{"id":61796,"guid":{"rendered":"https:\/\/graf.cat\/?post_type=event&p=61796"},"modified":"2026-11-06T13:00:02","modified_gmt":"2026-11-06T11:00:02","slug":"paratext-92-amb-amanda-triano-ricardo-trigo-duncan-gibbs-i-oriol-arnedo-casas","status":"publish","type":"event","link":"https:\/\/graf.cat\/en\/events\/event\/paratext-92-amb-amanda-triano-ricardo-trigo-duncan-gibbs-i-oriol-arnedo-casas\/","title":{"rendered":"Paratext #92 amb Amanda Triano, Ricardo Trigo, Duncan Gibbs i Oriol Arnedo Casas"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":9,"featured_media":61793,"template":"","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false},"event-venues":[127],"event-tags":[],"class_list":["post-61796","event","type-event","status-publish","has-post-thumbnail","hentry","event-venue-hangar","event-category-presentacio"],"acf":{"title_ca":"Paratext #92 amb Amanda Triano, Ricardo Trigo, Duncan Gibbs i Oriol Arnedo Casas","title_es":"Paratext #92 con Amanda Triano, Ricardo Trigo, Duncan Gibbs y Oriol Arnedo Casas","title_en":"Paratext #92 with Amanda Triano, Ricardo Trigo, Duncan Gibbs and Oriol Arnedo Casas","desc_ca":"Paratext articula una programaci\u00f3 mensual de presentacions d\u2019artistes residents a Hangar i d\u2019artistes vinculats als diferents programes de beques. A trav\u00e9s de formats diversos, les sessions acullen projectes, investigacions i processos de treball en curs, entenent la presentaci\u00f3 com un espai de circulaci\u00f3 i intercanvi m\u00e9s que no pas com una inst\u00e0ncia de resultat o exhibici\u00f3. Obertes al p\u00fablic, aquestes trobades busquen afavorir la interacci\u00f3 entre lxs artistes i el context local.\r\n\r\nLa pr\u00f2xima sessi\u00f3 de Paratext tindr\u00e0 lloc el\u00a0dimarts, 10 de novembre a les 19 h<\/strong>\u00a0a la Sala Ricson d\u2019Hangar.\r\n\r\nAmb les presentacions de:\r\n\r\nAmanda Triano<\/a> (XI Beca de Recerca Art\u00edstica Hangar)\r\n\r\nAmanda Triano explora la transformaci\u00f3 de la natura i la mat\u00e8ria a trav\u00e9s de l\u2019escultura, creant paisatges petrificats i desolats mitjan\u00e7ant l\u2019\u00fas del formig\u00f3, que concep com una superf\u00edcie geol\u00f2gica emblem\u00e0tica dels desafiaments de la nostra era contempor\u00e0nia i com un mitj\u00e0 capa\u00e7 de revelar l\u2019alteritat del m\u00f3n que ens envolta. La seva pr\u00e0ctica examina les formes complexes i, sovint, contradict\u00f2ries amb qu\u00e8 els \u00e9ssers humans es relacionen amb l\u2019entorn natural, teixint narratives encriptades que dialoguen amb la ci\u00e8ncia-ficci\u00f3, la mitologia, el pensament ind\u00edgena, l\u2019ocultisme i l\u2019evoluci\u00f3 industrial.\r\n\r\nA trav\u00e9s de l\u2019escultura, els objectes trobats, els sistemes visuals i la instal\u00b7laci\u00f3, Triano evoca moviments transmutacionals i cosmol\u00f2gics vinculats a experi\u00e8ncies de territori, deteriorament i regeneraci\u00f3. La seva obra reflexiona sobre el col\u00b7lapse del temps, la ru\u00efna i l\u2019obsolesc\u00e8ncia, on la vulnerabilitat es desplega simult\u00e0niament com a descens i ascens. Concep l\u2019exposici\u00f3 com un mitj\u00e0 i un ecosistema, establint interdepend\u00e8ncies entre les obres i els contextos que les acullen. Mitjan\u00e7ant processos de recol\u00b7lecci\u00f3, fusi\u00f3, cocci\u00f3 i reconstrucci\u00f3, activa all\u00f2 que d\u2019altra manera romandria inert, produint imatges i objectes que funcionen com a vehicles de mem\u00f2ria i significat.\r\n

