Luis René
Guerra Miranda
Redes sociales
Luis Guerra Miranda es artista visual y filósofo. Actualmente es Investigador Ramón y Cajal en el Instituto de Filosofía del Consejo Superior de Investigaciones Científicas (CSIC). Anteriormente ha desarrollado su labor de investigación en el MIAS Madrid Institute for Advanced Studies, la Casa de Velázquez, la Universidad Autónoma de Madrid y la University of the Arts Helsinki, Finlandia. Asimismo, coorganizó GOAP (Open Group of Political Art) en Arts Santa Mònica (Barcelona, 2024), y ha estado vinculado a Künstlerhaus Büchsenhausen (Innsbruck) y al Grupo de Investigación de Pensamiento Posfundacional de la Universidad de Barcelona.
Su investigación actual explora y propone un enfoque reparador desde las prácticas de arte y diseño contemporáneas, articulado en dimensiones teóricas como prácticas. El eje central de este proyecto es una revisión crítica del modo en que la producción artística opera en la esfera pública bajo condiciones de urgencia ecológica, fragmentación social y pluralidad epistémica. La investigación propone un desplazamiento crítico respecto a modelos representacionales, apostando por un conocimiento que surge desde las prácticas situadas, relacionales e implicadas materialmente en los mundos que habitan.
Iniciado en 2022 a través del proyecto Reparatory Arts and Design: Sustainable Ecologies of Embodied Practices, Vulnerable Knowledge, and Resilient Methodologies (financiado por la Generalitat de Catalunya), este trabajo de investigación traza prácticas artísticas y de diseño que responden tanto a formas materiales como inmateriales de daño. En este marco, la reparación no implica un retorno a un estado original, sino un compromiso sostenido con las transformaciones producidas por el daño. Atiende así a los modos en que las prácticas artísticas se sitúan en campos de tensión entre memoria e invención, daño y persistencia, ruptura y continuidad.
El enfoque reparatorio entiende el arte y el diseño como formas crítico-cognitivas, afectivas y experimentales que generan modos de conocimiento inseparables de procesos de cuidado, atención y negociación colectiva. Se centra en las redes y relaciones que emergen entre comunidades sociales, prácticas artísticas y contextos pedagógicos, subrayando su capacidad de intervención en ámbitos sociales y políticos ampliados. En este sentido, las prácticas reparatorias funcionan como dispositivos pedagógicos informales, produciendo formas de aprendizaje situadas, distribuidas y, en muchos casos, no reconocidas por los marcos epistémicos dominantes.
Su investigación se aproxima a iniciativas artísticas que ya operan desde estas condiciones, extendiendo el alcance de la reparación hacia los umbrales de las relaciones sociales, las ecologías afectivas y emocionales, las performatividades comunicativas y las poéticas de la atención. En este contexto, la reparación se concibe como un proceso relacional y transformador: no como la eliminación del daño, sino como su reelaboración mediante prácticas de cuidado que generan nuevas formas de conocimiento colectivo y de construcción compartida del mundo.
El trabajo artístico de Guerra ha sido presentado internacionalmente en instituciones como Kunstpavillon (Innsbruck), Fabra i Coats Centre d’Art Contemporani (Barcelona), Museo de Reus, Württembergischer Kunstverein (Stuttgart), Fundació Antoni Tàpies, Museo de la Solidaridad Salvador Allende, Goethe-Institut Barcelona, Centro de Arte Lo Pati, La Capella, Kunsthall 3,14 (Bergen), Aratoi Museum of Art and History (Nueva Zelanda), Fonderie Darling (Montréal), entre otras. Asimismo, ha participado en ferias internacionales como LISTE (Basilea), ARTEBA (Buenos Aires), CIGE (Pekín), Chaco (Santiago de Chile), Brussels Art Fair y ARTBO (Bogotá).
