-Hat oh Hat, Can you transform me in to a volcano?
-Yes, I can, but I’ll use your soul as lava and you will become ashes
-Ok.

Made in collaboration with Sebastian Roque
2024

TBA21  with Centro de Creación Contemporánea de Andalucía C3A, Spain:

I collaborated with the Guadalquivir River of Cordoba, inviting visitors of “Meandering”, the show at C3A in 2022, to be apart of a guided drawing meditation in an area where the Guadalquivir once flooded the land with life. Now it’s an area full of trees as the river slowly became more and more narrow over the years. On March 2024 a book of “Meandering” was published by Sternberg Press -TBA21.

“Focus your attention on the singing fish, they once swam here and now have become birds” In this morning meditation session, Eduardo Navarro invites us to visualise a river moving between the fingers of land, as if it were a loop of contemplation beads, while softening our senses into becoming oceanic. Through participatory drawing, deep listening exercises, and a communal breakfast, Navarro proposes a journey inward to reflect on how rivers flow in and out of the ocean as well as through us, bringing awareness to the reciprocal interplay between river, land, and ocean.

Curated by: Sofia Lemos. photos: Lourdes Cabrera

Is a text written in collaboration with Philosopher Michael Marder for the group show: Rooted Beings commissioned by the Welcome Collection in 2022. The text invited visitors to experience the show like a plant would & experience a physical transmutation. At the show a recording of the text read plant scientist Monica Galeano was available in mp3. The embodied read text could be listen while contemplating the artworks at the show. As part of the exhibition a book was published containing Vegetal Transmutation. Michael Marder investigation is focussed on plants as beings with their own subjectivity. If I had to choose between being a plant or a human I think I would be a plant.

Curated by: Barbara Rodrigez Muñoz

Stage TBA21- 2020
Octo-Durga is a three-chapter animation that simultaneously imagines a primordial past and an alternative future. Taking the form of a sacred text on ethics, polity, and love, that could also be a proposal for a science-fiction universe, it questions the obsolete dualities of humanity and nature, of earth and mind, of technology and culture, to acknowledge the vast changes and disruptions that are taking place in the planet’s oceans. A cephalopod dancer character emerges from the depths of the oceans on one of Jupiter’s moons, Europa. Summoning a multimedia manifestation of an indigenous ancient-Indian goddess—one of the initiators of a parallel primary multiverse—Octo-Durga is “journey of unearthing multi-dimensional oceanic sensory and para-sensory conversations,” in the words of the artist. The octopus–goddess “speaks on behalf of the eternal oceanic bridges between worlds, hears, and brings humble almost edible visual–poetic–sonic gifts for her lovers.” Created together with Indian artists BaRiya (Riya Raagini and Pratyush Pushkar) these 3 animations chapters invites us to dive into a state of mind that connects with an underwater world where tentacular and meditative visions speculate about new forms of living based on solidarity and communality.

1-Non Local: Octo-Durga’s birth in Europa’s oceans.
2-Cryptic Coloration: Sonic traveling with camouflaging-entangled-dance through the solar system to planet Earth.
3-Cellular Suicide: Becoming one with all the entities on planet Earth by changing the composition of the oceans to reach a state of pure empathy

Curated by Markus Reymann

As part of the public program of BREATHSPACE at Gasworks in 2020, I collaborated with the Royal College of art developing a video of the first drawings I did at the beginning of the pandemic. They are a personal diary of a time with not time.

Curated by: Sabel Gabardon

These are a series of drawings commissioned by and inspired by the writings and Solutions of Ingo Niermann – animated by Esther Hunziker. Wet Gods was a part of ‘Countryside: The Future’, Solomon R Guggenheim Museum, 2020. These drawings are also part of the book: SEA OF LOVE, by Ingo Niermann, Stenberg Press. 2020

The exhibition was curated by: Rem Koolhaas and Samir Bantal

By divine chance I met The Cosmic Clown in the streets of New Delhi in 2018. This Cosmic Deity lives in the galaxy of Andromeda: located 1.4 light years away from earth. Instantly, I became his devotee. I invited him- with the support  of Indian artists duo BaRiya (Riya Raagini and Pratyush Pushkar) to visit a children’s school in New Delhi. 100 children came to see him. He tried to inflate balloons and do portraits of all of them but it became impossible – suddenly he dematerialised into thin air. Some months later I invited The Cosmic Clown to give a holographic talk at the Di Tella University in Buenos Aires, Argentina. The talk was titled “What is the difference between and apple and the art works of Eduardo Navarro?”. I specifically asked him to explain if actually there is any difference between my work and an apple. The talk was a part of an international symposium called ‘Inminencias. Arte frente a la crisis Ecológica y a la duplicación del mundo. Segundas Jornadas de arte & estética’ directed by Graciela Speranza & Ines Katzenstein. The Cosmic Clown accepted the invitation. With the use of a live holographic telecommunication device, The Cosmic Clown addressed the audience with a very thin voice that navigated an endless stream of absurd thoughts and visual exercises while managing to explain in a very poetic way, why art and an apple are simply one. His talk lasted 20 minutes. The Cosmic Clown did not take any questions during Q&A. He disintegrated  into the darkness of the screen never to be seen again since May 2018.

I know The Cosmic Clown is currently collaborating with none other than musician ALAN COURTIS (Reynols) in a record that captures the landscape sounds of Andromeda. This record will come out in 2034 – so be patient, it’s a deity.