Alicia Chillida's (San Sebastian, 1958) interest in the convergence between art, architecture, landscape and, more recently, environmental issues, is present in her main curatorial works, as well as in her publications.  

Her most recent projects are the Masterclass: Observatory. Japaninvited by the Department of Systems Design Engineering, Keio University, Tokyo; Oceana. A vision of the sea in the BBVA Collection; Specularia. The reflection of VenusLaura Torrado's exhibition at the Museum of Photography of Huete, Cuenca; All in motion by Víctor Grippo, at Galería 1 Mira Madrid; Looking is Seeing, Ikebanas and Haikusin collaboration with M.A.Mendo; the exhibition Banishment by Daniel de la Barra, at the Joan Prats Gallery, Barcelona; the 10 Biennial of Landscape of Lanzarotewith the exhibition of The Center for Land Use Interpretation of Los Angeles and the Lanzarote agronomists and botanists Marta Peña and Jaime Gil; The dialogue with José Ramón Ais at Traveling forests, Azkuna Zentroa, Bilbao, or And water the roses and change thingsTrieste, Italy.  

Let's also mention some of her early projects aimed at the public sphere, such as the direction and production of the Edge'92 Biennial, Madrid; coordination of the workshop Urban interventions directed by Muntadas for Arteleku, Donostia-San Sebastián and the curatorship and production of Ulrich Rückriem's permanent sculpture project: 20th, 21st Century in the Pre-Pyrenees of Huesca.

Chillida's particular curatorial vision has produced a series of exhibition projects rich in interdisciplinary dialogues and bold intergenerational connections between artists. Her persistent interest in nature evolves, during her time as an independent curator, into group shows where vegetal growth patterns an internal rhythm in the exhibition composition: Landscape and memory, Earth project, Variations on the Japanese garden or Bestea naiz. Political and poetical migrations.

Invited by the XII Havana Biennial, she uses film, video and performance to question and expand the curatorial role. The Ritual of bread and ashes. In memoriam Victor Grippo is an action edited as a film essay that recalls the construction of the popular oven to make bread, which the Argentine artist created in 1972. She also co-directed, together with Benito Macías Cantón, the documentary La Idea del norte. A portrait of Gonzalo Chillida, about this painter whose work is inspired by the Cantabrian landscape.

As director of the Centro Atlántico de Arte Moderno de Las Palmas de Gran Canaria, she founds an international advisory committee, re-establishes the tricontinental dialogue forums (Latin America, Africa and Spain) and opens the museum to the city and the Canarian society. She curated public interventions such as the Gopar / Almarcegui workshop, Alfredo Jaar or the exhibition of architects Ábalos & Herreros. The latter travels to the Museo Fundación ICO in Madrid, an initiative that opens its current line of architectural exhibitions. 

The geographical approach in the projects she develops is the most characteristic of her professional profile, as is also the case in the XXV Biennial of São Paulo with the artist Rogelio López Cuenca. From the MNCARS, in the palaces of Retiro Park and its surroundings, she works directly with artists in the creation of specific projects, such as Lawrence Weiner or David Hammons. 

She has the ability to create scenarios of disciplinary integration and to erase the traditional boundaries between art, architecture, music, literature, landscape and city. This is the case of the exhibitions of Maria Nordman, Franz West, Ilya and Emilia Kabakov or A Thousand and One Nights: Sicilia, Morente, Goytisolo.

© of the photos by their authors. Courtesy MNCARS, Joaquín Cortés. Courtesy CAAM, Nacho González.