She was born in Algeciras (Cádiz), in 1970. She was a Piano Accompanist Professor by competitive examination at the Superior Conservatory of Music in Málaga from 1990 to 2000, where she also taught Musical Acoustics and Organology for three years, and coordinated the Electroacoustic Music and Musical Informatics Laboratory for five years. She worked as an Associate Professor in the Department of Audiovisual Communication and Advertising at the University of Málaga from 2000 to 2004, and held a Chair of Composition at the Superior Conservatory of Music in Málaga from 2005 to 2020. In the artistic field, and after a brief period of concert activity focused on chamber music, she devoted herself fully to composition, placing special emphasis on the human voice, new technologies, and the mixing of different arts.

She holds a Doctorate in Audiovisual Communication. She possesses Superior Degrees in Solfège, Piano, Chamber Music, and Composition, as well as an Elementary Degree in Oboe. She furthered her studies in Barcelona with Gabriel Brncic (Composition and Electroacoustic Music), Liliana Maffiotte (Piano), and Claudio Zulián (Analysis).

As a composer, she has received commissions from the CDMC, Radio Clásica, the Andalusian Regional Government, the UIMP, the Andalusian Parliament, the Galician Center for Contemporary Art, and the Andalusian Center for Contemporary Art, in addition to numerous groups and soloists such as Esperanza Abad, Jean Pierre Dupuy, Trino Zurita, Fukio Ensemble, the Arbós Trio, the Zukan Trio, and the Neoars Ensemble. Among the orchestras that have performed her symphonic works are the Royal Seville Symphony Orchestra, the Bilbao Symphony, the Málaga Philharmonic, and the Córdoba Symphony. Her works have been disseminated in various International Cycles and Festivals, including the International Festival of Music and Electronic Creations in Bourges, the International Festival of Music and Dance in Granada, the Spanish Music Festival in Cádiz, the Aujourd´hui Musiques Festival in Perpignan, the Música Viva Festival in Portugal, the Electrovisiones Circuit in Mexico City, and the International Festival of Contemporary Music in Alicante.

To date, she has premiered 5 operas: Taxi (2002), Fonía (2004), Renacimiento (2006), metAMORfosis. Runway Opera (2021), and Bóveda. Planetarium Opera (2024), as well as 7 large-scale productions: 12 piedras. Ritual (2009), 12 sabores. Ritual (2016), Dancing holes (2016), Tarot (2019), Gurnarkurkarkar (2020), Y tú, ¿con qué sueñas? (2021), and 5 estados extremos (2023).

Among her publications, in addition to various book chapters and articles in specialized journals and several scores, is her doctoral thesis Communication and Culture, Between the Local and the Global: The Work of Paco de Lucía as a Case Study (in CD-ROM format) and the book Paco de Lucía. The Evolution of Flamenco Through His Rumbas.

She is currently a Professor of Composition at the Superior Conservatory of Music of Castilla y León (Salamanca). She is also a professor in the Master's Program in Musical Heritage at UNIA and resident composer of the Mediterranean Music Dissemination Center since 2013, regularly teaching seminars and workshops at universities, conservatories, and art centers in various countries since 2011.

Joan Gómez Alemany begins his Degree in Composition with Oliver Rappoport (Conservatori del Liceu) and completes it with Clemens Gadenstätter (Kunstuniversität Graz). He holds a Master's degree in Composition (KUG) with Franck Bedrossian and a Master's degree in Opera and Musical Theater (KUG) with Gadenstätter. He is also a graduate in Piano, beginning at the Conservatori Superior de València Joaquín Rodrigo and finishing at the Conservatori del Liceu. He holds a degree in Fine Arts from the Universitat Politècnica de València, where he also obtained his doctorate Cum Laude with a thesis on artistic interdisciplinarity. From 2018 to 2020 he studied privately with Pierluigi Billone. He also received classes from composers Mark Andre, Raphaël Cendo, Brian Ferneyhough, Ashley Fure, Dmitri Kourliandski, José Manuel López López, Michael Maierhof, Hèctor Parra, Alberto Posadas, Jorge Sánchez-Chiong, Yann Robin, José María Sánchez-Verdú, Rebecca Saunders, Mauricio Sotelo, among others. Gómez Alemany combines musical creation, visual arts and cinema in continuous dialogue, with the writing of essays and criticism mainly on music and art.