A Paratext presentar\u00e0 Malas Hierbas<\/em>, el projecte de recerca que ha dut a terme durant la seva resid\u00e8ncia a Hangar, el qual explora el positivament dels motlles d\u2019embalatge industrial dissenyats per protegir tecnologia d\u2019\u00fas ef\u00edmer: en reproduir-ne els buits, sorgeixen formes aut\u00f2nomes que ja no responen a la funci\u00f3 protectora per a la qual havien estat concebuts. Una manera de q\u00fcestionar les nocions de valor i utilitat en contextos d\u2019obsolesc\u00e8ncia i rebuig.<\/p>\r\nRicardo Trigo<\/a> (Beca de recerca i experimentaci\u00f3 al Lab d\u2019interacci\u00f3 d\u2019Hangar \u2013 Barcelona Crea 2026)\r\n

El treball de Ricardo Trigo articula la pr\u00e0ctica art\u00edstica i la recerca al voltant de les condicions materials i simb\u00f2liques mitjan\u00e7ant les quals la tecnologia i l\u2019energia configuren la producci\u00f3 art\u00edstica. Explora les relacions entre el paradigma computacional i l\u2019art des d\u2019una perspectiva postconceptual, prestant una atenci\u00f3 especial a les formes en qu\u00e8 els discursos cient\u00edfics i t\u00e8cnics colonitzen el mateix camp art\u00edstic.<\/p>\r\nDes de 2018 desenvolupa un projecte de recerca que considera la producci\u00f3 art\u00edstica com una forma d\u2019energia lliure: un proc\u00e9s no utilitari en qu\u00e8 mat\u00e8ria, informaci\u00f3 i afecte s\u2019organitzen com un sistema obert de possibilitats. La seva pr\u00e0ctica es desplega a trav\u00e9s de la dissoluci\u00f3 dels l\u00edmits entre objecte, subjecte i medi, atorgant als materials quotidians i industrials \u2014com ara pl\u00e0stics, combustibles, electricitat i elements de fixaci\u00f3\u2014 una dimensi\u00f3 epistemol\u00f2gica i ontol\u00f2gica expandida. Ent\u00e9n l\u2019est\u00e8tica com una forma de coneixement capa\u00e7 de q\u00fcestionar les jerarquies establertes i de posar en relaci\u00f3 categories diverses dins d\u2019un pla compartit d\u2019experi\u00e8ncia.\r\n\r\nA Paratext es donar\u00e0 continu\u00eftat a La monta\u00f1a y el t\u00fanel (<\/em>2026), un projecte que explora la noci\u00f3 de \u00abtecnologies de la perforaci\u00f3\u00bb, entenent la perforaci\u00f3 com una operaci\u00f3 paradoxal que travessa diferents sistemes de producci\u00f3 i de pensament. Despr\u00e9s d\u2019una primera aproximaci\u00f3 formal i material, la recerca es despla\u00e7a ara cap a una posada en escena de tres lectures a c\u00e0rrec d\u2019Eduardo Alonso P\u00e9rez de \u00c1greda, enginyer especialitzat en mec\u00e0nica de roques i excavacions subterr\u00e0nies; Kinkinella, artista i investigadora la pr\u00e0ctica de la qual travessa les tecnologies lliures, el biohacking i l\u2019experimentaci\u00f3 col\u00b7lectiva; i el mateix Ricardo Trigo. En conjunt, les tres intervencions proposen una aproximaci\u00f3 performativa a les converg\u00e8ncies i friccions entre geologia, tecnologia, cos, llenguatge i experi\u00e8ncia est\u00e8tica.\r\n\r\nDuncan Gibbs<\/a> (Beca de recerca art\u00edstica i experimentaci\u00f3 metodol\u00f2gica \u2013 Barcelona Crea 2026)\r\n\r\nLa pr\u00e0ctica de Duncan se situa al voltant de la capa de descomposici\u00f3: l\u2019estrat on els materials s\u00f3n triturats i digerits abans de ser regurgitats en els seus components. Treballant en els l\u00edmits de l\u2019escultura, la instal\u00b7laci\u00f3, el v\u00eddeo i la producci\u00f3 d\u2019imatge, la seva pr\u00e0ctica es fonamenta en una exploraci\u00f3 material de la frontera inestable entre el temps biol\u00f2gic i el geol\u00f2gic, amb especial atenci\u00f3 als espais perif\u00e8rics d\u2019estancament on els sistemes humans i no humans se solapen de manera silenciosa.\r\n\r\nSovint utilitza materials descartats i organismes vius considerats residus, adoptant el rol de jardiner o cuidador, mantenint instal\u00b7lacions que es troben sempre al llindar del col\u00b7lapse. Mosquits, algues i llevats s\u00f3n tractats com a col\u00b7laboradors, amb una ag\u00e8ncia pr\u00f2pia que modifica la traject\u00f2ria de les obres. La fermentaci\u00f3, la conservaci\u00f3 i la dessecaci\u00f3 esdevenen eines per allargar la vida dels materials, intentant comprimir el temps geol\u00f2gic dins d\u2019una escala humana. Les obres sovint es desenvolupen durant anys i continuen gestant-se fins i tot despr\u00e9s d\u2019haver estat mostrades. L\u2019espera es converteix en un proc\u00e9s actiu dins d\u2019una pr\u00e0ctica guiada per l\u2019accident, l\u2019error i l\u2019observaci\u00f3 prolongada, cosa que permet que les peces acumulen capes d\u2019hist\u00f2ria que posteriorment es preserven en forma de v\u00eddeos, imatges, restes i relats.\r\n

