Fuenteblanca
Enrique Fuenteblanca works across writing, curating, research, and production as a single, integrated practice. A PhD candidate in Philosophy at the Autonomous University of Barcelona (UAB), he has curated exhibitions for institutions such as Tate Modern (Theatre Picasso, 2025), Kunsthaus Zürich (The Inverted Mountain, 2025, featuring works by artists including Ferdinand Hodler and Francis Bacon), and the Centro Andaluz de Arte Contemporáneo (Bajar la voz. Miguel Benlloch, October 2025), as well as numerous projects through the platforms pie.fmc and BNV Producciones.
He is the author of dramaturgical texts for performances with artists such as Rocío Molina, and has worked as an art publications editor at the Museo Nacional Centro de Arte Reina Sofía (MNCARS). He has published the poetry collections Des-naturalizaciones, Notas para un papel que arde, and Alejandría / Incendio (Bandaàparte), and has also directed and edited art catalogues and specialized publications.
Selected Artistic/Curatorial Projects
Theatre Picasso, Tate Modern, London — Co-curated with Wu Tsang (2025–ongoing). Exhibition in a scenic/performative key.
Theatre Picasso / Squaring the Circle: Israel Galván, Yinka Esi Graves & Rocío Molina — Performance program for The Tanks, Tate Modern, London.
Inverted Mountain, Kunsthaus Zürich — Co-curated with Wu Tsang (2025–ongoing). Integration of sound installation with historical and contemporary works.
Carmen in the Mountains, KUB / Chur / Liechtenstein / St. Gallen — Co-curated with Wu Tsang (2025). Sonic experimentation residency and public performance.
Carmen and Carmen, De Balie / Hartwig Foundation, Amsterdam — Co-curated (2024). Audiovisual installation and public program.
La gran mentira de la muerte (Wu Tsang) — Production, script, scientific advising, and texts (2024). Film.
Corpus, Galería Alarcón Criado, Seville — Curatorship.
Carnación (Rocío Molina), Venice Biennale of Dance — Texts, libretto, and dramaturgical assistance (2022).
Work through Platforms and Collectives
BNV Producciones (member since 2020)
Exhibitions: Pedro G. Romero. Máquinas de Trovar (MNCARS); Miguel Benlloch. Ensayo sobre lo cutre (IVAM); Antoni Muntadas: Exercises on and Present Memories (CAAC / Ateneo de Manila); De caballos y guitarras (Pedro G. Romero); Siete Jereles; Nueve Sevillas.
pie.fmc — Platform for Modern and Contemporary Flamenco Studies (member since 2020)
Research, documentation, and coordination for exhibitions, symposia, and performances: El 22 (Bienal de Flamenco, 2022); Pensamiento sur(b)terráneo (CAAC / C3A / FFGL); La producción del flamenco (2023); Trasmundo Goya (CICUS, 2024); Tejido doble and Entartete Kunst series (2021–22); Mediterráneo. Un mar redondo (ARCO Madrid).
Teaching and Mediation (selected):
El 22. La cristalización del flamenco como género — Coordination and moderation (Bienal de Flamenco, UNIA/CICUS, 2022).
Retrospectivas Críticas. Treinta años en el sistema-arte — Direction and moderation (UNIA, 2022).
Re-unir, re-habitar — Panel coordination (Factoría Cultural, 2023).
Publications and Editorial Work
Theatre Picasso (Tate Modern, editor and author);
Notas para un papel que arde (author, 2022);
Alejandría / Incendio (author, 2021);
Des-naturalizaciones (author, 2020);
James Lee Byars. Perfecta es la pregunta (Author, “Enfoques” section, and Editorial Coordination, MNCARS, 2024);
maquinaciones (Editorial coordination, MNCARS, 2023);
Coreografías. Bailes y danzas de Vicente Escudero (Editorial coordination, CFGL, ICAS, FPHV, 2023).
Education
PhD in Philosophy (in progress) — Autonomous University of Barcelona, line in Contemporary Aesthetics.
Master’s in Social Developments of Artistic Culture (MDSCA) — University of Málaga (Extraordinary Award).
BA in Humanities — University Pablo de Olavide (exchange at the Pedagogical University of Krakow).