday, as did Pedro G. Romero, who—after working with Rosalía early in her career—is now preparing an essay for Concreta 27 (June 2026) on the research behind LUX. He’s considering a more critical angle: moving beyond the usual journalistic apotheosis to think through forms of collective institution in flamenco and its intersections with mysticism, understood not as individual escape but as something historically tied to alternative institutional processes. In that sense an in his words, Rosalía’s “pescaito” might just be the bait for rethinking all of this. Stay tuned! PS: somewhere in all this, I miss playing the piano... And yes, I took those pics - still have the photo eye 🤭
168 6
26 days ago
So grateful for the invitation to be part of this beautiful project after so many years of thinking together. Thank you @lolalasurt and @martarye for the trust, care and inspiring collaboration. Así da gusto. As always, it’s been a joy to contribute my text and share this journey with you all at @contemporaneacondeduque and under the care of @tiposmoviles @frenesi_finearts 🤍
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1 month ago
GPM EN ARCO | Pieza audiovisual (‘Enters meets Carmen’) que recoge el proceso de creación llevado a cabo por @yinkaesigraves y @lolalasurt , comisariado por @lauravalvil , durante ARTE VIVO 2025 💚 ‘Rumor de Grieta” se incluye dentro de la propuesta artística de Genalguacil Pueblo Museo en @feriaarco 2026 👏 📽️ @_.ritornelo - @miguel.angel.rosales #arcomadrid2026 #despoblacion #pueblomuseo #artevivo #genalguacil
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2 months ago
Beautiful day with friends in Palmera @todolicitrusfundacio . On the Mediterranean coast of Valencia, this incredible orchard is home to what may be the largest outdoor citrus collection in the world — nearly 500 varieties from twelve different groups. Biodiversity, amazing food, great company and art 🍋‍🟩🍋🍊
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2 months ago
New year, new beginnings and a fresh chapter in the sun. Grateful for this journey and the endless possibilities that lie ahead. Here’s to dreams taking root 🌱 Happy 2026, everyone!
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4 months ago
I only wish you could see these artworks in person - an absolute delight. If you find yourself in Lisbon, please do. Huge thanks to @rasmusnilausen and @jahnundjahn for inviting me to think, write and wander through your beautiful gallery space 🙏🏼 Here are a few words I put together for Table of Contents - an exhibition title that makes it all too easy to slip into the joyful, speculative rhythm of thinking about painting. It’s been a while, and I savoured every second: “There’s a kind of editorial tenderness in Rasmus Nilausen’s paintings — a recurring gesture of someone rearranging meaning mid-sentence, editing thought without erasing its first draft. Table of Contents is an exhibition that unfolds like a book, one that never stops adding potential new chapters: each painting seems to be an attempt to locate where perception begins and memory ends. The artist’s canvases, hovering between still life, allegory, and notation, are not so much statements as footnotes, that is, marginalia to the act of seeing. If painting once aspired to permanence, here it becomes a document of shifting sightlines. The ‘table’ in his title is both literal and structural: a compositional ground, a stage, and a metaphor for the editorial desk where fragments — fruit, brushes, language or ghosts of memory — are arranged into some provisional order. To edit, after all, is to care for the muddle without annihilating it.” Dive into the full essay here 👉 🗃️ Credits: Courtesy of Jahn und Jahn Lisboa | München, Carbonara Studio.
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5 months ago
Back in London after a few days in Santander celebrating 30 years of art research and production—through the creativity and sheer generosity of so many colleagues who were basically radiating inspiration from every pore. I had the pleasure of chairing a session with friends with whom I’ve collaborated in different curatorial and editorial ways over the years: Cabello/Carceller, pioneering collective in queer methodologies and practices; @leoserranorivas , embodied weaver of poetic choreographies; and @eli.cortinas , builder of counter-archives against technofascism and in favour of radical feminist positionalities—plural, and beautifully so. All recipients of the @centrobotin grant, reflecting on modes of production and methodologies that have endured almost two decades. It was also a joy to hear from and contribute alongside @agustin.perezrubio , Lara Almárcegui, @joanmorey and Carlos Bunga, who opened up the conversation to other creative and institutional challenges. I’m very grateful to the Botín Foundation (and of course to @barbararmunoz and @begona.guerrica ) who awarded me a scholarship ten years ago to research curating, a decision that ultimately brought me to London. My life would’ve been completely different without that support. Last year I was also invited to serve as a jury member, navigating more than 800 analogue applications in 48h. A tough but meaningful task: trying to argue for those who made the final cut, knowing how much chance and perseverance shape these processes. I’m glad I could offer feedback, especially around the hegemony of the exhibitionary and the need to make more room for collaborative, participatory, socially engaged and editorial practices that often sit at the edges of visibility in this context. Congratulations to all the recipients who just opened the show! Sharing a few quick snapshots of the wonderful work by @diego_delas , Eduardo Navarro and Nader Kochaaki in this post. Also congrats to @cookingsections for their powerful proposition Waves Lost at Sea and to @fluent_org for @reece.cox performance. I had a room with a view and ate tortilla, so I’m ready for the next step: Marisol: When Things Are Just Beginning!
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6 months ago
Feeling honoured to have been invited by @la____oficina and artist @carlafilipe_not_carle_felipe to write the essay for her exhibition ‘Expurgar papel: cadáveres, onde a memória coletiva ainda emerge’ (13 Sept — 23 Dec 2025). The text, titled ‘Saliva, Defiant Matter (or How to Flesh Out the Archive)’, accompanies a body of work that moves me profoundly — masticated archives, breathing memories, remains that refuse to disappear. Grateful to Carla for her trust and her brave, visceral work, and to the team at La Oficina for opening this space of shared thought and material. 📖 Spanish/English publication available at the space and online 🙏🏼
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6 months ago
PERFORMANCE | Como no podía ser de otra forma, dejamos en este vídeo el sonido ambiente para disfrutar de la performance ‘Carmen takes a break’ de la artista @yinkaesigraves 💃 Danza, flamenco, cuerpo, diálogo…que también tradujo en un taller para los vecinos y visitantes 👏 😜 #performance #artevivo #investigacionartistica #eventosocial #Genalguacil #Residenciaartistica #innovacion #Referente #rumordegrieta #ArtistResidence #pueblomuseo #despoblacion #genalguacilpueblomuseo
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8 months ago
I’ve just received these memorable photographs of Rumour of a Rift’s constituents and publics, taken by a researcher who is using the project as a case study for her thesis. She kindly shared them with us. I’ve intentionally resisted arranging them chronologically—to preserve the spontaneity and emotional rhythm they carry. Thank you, Ana 🙏🏼 @genalguacil_pueblo_museo @yinkaesigraves @lolalasurt 📷 Ana Pancorbo
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8 months ago
I am still here. More pics soon.
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9 months ago