A Paratext presentar\u00e0 Receptes d\u2019una s\u00e8rie d\u2019experiments de conservaci\u00f3<\/em>, una proposta que pren com a punt de partida Midden<\/em>, el projecte en qu\u00e8 va explorar la creaci\u00f3 de materials escult\u00f2rics situats a la frontera entre all\u00f2 biol\u00f2gic i all\u00f2 geol\u00f2gic, all\u00f2 inert i all\u00f2 viu. Mitjan\u00e7ant l\u2019alentiment dels processos de descomposici\u00f3 dels residus alimentaris, el projecte buscava interrompre, prolongar i apropiar-se dels cicles naturals de transformaci\u00f3 de la mat\u00e8ria.<\/p>\r\nOriol Arnedo Casas<\/a> (Beca interna de recerca material \u2013 Barcelona Crea 2026)\r\n\r\nLa pr\u00e0ctica d\u2019Oriol travessa els mons canviants i mal\u00b7leables de la tecnologia i la natura. Les seves composicions escult\u00f2riques interroguen les realitats que ens envolten i exploren la capacitat de l\u2019objecte performatiu per crear nous imaginaris.\r\n\r\nArtefactes aut\u00f2noms, m\u00e0quines absurdes que cobren vida, organismes tecnol\u00f2gics\u2026 Un desig ansi\u00f3s i mecanitzat de relacionar-se amb l\u2019entorn uneix els seus objectes. La idea de mat\u00e8ria viva mecanitzada i rudiment\u00e0ria en l\u2019era ultratecnol\u00f2gica actual. La m\u00e0quina que no adquireix un rol funcional, sin\u00f3 imaginari sobre les nostres vides. Partint d\u2019un context de crisi socioclim\u00e0tica, la seva obra ofereix una mirada cr\u00edtica a la concepci\u00f3 occidental d\u2019all\u00f2 que \u00e9s natural, i busca la creaci\u00f3 de noves narratives que ens ajudin a redefinir la nostra relaci\u00f3 amb l\u2019entorn.\r\n\r\nA Paratext presentar\u00e0 la feina realitzada en el marc de la Beca de Producci\u00f3 d\u2019Hangar 2026, donant continu\u00eftat al projecte d\u2019investigaci\u00f3 i experimentaci\u00f3 Desmantellar la M\u00e0quina<\/em>, una l\u00ednia de recerca que explora les possibilitats d\u2019\u00fas desviat de dispositius tecnol\u00f2gics. La presentaci\u00f3 posar\u00e0 el focus en la pianola, un instrument musical mec\u00e0nic i autom\u00e0tic que ha esdevingut una pe\u00e7a central del projecte: un artefacte popularitzat a finals del segle XIX i estretament vinculat als processos d\u2019industrialitzaci\u00f3 i als aven\u00e7os tecnol\u00f2gics i mec\u00e0nics que van transformar la societat moderna.","desc_es":"Paratext is a monthly series of presentations by artists in residence at Hangar and artists involved in its various residency and grant programmes. Through a range of formats, the sessions host projects, research and ongoing working processes, approaching presentation as a space for circulation and exchange rather than as an instance of final outcome or exhibition. Open to the public, these gatherings seek to foster interaction between the artists and the local context.\r\n\r\nThe next Paratext session will take place on\u00a0Tuesday, November 10,<\/strong>\u00a0at 7 p.m<\/strong>. in Hangar\u2019s Sala Ricson.\r\n\r\nProjects will be presented by:\r\n\r\nAmanda Triano<\/a> (XI Hangar Artistic Research Grant)\r\n\r\nAmanda Triano explores the transformation of Nature and matter through sculpture, creating petrified and deserted scenes through the use of concrete, which she conceives as a geological surface emblematic of the challenges of our contemporary era and as a medium capable of revealing the alterity of the world around us. Her practice examines the complex and often contradictory ways in which human beings relate to the natural realm, weaving encrypted narratives that engage with science fiction, mythology, Indigenous thought, occultism, and industrial evolution.\r\n\r\nThrough sculpture, found objects, visual systems, and installation, Triano evokes transmutational and cosmological movements linked to experiences of territory, deterioration, and regeneration. Her work reflects on the collapse of time, ruin, and obsolescence, where vulnerability unfolds simultaneously as descent and ascent. She conceives the exhibition as a medium and an ecosystem, establishing interdependencies between the works and the contexts that host them. Through processes of gathering, fusion, firing, and reconstruction, she animates what would otherwise remain inert, producing images and objects that function as conduits of memory and meaning.\r\n

