Regina de Miguel

Regina de Miguel was born in Málaga in 1977 and lives and works in Berlin. Her interdisciplinary practice brings together film, installation, writing, drawing, and research to examine the ways in which knowledge is produced, represented, and transmitted. A central concern of her work is the supposed objectivity of scientific systems of representation and the conditions that shape the production of scientific knowledge. Drawing on the philosophy of science, ecofeminism, speculative fiction, mythology, and horror, she creates hybrid forms in which scientific and cultural narratives are brought into critical and poetic relation. Science is therefore not treated as a neutral system of description, but as a field of images, narratives, technologies, and forms of authority. De Miguel examines the devices through which the world is classified and made legible, while introducing forms of fiction, myth, and speculation that destabilize supposedly objective accounts. Her films and installations often operate between documentary and fiction, allowing different temporalities, forms of knowledge, and modes of perception to coexist. In her more recent work, this investigation has increasingly taken a geotraumatic dimension, addressing territories marked by extraction, colonial violence, geological processes, and historical conflict. *Nekya: A Film River* (2022), commissioned by TBA21, focuses on the Riotinto mining region in southern Spain, bringing together its geological and biological particularities with histories of colonization and exploitation, Tartessian mythology, and the ancient rite of the Nekyia, a dialogue with the dead. The film combines documentary strategies and science fiction to approach the territory as a layered site in which geology, history, mythology, and ecological transformation intersect. This interest in relations between human and more-than-human forms of existence also appears in works developed around the concept of the holobiont, informed by the theories of biologist Lynn Margulis. In paintings and drawings, de Miguel brings together microbial forms, plants, animals, human-made objects, and cosmic imagery to construct hybrid organisms and symbolic configurations that foreground the interdependence of organic and inorganic matter. Her practice thus moves between scientific research and speculative imagination, using fiction as a means of opening alternative ways of understanding ecological and political realities. Writing and voice are also integral to her practice. Text, narration, dialogue, and spoken language frequently become structural elements of her films and collaborative projects. In *We Are a Plot Device*, produced with Lucrecia Dalt for the Museo Reina Sofía, the two artists developed a polyphonic work drawing on mythology, science, and speculative forms of fiction to explore the threshold between the living and the non-living. This approach reflects de Miguel’s broader interest in producing hybrid forms of knowledge that move across disciplinary boundaries. De Miguel has presented her work internationally in solo exhibitions and projects at institutions including Kunsthalle São Paulo, C3A Centro de Creación Contemporánea de Andalucía in Córdoba, MUSAC in León, and General Public in Berlin. Her work has also been shown at Haus der Kulturen der Welt in Berlin, Palais de Tokyo in Paris, and other international institutions and exhibitions. Her work is held in institutional collections including TBA21 Thyssen-Bornemisza Art Contemporary. She has also received significant support and recognition in Spain, including the Fundación Botín Visual Arts Grant. Across film, installation, painting, and writing, de Miguel continues to investigate the unstable boundary between scientific knowledge and fiction, bringing together geological, ecological, technological, and mythological perspectives to question how contemporary realities are produced, represented, and imagined.