ENGLISH VERSION
Luis Guerra Miranda is a visual artist and philosopher. He holds a Ramón y Cajal Senior Researcher position at the Institute of Philosophy of the Consejo Superior de Investigaciones Científicas (CSIC). He has previously held research positions at MIAS Madrid Institute for Advanced Studies, Casa de Velázquez, Universidad Autónoma de Madrid, and the University of the Arts Helsinki. He co-organised GOAP (Open Group of Political Art) at Arts Santa Mònica in Barcelona (2024), and has been affiliated with Künstlerhaus Büchsenhausen in Innsbruck and the Postfoundational Thinking Research Group at the University of Barcelona. The central axis of his current research is the elaboration of a reparatory framework for contemporary art and design practices, articulated across both theoretical and practical dimensions. This work engages the need to rethink how artistic production operates within the public sphere under conditions of ecological urgency, social fragmentation, and epistemic plurality. It proposes a shift from extractive and representational models of creation towards practices that are situated, relational, and materially implicated in the worlds they inhabit.
Initiated in 2022 through the project Reparatory Arts and Design: Sustainable Ecologies of Embodied Practices, Vulnerable Knowledge, and Resilient Methodologies (funded by the Generalitat de Catalunya), this research traces artistic and design practices that respond to both material and immaterial forms of damage. Within this framework, reparation does not imply restoration to an original state, but rather a sustained engagement with the transformations produced by harm. It attends to the ways in which artistic practices operate within fields of tension—between memory and invention, damage and persistence, rupture and continuity. The reparatory approach understands art and design as critical-cognitive, affective, and experimental forms that generate modes of knowledge inseparable from processes of care, attention, and collective negotiation. It focuses on the networks and relations that emerge between social communities, artistic practices, and pedagogical contexts, foregrounding their capacity to act within expanded social and political fields. In this sense, reparatory practices function as informal pedagogical dispositifs, producing forms of learning that are embedded, distributed, and often unrecognised within dominant epistemic frameworks.
His research engages artistic initiatives that already operate from within such conditions, extending the scope of reparation toward the thresholds of social relations, emotional and affective ecologies, communicative performativities, and poetics of attention. Here, repair is understood as a transformative and relational process: not the erasure of damage, but its reworking through practices of care that generate new forms of collective knowledge and shared world-making.
Guerra’s work as an artist has been exhibited internationally at institutions including the Kunstpavillon in Innsbruck, Fabra i Coats Centre d’Art Contemporani in Barcelona, Museo de Reus, Württembergischer Kunstverein Stuttgart, Fundació Antoni Tàpies, Museo de la Solidaridad Salvador Allende, Goethe-Institut Barcelona, Centro de Arte Lo Pati, La Capella, Kunsthall 3,14 in Bergen, Aratoi Museum of Art and History in New Zealand, Fonderie Darling in Montréal, and others. He has also participated in international art fairs, including LISTE (Basel), ARTEBA (Buenos Aires), CIGE (Beijing), Chaco (Santiago de Chile), Brussels Art Fair, and ARTBO (Bogotá).
His last book is titled Gestural Apparatuses for a Memory to Come, 2024, University of the Arts Helsinki Press ISBN: 978-952-353-464-3: https://taju.uniarts.fi/handle/10024/8263.
Among his last book chapters, it is possible to highlight "Delaying the Final Meaning" in Applied Non-Didactics, ed. Frank Brümmel, University of the Arts Helsinki Press 2024; "Artistic Pedagogic Practices and the Reparatory Agency of Intentionless Learning" in 10-years of university pedagogy in the arts : perspectives on arts and artist pedagogy, eds. Heli Kauppila ja Leena Rouhiainen, University of the Arts Helsinki Press 2024; and "Reparatory Design: Sustainable Ecologies of Embodied Practices, Vulnerable Knowledge, and Resilient Methodologies" in Commons in Design, ed. Christine Schranz, Valiz Foundation Press, 2023. And the articles: Bernard Stiegler's postfoundational aesthetics and gestural apparatuses for a memory to come at Aisthesis Journal, 2023; Education as a pharmakon. Action art as political pedagogic device for enacting radical democracy at Ethics and Education Journal, 2023; and La Aracneida, Fernand Deligny y la tentativa de una filosofía gestual at Arte Individuo y Sociedad Journal, 2023.
