On September 7 in Barcelona, the luminous exhibition “Nature’s Voices” opened at VASTO’s innovative and intimate gallery space. Meticulously curated by Marion Guggenheim, Nicolas Dewavrin, and Carmen Riestra, the factory-turned-house and gallery immerse visitors in a group presentation of 13 tremendous artists. Commencing with the labyrinthine ties between nature and humanity, the forward-thinking show rejoices in Mother Earth’s splendor and perpetual evolution, as well as confronts its fragility and the overwhelming harm inflicted upon its majesty.
“Nature’s Voices” deftly echoes this year’s edition of Manifesta, the European Nomadic Biennial held in Barcelona, and its evocative themes of Balancing Conflicts, Cure and Care, and Imagining Futures. By uniting multi-generational creatives, a sweeping conversation ensues on the profound give and take between nature and the human imagination. The exhibition’s own themes of Materials and Resilience, Otherness and Reconciliation, Wounds and Alliances, as well as Landscapes and Desires, invite the rich exploration of artists such as Berta Blanca T. Ivanow, Bianca Biondi, Théo Mercier, and Adrian Geller within a myriad of disciplines.
Whitewall had the opportunity to speak to Guggenheim, Dewavrin, and Riestra about embracing Barcelona as a creative lens, embodying the link between man and nature within VASTO, and enhancing that sense of awe with works that provoke deeper reflection.
WHITEWALL: What was the starting point for “Nature’s Voices?”
MARION GUGGENHEIM: The idea for “Nature’s Voices” came to us when we learned that this year’s edition of the Manifesta 15 Biennial would be held in Barcelona. The theme of the biennial was particularly inspiring, aligning with many of the ideas we wanted to explore. Both of us with Nicolas also have a deep affection for Spain—having lived there myself a few years ago, I felt a personal connection to the country. We thought it would be fascinating to create a curatorial project influenced by the city of Barcelona, using it as a lens to explore our relationship with nature and ecology.
NICOLAS DEWAVRIN: After our exhibition in Paris with Marion, we wanted to quickly set up a new project. Like Marion, I have a special relationship with Spain. Having Spanish origins, I have a particular interest in this artistic scene. Moreover, the first exhibition that I mounted was in Madrid in 2020 on the influence of surrealism in contemporary artistic practice. I also produced an exhibition in Paris on the contemporary Spanish art scene in 2023. With Marion, we were very inspired by the theme of Manifesta which led us directly to the realization of a project in Barcelona.
“We thought it would be fascinating to create a curatorial project influenced by the city of Barcelona, using it as a lens to explore our relationship with nature and ecology,”
Marion Guggenheim
Installation view of “Nature’s Voices” exhibition, photo by Cecilia Díaz Betz, courtesy of VASTO gallery.
WW: How did you connect with Carmen Riestra for the show?
MG & ND: Last June in Paris, we co-curated “Body Symphonies,” a group show on the theme of movement and dance. The show was very well received and gave us the impulse to set up another one straight after the summer. In the calendar of major artistic events, Manifesta kicked off in September in Barcelona. We immediately thought of Carmen Riestra. We had been following her work and admired her program, so it felt like a perfect match. The idea of creating a dialogue between her artists and those we wanted to present came naturally. Plus, her space aligned beautifully with the exhibition’s theme and the curatorial vision we had in mind.
WW: How has the location and site of the show in Barcelona impacted the curation?
CARMEN RIESTRA: Acknowledging the strengths of VASTO—an old factory transformed into a house and gallery—its light-filled, spacious atmosphere and distinctive structure have shaped the curation. With no division between private and public areas, the entire space becomes a seamless walk-through experience. The uninterrupted layout allows the exhibition to adopt different configurations and showcase various formats, reinforcing the gallery’s philosophy of not limiting itself or the artists. This becomes especially clear in the works of Charlotte Thrane, Théo Mercier, and Nohemi Perez.