Gómez Alemany has written music for several short films, notably L'Arrivée de Peter Tscherkassky and Millares 1970 by Elvireta Escobio and Manolo Millares. Some of his sound and visual works have been exhibited in museums such as the Centre Pompidou, IVAM, MuVIM, CCCC Centro del Carmen, Fundación Antonio Pérez - Contemporary Art Center of Cuenca, Fundación Luis Seoane, MARCO in Vigo, MACA in Alicante, Les Drassanes in València, etc., highlighting his individual exhibition titled Between the Visual and the Sonic. Reappropriation of Matter and Material at Fundación la Posta and Limits of Limitation on the website of the Chamber Orchestra of the Auditorium of Zaragoza ("Enigma Group"). He has given lectures and participated in panels and presentations at the Universitat de València, Universitat Politècnica de València, MuVIM, Octubre Centre de Cultura Contemporània (OCCC), Galería Punto, Casa de Cultura de Xàtiva, La Central (Museo Reina Sofía), Conservatori Superior de València and Castelló. He has collaborated in several specialized journals, such as Neue Zeitschrift für Musik, Melómano, Eufonía, AusArt (UPV/EHU), Itamar (UV), BRAC (UB), Procedimentum, Espacio Sonoro, Obiettivo Contemporaneo, Mikrokosmos and Sul Ponticello, where he wrote monthly in his own section Interactions, from 2018 until the magazine's closure in 2024. He now writes monthly for Revista Ritmo. Gómez Alemany has been coordinator and author of the book Valencia and Abstraction, Constructions with Geometry and Color. Life and Creative Trajectory of Artist Vicente Gómez García (1926-2012) and also Vicente Gómez García, on the Tenth Anniversary of His Death, an artist for whom he has curated three exhibitions for the MuVIM Museum, Museum of Fine Arts of Xàtiva and Cultural Hall of Xàtiva. He has also curated an exhibition of Avelino Saavedra for the OCCC. Together with Alfonso de la Torre he has written the book Letters Around Manolo Millares, Pablo Palazuelo and Others, as well as Fernando Zóbel. The Reasons for Beauty and Salvador Victoria. Painting is the Music of the Spheres, with Paco Yáñez he co-wrote Cartographies of Contemporary Music. Essay, Criticism and Interdisciplinarity in the Twentieth and Twenty-First Centuries. All the aforementioned books have been published by EdictOràlia. He has also been coordinator of the digital book A book about Festival Mixtur for the commemoration of its tenth anniversary. As an individual author he has published the books FOUR ESSAYS ON CINEMA. Docufiction, Video-Letter, Video-Opera and Interdisciplinarity for Generis Publishing and Music and Sound in Filmmaker-Composer Charles Chaplin: An Interdisciplinary Analysis of His Thought and Artistic Work (from Sound to Image) for Editorial Académica Española. He has written various CD liner notes for the labels Ondine Records, Liquen Records, IBS Classical and KRB Studios.

He has collaborated with art critic Alfonso de la Torre with musical proposals for the exhibitions he has curated, such as Black Queens of the Fundación Martín Chirino, Art and Spirituality. Imagining the Extraordinary from the BBVA collection and WITH HANDS, SIGNS GROW from the 59 Biennale di Venezia. As for visual arts, Gómez Alemany specializes mainly in the field of cinema, photography and painting, in continuous hybridization. His filmography consists to date of more than 10 short films, 3 medium-length films and 4 feature films. Among his short films, it is worth highlighting Songbook and Ballad Collection of Absences about Miguel Hernández and in collaboration with poet Manel Rodríguez-Castelló; CONTINUUM XXI: TRACES in collaboration with composers Alberto Arroyo, Alberto Bernal, Sergio Blardony, Manuel Sánchez García, Carlos Rojo, José Mª Sánchez-Verdú and the ensemble Continuum XXI; the short film inspired by La Celestina by Fernando de Rojas, Weapon of the Devil, Head of Sin, Destruction of Paradise which premiered at the Berlanga Hall (Madrid) and has been part of his chamber opera. Among his feature films, De Rerum Natura stands out, which premiered at the Faculty of Fine Arts (UPV) and his second Time and Space. A Day Rises, 2018-2022 (premiered at the Filmoteca de València) with painter Josep-Marí Gómez Lozano, whom he has filmed for years repainting a painting by Vicente Gómez García for the exhibition The House of the City and Good Government in the Exhibition Hall of the Valencia City Council.