Books
2024 On Gestural Apparatuses for a Memory to Come, University of the Arts Press, Helsinki, Finland. ISBN: 978-952-353-464-3.
2022 Wandering Echoes, a handbook of operative losses, Errant Bodies Press, Berlin, Germany. ISBN: 978-3-9823166-1-1.
2017 La Inexistencia del Arte, Brumaria Editores, Colección Logaritmo Amarillo, Madrid, Spain. ISBN: 978-84-945382-9-2.
Chapters in Books
2024 “Delaying the Final Meaning: Artistic Thinking, Painting and Intentionless Learning” in Non-Didactics, Frank Blümmer (Ed.), Academy of Fine Arts Press, University of the Arts Helsinki, Finland. ISBN: 978-952-353-479-7
2024 “Artistic Pedagogic Practices and the Reparatory Agency of Intentionless Learning”, in University pedagogy in the arts and artist pedagogy: current perspectives on higher education in the arts, Editors: Dr. Leena Rouhiainen and Dr. Heli Kauppila. Publisher: University of the Arts Helsinki, ISBN: 978-952-353-085-0.
2024 “Echoic Shelters and Gestural Solidarities” in On Place-based Artist Pedagogies: Àsìkò Art School and the Nordic Studio for Continued Engagement, editors: Dr. Daniel Peltz and artist Nana Ama Bentsi-Enchill.
2024 “Aparato-Museo y Activismo Institucional. Tentativa en 4 escenografías” (Accepted for publication) in Estética Posfundacional, editors: Laura Llevadot and Juan Evaristo Boix. Dyckinson Editores, Madrid.
2023 “Reparatory Design: Sustainable Ecologies of Embodied Practices, Vulnerable Knowledge, and Resilient Methodologies in Barcelona”, in Commons in Design, Valiz Foundation Press. ISBN: 978-94-93246-31-7.
2021 “Aproximación al Jieziyuan hua zhuan”, in Investigación en diseño, authors: Marta Camps and Jaron Rowan, BAU Ediciones, BAU University Centre of Design Barcelona, Spain. ISBN: 978- 84-09-25814-7.
2019 “Passion in a field of echoes. An introductory note around Slow Down Fast, A toda raja”, in Slow Down Fast, Camila Marambio & Cecilia Vicuña, Doormat series, Errant Bodies Publisher, Berlin, Germany. ISBN: 978-0-9978744-3-3.
2019 “Brandon LaBelle and occupations through which worlds are appearing”, in Territorial Practices, visitors with ears, TEA Tenerife Espacio de las Artes, Tenerife, Spain. ISBN: 978-84-949656-8-5.
2017 “The Inexistence of Art” in The Invisible Seminar, Ed. Brandon Labelle; Published by The Faculty of Fine Art, Music and Design, University of Bergen, distribution: Les Presses du Reel, Paris. ISBN: 978-82-690937-1-1.
last articles:
2024 Bernard Stiegler’s postfoundational aesthetics and gestural apparatuses for a memory to come. Aisthesis. Pratiche, linguaggi e saperi dell’estetico Journal, Q2, Italy. DOI: https://doi.org/10.36253/Aisthesis-14746
2023 Education as a pharmakon. Action art as political pedagogic device for enacting radical democracy, Ethics and Education Journal, Q1, DOI: https://doi.org/10.1080/17449642.2023.2282353.
2023 La Aracneida, Fernand Deligny y la tentativa de una filosofía gestural, Arte Individuo y Sociedad, scientific review, Universidad Complutense de Madrid, Spain, DOI: https://doi.org/10.5209/aris.87673
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