ND: The choice of exhibition space was very important to us. We were looking for a location and a curation directly linked to the themes addressed by Manifesta. This year, Manifesta addresses urban planning issues in depth. Urban planning directly involves human activity and the transformation of the environment. This transformation directly impacts nature and the way in which it develops. Poblenou is a historic industrial district in Catalonia and allowed us to illustrate our point. The brutalist and minimalist space of Carmen offered us the opportunity to materialize this close link between man and nature in the exhibition space.
“The brutalist and minimalist space of Carmen offered us the opportunity to materialize this close link between man and nature in the exhibition space,”
Nicolas Dewavrin
Installation view of “Nature’s Voices” exhibition, photo by Cecilia Díaz Betz, courtesy of VASTO gallery.
Diverse and Meaningful Artistic Interpretations of Nature Unfold in Barcelona
WW: Works by 13 artists are on view. What kinds of artistic practices were you drawn to for this show?
MG & ND: For this show, we wanted to showcase a wide range of media to highlight diverse artistic interpretations of nature. We were drawn to the immersive quality of large-scale paintings by artists like Fabien Conti, Nohemí Pérez, and Sequoia Scavullo, which pull viewers into expansive natural landscapes. The materiality of sculptural works by Guillaume Bouisset, Théo Mercier, and Bianca Bondi added a tactile dimension, bringing nature into a three-dimensional form. Meanwhile, the figurative works by Clément Bataille, Guillermo Rosas Sanchez, and Adrian Geller evoke a sense of intimacy and mystery, offering more personal and contemplative engagements with nature. Together, these varied approaches create a multifaceted dialogue on the theme.
CR: The curatorial approach revolved around the ongoing dialogue and personal perspectives and lived experiences each artist brings to themes of nature, ecology, and sustainability. We were drawn to each artist’s individual viewpoint. The exhibition pushes the boundaries of tactile installations, ceramics, and mixed media, offering different perspectives on form, shapes, and the evolving relationship between society and nature.
“The curatorial approach revolves around the ongoing dialogue and personal perspectives and lived experiences each artist brings to themes of nature, ecology, and sustainability,”
Carmen Riestra
Installation view of “Nature’s Voices” exhibition, photo by Cecilia Díaz Betz, courtesy of VASTO gallery.
WW: What kinds of questions around nature are you seeing these artists ask?
MG: The artists are raising complex questions about nature’s resilience, beauty, and the tension between destruction and renewal. For example, Bianca Biondi’s metaphorical submersion of Venice raises questions about civilization’s fragility and how nature can both destroy and preserve through processes like fossilization. Théo Mercier’s suspended shell sculptures examine the tension between softness and resistance, while Fabien Conti’s tangled lianas and metal nets raise questions about industrial forces and nature’s capacity to resist entrapment. Guillermo Rosas Sanchez, on the other hand, probes into the often violent relationship between humans and the land, revealing the deep impact of human intervention.
Creating a More Intimate Interaction Between Art and Audience with “Nature’s Voices”
WW: The space is so beautiful—with an almost lived-in quality. There are works on the floor, hung from corners, etc. How were you thinking about the installation and exhibition design?
CR: The idea behind the design was to blur the lines between a traditional gallery and a lived-in
space. Since VASTO is both a house and a gallery, we wanted the works to feel integrated into the environment, as if they naturally belong there. By placing pieces on the floor, hanging them in unexpected corners, or using the space more fluidly, we’re encouraging a more intimate interaction between the viewer and the art—almost like discovering these works in someone’s home rather than a formal gallery setting. It creates a more personal, intimate experience.
“The idea behind the design was to blur the lines between a traditional gallery and a lived-in space,”
Carmen Riestra
WW: How do visitors move through the show?
MG & ND: We imagined an evolution in the exhibition itinerary that begins with an ode to nature, the first part depicts nature in its raw state and shows how it lives and develops without any interaction with humans.
This is nature as we might have imagined it before the age of the first humans. Then we wanted to show the beginning of man’s intervention in nature and the harmonious or conflictual cohabitation that can be established between them. Finally, we’re looking at the consequences of this coexistence and tackling more political, ecological, and sustainability issues.