Born in Madrid in 1942. He studied violin and composition in parallel with his secondary education and degree in Law. He furthered his musical studies in France and Germany with masters such as Maderna, Boulez, Stockhausen, Ligeti and Adorno. He also took some courses in Psychology,

Sociology and Performing Arts. In 1967 he was an assistant to Stockhausen. Recipient of the National Music Prize in 1969, Gaudeamus Foundation (Netherlands) 1969 and 1971, VI Paris Biennial, Casals Centenary, Golden Harp, UNESCO Composers' Tribune

He was Professor of New Techniques at the Madrid Superior Conservatory and Professor of Music History at the National University of Distance Education. He has published several books and taught courses at institutions and universities in

Europe and America. He has practiced music criticism in various media. He worked 11 years in the musical services of Radio Nacional de España, receiving the National Broadcasting Prize and the Ondas Prize. From 1981 to 1985, Director-Manager of the Autonomous Body National Orchestra and Choir of Spain and between 1991 and

1995, Technical Director of the same ensembles. From 1985 to 1995, Director of the Center for the Dissemination of Contemporary Music, creating its electroacoustic laboratory and the International Festival of Alicante, whose first 11 editions he directed. Since 1993 full member of the Royal Academy of Fine Arts

of San Fernando. From 1977 to 1996, Advisor to SGAE. In 1996, Director of Festivals of the Community of Madrid. From May 1996 to July 1999, General Director of INAEM. In 1998 he was appointed Doctor Honoris Causa by the Complutense University of Madrid. As a composer he is the author of 6 operas, 1 ballet, 10 symphonies, choral music, chamber music etc. In November 2002 he received the National Music Prize for his body of compositional work

and in 2003 the Music Prize of the Community of Madrid. In 2012 he receives the Grand Cross of May 2nd of the Community of Madrid. 2014

Gold Medal for Merit in the Fine Arts. 2016 XV Ibero-American Music Prize Tomás Luis de Victoria. Currently he writes exclusively music and about music.

Próxima Centauri is a musical ensemble that transforms the codes of chamber music in particular with the integration of electroacoustics as a full-fledged member of the ensemble. For more than twenty years now, Próxima Centauri has collaborated with numerous artists, other musicians; performers or improvisers, but also dancers and visual artists. Thus, the ensemble has a multidisciplinary artistic approach, combining musical creation and visual arts.

Under the artistic direction of Marie-Bernadette Charrier, the ensemble practices an active policy of commissions and creates numerous works by composers of this century while also performing great masters of the twentieth century. Próxima Centauri invests in all dimensions of creation, from research in the manufacture of contemporary instruments to the transmission of its knowledge to young performers. Despite being based in Bordeaux since its inception, it has a scope that goes beyond Nouvelle-Aquitaine and beyond the borders of France. Of international renown, the ensemble is invited to many festivals and tours in Europe, America, Asia and Oceania.

Born in Algeciras (Cádiz) in 1968. He studied violin, piano, organ, composition, musicology and conducting at the superior conservatories of Granada, in Madrid (1986-96) and at the Musikhochschule in Frankfurt (1996-99). His first reference

in composition was Juan Alfonso García, organist of the Granada cathedral, and Julio Marabboto. Among his later composition teachers are, among others, García Abril, F. Donatoni and H. Zender, and in conducting García Asensio, A. Tamayo and W. Reiski. In 1991 he obtained a degree in Law (Complutense).

He has received international composition awards such as the Bergische Biennale (Wuppertal) for his entire body of work, the Irino Prize (Tokyo), the Förderpreis of the Siemens Musikstiftung (Munich), the 1st Prize of the Junge Deutsche Philharmonie, the Prize of the Colegio de España in Paris/INAEM, and the National Prize. Monographic concerts of his work have been programmed in Madrid, Barcelona, Zaragoza, Munich, Cologne, Düsseldorf, Hamburg, Aix-en-Provence and Lima. He has been invited as composer in residence by the SchlossMediale Werdenberg Festival (Switzerland), the Ostertöne Festival (Hamburg), the Carinthischer Sommer Festival

(Austria), the Junge Deutsche Philharmonie (Germany), the Jünger Künstler Festival of Bayreuth, the V Contemporary Music Festival of Lima (Peru), etc. He was invited composer of the Warsaw Autumn Festival in 2008, and his works have been programmed in festivals such as Musica Viva (Munich), Ultraschall

and Maerzmusik (Berlin), Eclat (Stuttgart), Alicante Festival, Music and Dance Festival of Granada, Músicadhoy (Madrid), Progetto Musica (Rome), Canary Islands Festival, Tage für Neue Musik (Darmstadt), WDR of Cologne, Spring Festival (Prague), Berlin Philharmonie, Musikverein (Vienna), Lincoln Center in New York and a very long list, etc. In his projects he has worked with

great writers such as Carlos Fuentes, Juan Goytisolo and Antonio Gamoneda.