At Paratext, she will present Malas Hierbas<\/em>, a research project developed during her residency at Hangar. The project explores the casting of industrial packaging moulds designed to protect short-lived technology. By reproducing the cavities they leave behind, autonomous forms emerge that no longer serve the protective function for which the moulds were originally designed. In doing so, the project questions notions of value and utility in contexts of obsolescence and disposal.<\/p>\r\nRicardo Trigo<\/a> (Research and Experimentation Grant at the Hangar Interaction Lab \u2013 Barcelona Crea 2026)\r\n

Ricardo Trigo\u2019s work brings together artistic practice and research around the material and symbolic conditions through which technology and energy shape artistic production. From a post-conceptual perspective, he explores the relationships between the computational paradigm and art, paying particular attention to the ways scientific and technical discourses colonize the artistic field itself.<\/p>\r\n

Since 2018, he has been developing a research project that considers artistic production as a form of free energy: a non-utilitarian process in which matter, information, and affect are organized as an open system of possibilities. His practice unfolds through the dissolution of boundaries between object, subject, and medium, granting everyday and industrial materials\u2014such as plastics, fuels, electricity, and fastening elements\u2014an expanded epistemological and ontological dimension. He understands aesthetics as a form of knowledge capable of challenging established hierarchies and bringing diverse categories into relation within a shared plane of experience.<\/p>\r\n

At Paratext, La monta\u00f1a y el t\u00fanel<\/em> (2026) continues with a project exploring the notion of \u201cdrilling technologies\u201d, conceiving of drilling as a paradoxical operation that cuts across different systems of production and thought. Following an initial formal and material exploration, the research now shifts towards a presentation featuring three readings by Eduardo Alonso P\u00e9rez de \u00c1greda, an engineer specialising in rock mechanics and underground excavation; Kinkinella, an artist and researcher whose practice brings together free and open technologies, biohacking and collective experimentation; and Ricardo Trigo himself. Together, the three interventions propose a performative approach to the convergences and frictions between geology, technology, the body, language and aesthetic experience.<\/p>\r\nDuncan Gibbs<\/a> (Artistic Research and Methodological Experimentation Grant \u2013 Barcelona Crea 2026)\r\n\r\nDuncan Gibbs is a visual artist based in Barcelona. Duncan\u2019s practice is situated in and around the mulching layer: the strata where materials are chewed up and digested before being regurgitated into their component parts. Working at the edges of sculpture, installation, video and image-making, his practice is rooted in a material exploration of the unstable boundary between biological and geological time. Focusing on the peripheral places of stagnation where human and non-human systems quietly overlap.\r\n\r\nOften using discarded and living materials that are regarded as waste, he adopts the role of a gardener or caretaker, maintaining installations that always hover on the cusp of collapse. Mosquitos, algae and yeasts are all treated as collaborators and allowed their own agency to shift the trajectory of a work. Fermentation, preservation and desiccation become tools for stretching out the lifespan of materials, attempting to compress geological time into a human timeframe. Works often develop over years and continue to gestate even after they have been shown. Waiting becomes an active process in shaping a practice that is driven by accident, failure and prolonged observation. Leaving artworks to accumulate layers of history which are later preserved as films, images, residues and anecdotes.\r\n