WW: And the way artists like Guillaume Bouisset add in elements, such as light?
ND: Through the use of light, Guillaume adds a spiritual dimension to the exhibition. He considers the light as a physical representation of the soul. These material sculptures illustrate a portal to this spiritual energy at the origin of life, like an energy that emerges from darkness. Furthermore, plants and nature need light to develop, grow and survive. This is why we placed Guillaume’s sculptures near the plants; in order to transcribe this idea in the exhibition space. Nature needs this light to live and grow.
Berta Blanca T. Ivanow’s Award-Winning, Site-Specific Artwork Offers Profound Insight
WW: Are any pieces in the show site-specific?
CR: Berta Blanca T. Ivanow’s installation at the exhibition “Nature’s Voices” is a compelling site-specific piece that offers a profound insight into the artist’s creative process. The installation includes an artist’s book and features notebook sketches and designs from her project Shifting Landscapes, revealing the inner workings of her mind. Through a meticulous assembly of handcrafted elements such as seeds and bones, each piece represents a tangible manifestation of her ideas and inspirations. Rather than serving as mere prototypes or sketches, these components form a cohesive narrative, offering an intimate and accessible glimpse into the evolution of her artistic vision.
The project won First Prize in the SIS.REGEN Competition, organized by AJAC, Palau Robert, the Mies van der Rohe Foundation, and the Barcelona City Council, as part of the 2024 Architecture Weeks.
Installation view of “Nature’s Voices” exhibition, photo by Cecilia Díaz Betz, courtesy of VASTO gallery.
A Dialogue Between Artists from Different Generations in “Nature’s Voices”
WW: You have work by younger artists, as well as from older generations, like Nohemi Perez and Charlotte Thrane. Can you speak to the conversation we see between generations in the show?
MG: In this exhibition, we intentionally sought to foster a rich dialogue between artists from different generations, bridging the gap between emerging talents and more established figures. This approach not only deepens the curatorial narrative but also allows for a dynamic exchange of perspectives, techniques, and concerns across time. By juxtaposing younger artists alongside those with longer-standing practices, we can highlight both the continuity and evolution of artistic themes, particularly in how they address nature, materiality, and human impact on the environment.
CR: The younger artists in the show often focus on personal experiences and the emotional complexities of modern life, reflecting on society’s evolving relationship with nature and self-works like Sequoia Scavillo, Guillermo Rosas or Valentina Maggiolo ́s. However, a common thread across both younger and older generations is an optimistic outlook on how society can progress. Both groups, despite their differences in experience and approach, envision a positive transformation, whether through environmental sustainability, material innovation, or a more mindful engagement with the world around us.
Another key element in this dialogue is the endless exploration of what materials can offer. You see it in Guillaume Bouisset or Bianca Bondí ́s. Both generations push the boundaries of materiality—whether through organic or industrial forms, unconventional shapes, or diverse formats. This exploration reflects a shared curiosity and drive to discover new possibilities within their work, adding another layer to the conversation between them
“A common thread across both younger and older generations is an optimistic outlook on how society can progress,”
Carmen Riestra
Installation view of “Nature’s Voices” exhibition, photo by Cecilia Díaz Betz, courtesy of VASTO gallery.
WW: What kind of feelings, thoughts, and impressions do you hope visitors experience? Leave with?
MG & ND: First, we want to express our gratitude to Carmen for providing such a beautiful space. We aimed to enhance that sense of awe with works that provoke deeper reflection.
Beyond the visual impact, we hope visitors leave with a lingering sense of connection to the environment and an awareness of the critical issues we face today, especially regarding environmental impact and sustainability. We want visitors to leave with a sense of curiosity and responsibility—a feeling that they’ve witnessed something both beautiful and thought-provoking.
CR: Visitors will experience a sense of awe and reflection, encouraging them to consider nature’s resilience, societal behaviors, and the importance of protecting the environment. We also hope this exhibition motivates young collectors to start or grow their collections while backing emerging artists.
