28.02.-04.04.2026
"Bioism Onto Galaxies, Riddling Spacetime Into Stellar Life"
Marc Bibilony Gallery, Madrid, Spain

The effort to understand the Universe is
one of the very few things that lifts human life a little
above the level of farce, and gives it some of the grace
of tragedy.
— Steven Weinberg

Gene flow is the movement of pollen, seeds, and plants from one place to another and their incorporation into the population of a new area. It is a natural process carried out through seed dispersal, pollen transport, and the movement of plants or parts of them. Its causes include climatic factors or the transportation of pollen by various forms of fauna. It is a movement of extreme necessity for the survival of species. Hypothetically, in the early stages of the Universe, minor fluctuations existed, similar to gene flow, which acted as seeds for the formation of galaxies and for the concentration of matter around them. However, it remains unclear what type of fluctuations caused the formation of galaxies or what precise mechanism underlies their emergence. This seminal connection, paradoxically molecular and at the same time large-scale, extends throughout the main hall of Marc Bibiloni in the hands of the renowned Ukrainian artist Aljoscha, whose celebrated manifesto is grounded in what he terms Bioism: the artist’s will to create “new forms of life and thereby develop the aesthetics and ethics of the future of organic life” (Aljoscha, n.d.).
With his installation, Aljoscha establishes a cosmic connection by magnifying what is microscopic and unknown, underscoring the biological background concealed behind the very concept of “life.” The subtle transparency of the methacrylate components that make up the piece metaphorically allows us to glimpse the internal possibilities of speculative living beings. Each fragment differs from the others, an exemplary manifestation of necessary non-uniformity. In the Universe, Initial differences are required; they act as enabling conditions for the emergence of new and more complex structures. At the same time, each synthetic organic piece holds no meaning in isolation but harmonizes with the others as if they were musical notes, emphasizing the importance the the artist tension to musical composion, which he considers the art form whose innovation surpasses that of other artistic disciplines.
The parts of the installation may be interpreted as celestial bodies which, following Pythagorean theory, would each stand out intersected with billions of musical notes determined in part by their distance from one another. The theory of the Music of the Spheres has been revisited by various thinkers throughout history, among them the contemporary philosopher Hans Kayser, who applied Pythagorean duality to our era: harmony is composed of numbers (measurement) and tonal quality (value). In our obsession with number, we have lost quality, which is essential for the integration of the human being into the Universe. According to his disciples, Pythagoras was the only one capable of hearing the Music of the Spheres. The rest of us mortals have grown so accustomed to it that we are unable to identify it within the noise of our routines. Aljoscha not only enables us to step outside that noise, but also to appreciate the biological beauty of feeling deviative..
From this perspective, Aljoscha’s works do not merely occupy space, they shape it, defining future chances, and, above all, embody it. Consequently, an expansive element exists within them. His whitish “marbles” seem to dilate; his aluminum sculptures grow, moss-like, touching the sky. At the same time, mutation, a life-engine, is essential in the artist’s pieces. The works that make up his trajectory function like organisms in constant transformation, remaining faithful to a consistent formal logic and a recognizable bio-futurist aesthetic.
This concept of mutation is not foreign to Aljoscha’s discourse; indeed, he exalts it:
“Nature is a process. It is something alive. It is something so vast that we cannot comprehend it. And Nature is at every moment based on mutations, something that human beings abhor: we abhor mutations. We need order in everything around us. Everything must be catalogued, compartmentalized, without visible movement. Yet mutations are the engine of life. Without them, nothing survives. In fact, we ourselves are the result of very successful mutations.” (Guardiola, 2021)
Thus, in an era of hygienism and advances in the field of health, it becomes almost impossible for us to accept such changes. To accept them would imply altering our perspective on disease and, consequently, on death. It would mean acknowledging our natural cycle, whose birth began with death itself, in this case, the death of stars. When a star dies, its heavy elements are expelled into the Universe. Over time, these elements circulate and cluster together, forming new planets and stars. All the heavy atoms in our bodies originate from stellar matter . We are stars, who one day will create the new stars.

As Joni Mitchell sang in Woodstock:

We are stardust
Billion-year-old carbon
We are golden
Caught in the devil’s bargain
And we’ve got to get ourselves
Back to the garden.

Curatorial text by Paula Tomasini Collado