At Paratext, he will present Recipes from a Series of Preservation Experiments<\/em>, a project that builds on Midden<\/em>, in which he explored ways of creating sculptural materials that fluctuated between the biological and the geological, the inert and the living. By stretching out the timeframe in which food waste broke down, the project sought to interrupt, hijack and prolong processes of decomposition.<\/p>\r\n \r\n\r\nOriol Arnedo Casas<\/a> (Internal Material Research Grant \u2013 Barcelona Crea 2026)\r\n\r\nOriol\u2019s practice navigates the shifting and malleable realms of technology and nature. His sculptural compositions interrogate the realities that surround us and explore the capacity of performative objects to generate new imaginaries.\r\n\r\nAutonomous artifacts, absurd machines that come to life, technological organisms\u2026 A restless, mechanized desire to engage with the environment connects his objects. This embodies the idea of mechanized, rudimentary living matter in the ultra-technological era. The machine, in his work, does not adopt a functional role but an imaginary one in our lives. Within the context of socio-climatic crisis, his work offers a critical perspective on the Western conception of nature and seeks to create new narratives that help redefine our relationship with the environment.\r\n\r\nAt Paratext, he will present the work developed as part of the 2026 Hangar Production Grant, continuing the research and experimentation project Dismantling the Machine,<\/em> an ongoing line of inquiry that explores alternative and unconventional uses of technological devices. The presentation will focus on the player piano, a mechanical, self-playing musical instrument that has become central to the project. Popularised in the late nineteenth century, this device is closely tied to the processes of industrialisation and to the technological and mechanical advances that transformed modern society.","desc_en":"Paratext is a monthly series of presentations by artists in residence at Hangar and artists involved in its various residency and grant programmes. Through a range of formats, the sessions host projects, research and ongoing working processes, approaching presentation as a space for circulation and exchange rather than as an instance of final outcome or exhibition. Open to the public, these gatherings seek to foster interaction between the artists and the local context.\r\n\r\nThe next Paratext session will take place on\u00a0Tuesday, November 10,<\/strong>\u00a0at 7 p.m<\/strong>. in Hangar\u2019s Sala Ricson.\r\n\r\nProjects will be presented by:\r\n\r\nAmanda Triano<\/a> (XI Hangar Artistic Research Grant)\r\n\r\nAmanda Triano explores the transformation of Nature and matter through sculpture, creating petrified and deserted scenes through the use of concrete, which she conceives as a geological surface emblematic of the challenges of our contemporary era and as a medium capable of revealing the alterity of the world around us. Her practice examines the complex and often contradictory ways in which human beings relate to the natural realm, weaving encrypted narratives that engage with science fiction, mythology, Indigenous thought, occultism, and industrial evolution.\r\n\r\nThrough sculpture, found objects, visual systems, and installation, Triano evokes transmutational and cosmological movements linked to experiences of territory, deterioration, and regeneration. Her work reflects on the collapse of time, ruin, and obsolescence, where vulnerability unfolds simultaneously as descent and ascent. She conceives the exhibition as a medium and an ecosystem, establishing interdependencies between the works and the contexts that host them. Through processes of gathering, fusion, firing, and reconstruction, she animates what would otherwise remain inert, producing images and objects that function as conduits of memory and meaning.\r\n

At Paratext, she will present Malas Hierbas<\/em>, a research project developed during her residency at Hangar. The project explores the casting of industrial packaging moulds designed to protect short-lived technology. By reproducing the cavities they leave behind, autonomous forms emerge that no longer serve the protective function for which the moulds were originally designed. In doing so, the project questions notions of value and utility in contexts of obsolescence and disposal.<\/p>\r\nRicardo Trigo<\/a> (Research and Experimentation Grant at the Hangar Interaction Lab \u2013 Barcelona Crea 2026)\r\n

Ricardo Trigo\u2019s work brings together artistic practice and research around the material and symbolic conditions through which technology and energy shape artistic production. From a post-conceptual perspective, he explores the relationships between the computational paradigm and art, paying particular attention to the ways scientific and technical discourses colonize the artistic field itself.<\/p>\r\n

Since 2018, he has been developing a research project that considers artistic production as a form of free energy: a non-utilitarian process in which matter, information, and affect are organized as an open system of possibilities. His practice unfolds through the dissolution of boundaries between object, subject, and medium, granting everyday and industrial materials\u2014such as plastics, fuels, electricity, and fastening elements\u2014an expanded epistemological and ontological dimension. He understands aesthetics as a form of knowledge capable of challenging established hierarchies and bringing diverse categories into relation within a shared plane of experience.<\/p>\r\n