In his works from GRAMMA onwards, projects have come together that are especially linked to architecture, the use of light and installations as fundamental aspects of works such as EXITUS, Libro de las estancias and AURA.

Much sought after as a lecturer and professor, he has been invited by various Hochschule such as Bremen, Munich, Berlin, Frankfurt, Ensemble Modern Academy, Mozarteum in Salzburg, Complutense University, numerous Spanish conservatories, the Musikakademie in Basel, the Institut für Neue Musik in Darmstadt, the University of Haifa (Israel) and by courses in which he has developed extensive work with the youngest generations of Spanish composers. Between 2001 and 2012 he was Professor of Composition at the Robert-Schumann-Hochschule in Düsseldorf.

Since 2008 he is Professor of Composition at the Superior Conservatory of Music of Aragón. Since 2011 he is also part of the Composition Department of the Musikhochschule in Dresden. He is the author of numerous studies and articles published in Spanish, German, Italian and English editions and six monographic CDs of his work have been published so far. His scores are published by the prestigious publisher Breitkopf & Härtel.

Traditionally, women have been considered second-class citizens in the world of culture. This position was based on a statistic supported by a very limited number of women who had excelled in the field of literature, thought, and the plastic arts. This idea crumbles in the face of a simple consideration: the reduced opportunities they had to develop their personal talents.

On this occasion, we will focus on Esther Ferrer, a radical and independent artist. After a long career spanning more than forty years developing systematic, rigorous, and methodical work, her entire body of work is reduced to one: Esther Ferrer. She is the work, her body, her self-portraits, her voice, her ideas, her words.

Born in San Sebastián in 1937, she holds a degree in Social Sciences and Journalism and studied Art in Paris, the city where she has resided and worked since 1973. In her native city, she created, together with other artists, a workshop for free expression. She is also the driving force behind the establishment of an experimental school in Elorrio. Likewise, her teaching activity has led her to teach classes at the Schools of Fine Arts in Canada, France, Italy, and Spain, among others.

Collaborates: Consortium of Museums of the Valencian Regional Government.

Workshop visit with vermouth around the work of female artists from the collections. Guided tour by Explicarte

Traditionally, women have been considered second-class citizens in the world of culture. This position was based on a statistic supported by a very limited number of women who had stood out in the field of literature, thought, and the plastic arts. This idea crumbles in the face of a simple consideration: the reduced opportunities they had to develop their personal talents.

On this occasion, we will focus on Lee Krasner, an influential artist of abstract expressionism in the second half of the twentieth century.

Krasner studied with Hans Hofmann starting in 1937. Hofmann showed Krasner the work of Picasso, Matisse, and other European abstract painters, which had a great influence on her. In 1940, she began to exhibit with a group of North American painters, establishing abstract expressionism.

Visit-workshop with vermouth around the work of Loló Soldevilla. Guided tour by Explicarte

Traditionally, women have been considered second-class citizens in the world of culture. This position was based on a statistic supported by a very limited number of women who had stood out in the field of literature, thought, and the plastic arts. This idea crumbles in the face of a simple consideration, and that is the reduced opportunities they had to develop their personal talents.

This position was based on a statistic supported by a very limited number of women who had excelled in the field of literature, thought, and plastic arts. This idea crumbles in the face of a simple consideration, and that is the reduced opportunities they had to develop their personal talents.

On this occasion, we will focus on Fahrelnissa Zeid, the artist of Turkish origin who forged her personal style influenced by all the countries she visited and was one of the first women to attend the Academy of Fine Arts in Istanbul.

We will learn not only about her work but also her life, with the intention of awakening a new perspective that recognizes women's work in overcoming the roles and models imposed throughout the history of art dominated by the male sex.

Workshop visit with vermouth around the work of female artists from the collections. Guided tour by Explicarte

Traditionally, women have been considered second-class citizens in the world of culture. This position was based on a statistic supported by a very limited number of women who had stood out in the field of literature, thought, and the plastic arts. This idea crumbles in the face of a simple consideration: the reduced opportunities they had to develop their personal talents.

On this occasion we will talk about Dora Maar, and we will get to know not only her work but also her life, with the intention of awakening a new perspective that recognizes women's work in overcoming the roles and models imposed throughout the history of art dominated by the male sex.