The Institute for Postnatural Studies at Waves of Harmony

“Polyoxybenzylmethylenglycolanhydride,” an original work from The Institute for Postnatural Studies, participates in the collaborative exhibition “Waves of Harmony.”

Curated by Pablo Zuñiga, the exhibition Waves of Harmony: A Global Art Exhibition on the Interconnectedness of Oceans and Communities highlights the vital role of our oceans through diverse artistic expressions. Participants may contribute paintings, photographs, sculptures, and other art forms, each offering a unique perspective on humanity’s deep connection with the ocean. This showcase fosters collaboration with approximately 20 embassies worldwide, raising global awareness of ocean conservation while inspiring collective action toward its sustainable use.

As part of this initiative, the Cultural Office of the Embassy of Spain in Washington, D.C. will present Polyoxybenzylmethylenglycolanhydride, a piece created in 2023 by the Spanish artistic collective The Institute for Postnatural Studies for the project Not Only What But Also How.

Polyoxybenzylmethylenglycolanhydride. Despite the fluidity of the digital era, where traditional economic standards are vanishing, one hard fact remains: 14 million metric tons of plastic lie on the ocean floor. Microplastics and nanoplastics—originating from industrial waste, degraded consumer goods, and atmospheric precipitation—contaminate water sources and threaten all living beings. The UN’s 2030 Agenda highlights the urgent need for universal access to safe water, yet studies reveal that we ingest alarming amounts of plastic annually.

Inspired by this, the Institute for Postnatural Studies reflects on Sustainable Development Goal #6: Clean Water and Sanitation, exploring water access inequality through a project that links plastic pollution to economic systems, questioning who controls clean water and the technologies to purify it.

As National Geographic stated in one of its issues, “we swallow up to 50,000 plastic particles each year,” or, as the company TappWater claimed in its advertising campaign for water filters, “You are drinking a credit card of plastic every two weeks.” Drawing from these references, IPS directly connects this issue to the concept of “plastic money”—the rectangular cards that facilitate everyday transactions in the most developed economies. The holder of this card, Leo Hendrik Baekeland, was the inventor of Bakelite, the first industrial synthetic resin, in 1909.

Not Only What, But Also How

Not Only What, But Also How takes a critical approach, from an artistic point of view, to the 2030 Agenda offering a review of each of the 17 goals conducted by artists and organizations of the Spanish State: Núria Güell, Lorenzo Sandoval, Amanda Moreno, Fermín Jiménez Landa, Andrea Muniáin, Instituto de Estudios Postnaturales (the Institute for Postnatural Studies), Enrique Radigales, Cristina Garrido, MONTAJE, Nicolás Combarro, Irene de Andrés, and Alán Carrasco (artists confirmed up until September 2022.) They will provide us with the opportunity to take a closer look at one of the most preponderant international campaigns of this decade by making use of strategies of appropriation, absurdity, irony, documentation, design, changes in perspective, creation of new landscapes, and more.

A new font was specifically created for the design and image of the project developed by Jaime del Corro, based on the use of pictographs and dynamics of situation that refer to the concept of severe error, while also seeking to emphasize the urgent need to react to the objectives and review them, beyond the creation of idealistic lists.

One of the basic points included in the 2030 Agenda is environmental sustainability, which is why the materials used for displaying the works were inks free of volatile organic compounds (VOC) and PVC-free certified substrates with lower environmental impact, in accordance with Green Print practices for a more eco-friendly printing.

The title Not Only What, But Also How aims to highlight questions about some of the items included in the 2030 Agenda and ways of activating said agenda: a reflection on what and how things are done, far beyond an initial exposition in a politically correct or white-washed manner. “People not only care about outcomes, they also value the procedures which lead to the outcomes,” an idea that is further developed in the research carried out on procedural utility theories applied to sociology and economics.

The institute for Postnatural Studies

The Institute for Postnatural Studies is a center for artistic experimentation from which to explore and problematize postnature as a framework for contemporary creation. Founded in 2020, it is conceived as a platform for critical thinking, a network that brings together artists and researchers concerned about the issues of the global ecological crisis through experimental formats of exchange and the production of open knowledge. From a multidisciplinary approach, the Institute develops long-term research focused on issues such as ecology, coexistence, politics, and territories. These lines of investigation take different shapes and formats, including seminars, exhibitions, and residencies as spaces for academic and artistic experimentation.

The Institute for Postnatural Studies works at the intersection between Spain and international practices and debates. From its headquarters in Madrid, a 300m² warehouse with a workshop, residency spaces, and shared workspaces, invites artists, researchers, and cultural agents to create dialogues with alumni and the broader public.

Pablo Zúñiga

Pablo Zúñiga is a U.S. lawyer, diplomat, musician, and artist, born in Michigan in 1961 and holding dual U.S. and Costa Rican citizenship. He earned a B.A. in Economics (University of Maryland, 1983) and a Juris Doctor (University of Baltimore, 1986). With over 30 years of experience at the Organization of American States (OAS), he held numerous leadership roles, including Director of the OAS Art Museum of the Americas (2017-2020), Representative to Peru (2013-2016), and Director of the Department for Strategic Initiatives and Public Diplomacy (2016-2017). He retired from the OAS in 2020.

Zúñiga was instrumental in developing civic education programs and workshops promoting political participation for women, Indigenous leaders, and Afro-descendants. He received honorary doctorates from Peruvian universities for his contributions to civic education. In his role at the OAS Art Museum, he linked art and diplomacy, enhancing the museum’s cultural significance. He also contributed to public diplomacy strategies for the OAS and Columbus Memorial Library.

Additionally, Zúñiga has taught at The Elliott School of International Affairs and Trinity University in Washington, D.C., and serves on the Board of the Friends of the Art Museum of the Americas. A lifelong musician and composer, he plays multiple instruments and since 2018, he has studied pencil drawing, focused on portraits of present and historical figures.