At Paratext, La monta\u00f1a y el t\u00fanel<\/em> (2026) continues with a project exploring the notion of \u201cdrilling technologies\u201d, conceiving of drilling as a paradoxical operation that cuts across different systems of production and thought. Following an initial formal and material exploration, the research now shifts towards a presentation featuring three readings by Eduardo Alonso P\u00e9rez de \u00c1greda, an engineer specialising in rock mechanics and underground excavation; Kinkinella, an artist and researcher whose practice brings together free and open technologies, biohacking and collective experimentation; and Ricardo Trigo himself. Together, the three interventions propose a performative approach to the convergences and frictions between geology, technology, the body, language and aesthetic experience.<\/p>\r\nDuncan Gibbs<\/a> (Artistic Research and Methodological Experimentation Grant \u2013 Barcelona Crea 2026)\r\n\r\nDuncan Gibbs is a visual artist based in Barcelona. Duncan\u2019s practice is situated in and around the mulching layer: the strata where materials are chewed up and digested before being regurgitated into their component parts. Working at the edges of sculpture, installation, video and image-making, his practice is rooted in a material exploration of the unstable boundary between biological and geological time. Focusing on the peripheral places of stagnation where human and non-human systems quietly overlap.\r\n\r\nOften using discarded and living materials that are regarded as waste, he adopts the role of a gardener or caretaker, maintaining installations that always hover on the cusp of collapse. Mosquitos, algae and yeasts are all treated as collaborators and allowed their own agency to shift the trajectory of a work. Fermentation, preservation and desiccation become tools for stretching out the lifespan of materials, attempting to compress geological time into a human timeframe. Works often develop over years and continue to gestate even after they have been shown. Waiting becomes an active process in shaping a practice that is driven by accident, failure and prolonged observation. Leaving artworks to accumulate layers of history which are later preserved as films, images, residues and anecdotes.\r\n

At Paratext, he will present Recipes from a Series of Preservation Experiments<\/em>, a project that builds on Midden<\/em>, in which he explored ways of creating sculptural materials that fluctuated between the biological and the geological, the inert and the living. By stretching out the timeframe in which food waste broke down, the project sought to interrupt, hijack and prolong processes of decomposition.<\/p>\r\n \r\n\r\nOriol Arnedo Casas<\/a> (Internal Material Research Grant \u2013 Barcelona Crea 2026)\r\n\r\nOriol\u2019s practice navigates the shifting and malleable realms of technology and nature. His sculptural compositions interrogate the realities that surround us and explore the capacity of performative objects to generate new imaginaries.\r\n\r\nAutonomous artifacts, absurd machines that come to life, technological organisms\u2026 A restless, mechanized desire to engage with the environment connects his objects. This embodies the idea of mechanized, rudimentary living matter in the ultra-technological era. The machine, in his work, does not adopt a functional role but an imaginary one in our lives. Within the context of socio-climatic crisis, his work offers a critical perspective on the Western conception of nature and seeks to create new narratives that help redefine our relationship with the environment.\r\n\r\nAt Paratext, he will present the work developed as part of the 2026 Hangar Production Grant, continuing the research and experimentation project Dismantling the Machine,<\/em> an ongoing line of inquiry that explores alternative and unconventional uses of technological devices. The presentation will focus on the player piano, a mechanical, self-playing musical instrument that has become central to the project. Popularised in the late nineteenth century, this device is closely tied to the processes of industrialisation and to the technological and mechanical advances that transformed modern society.","event_category":204,"event_show_only_own_date":true,"_event_confirmed":true,"_event_public":true,"_event_free":true,"_event_price-min":"","_event_price-max":"","_event_web_ca":"","_event_web_es":"","_event_web_en":"","event_contact_email":"luciana@hangar.org","event_apply_email":"","is_online_event":false,"is_art_nou_event":false,"is_bgw_event":false,"date_text":"","register_deadline":null,"altres_organitzadors":""},"abe_event_venue":"Hangar","abe_event_category":"Presentaci\u00f3","start":"2026-11-10 19:00:00","end":"2026-11-10 21:00:00","schedule":"once","schedule_meta":"","frequency":1,"all_day":0,"until":"2026-11-10 19:00:00","include":[],"exclude":[],"_links":{"self":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events\/61796","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events"}],"about":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/types\/event"}],"author":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/users\/9"}],"occurrences":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events\/61796\/occurrences"}],"acf:term":[{"embeddable":true,"taxonomy":"event-category","href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-category\/204"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/media\/61793"}],"wp:attachment":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/media?parent=61796"}],"wp:term":[{"taxonomy":"event-venue","embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-venues?post=61796"},{"taxonomy":"event-tag","embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-tags?post=61796"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}