She is also curator of the Thought Programme at the Teatros del Canal, a debate and knowledge production space on dance and theatre, its culture and politics, its community and scene; that is, everything that traverses, encompasses and overflows representation. In addition to this, she is a mediator for the Concomitentes project in Spain and a member of the visual arts counselling board of PICE grants at Acción Cultural Española.
Morandeira is a professor at the SUR MA Program at the Círculo de Bellas Artes / Carlos III University, where she teaches research politics, and a COOP study tutor at the Dutch Art Institute, where she leads a collective research together with iLiana Fokianaki/State of Concept (Athens) and Francesc Ruiz on CHUSMA: a dirrrrrty editorial. She holds a degree in Humanities from the Universitat Pompeu Fabra and an MA in Visual Cultures from Goldsmiths College.
Previous to this, she was part of the artistic collective Magnetic Declination; LOOP Fair coordinator (2012-2013) and Screen Festival curator (2011); and Gaswork’s exhibition and public events assistant (2009-2010).
Her practice is articulated in long-standing projects of curatorial research, which materialise in different formats and gestures. With Canibalia, she has researched the figure of the cannibal and cannibalism as a colonial construction of modernity, as a device of the political imagination, and as well a visceral ecosystem from where to reposition our relation with the world (Canibalia, Kadist Paris, 2015; Canibalia redux, 2017, Hangar Lisboa; ‘Cannibal Affinities’ course, ArtCenter/South Florida, 2016, and presentations at Savvy or Kunstcenter Bergen). The problematisation of the epistemological foundations of eurocentric modernity through the body, the footnote, the sea, the stomach, or other minor and contaminated experiences constitute an important framework of her practice: The Sea is History. Towards a Marine Ontology (2019 & 2017, fluent), ATLAS of the ruins OF EUROPE (2016, CentroCentro Madrid, co-curated with José Riello), Poetics of the Sign and Détour (2017, MACBA), We are Sycorax’s daughters (TEA, 2017), Provincialising Spain (Kyiv Biennial, 2015), Until Lions Have their Own Historians (with Magnetic Declination, Matadero Madrid, 2013), Les Aliments Refusés (with Pepi de Boissieu, Matadero Madrid, 2014), Twin (MACBA, 2013) and Twin Tastes & Tongues. Miralda (Barcelona Pavillion, 9th Shanghai Biennale, 2012), or State Fiction (FRAC Basse Normandie, 2013).
Another line is centred in the imagination and activation of forms of institutionality, affective economies and feminist methodologies, which inaugurate promiscuous forms of sensibility and knowledge, as well as generating structures of support, self care debates and peligrosity tactics. This line of work, named Be careful with each other so we can be dangerous together, includes a publication and the event “Affective Coalitions: ACT UP Puerto Rico”, both produced at Beta Local, Puerto Rico (2016); the performance night Selfcare is Warfare (Ocaña Barcelona - Sant Andreu Contemporani, 2017); and the ongoing conversation-contagion “Touch, do not dominate” with artist Diego del Pozo.
More recent lines of research are Nothing is true, Everything is alive on the displacement of scientific paradigms, sympoiesis and toxicity (Peryton, Copenhagen, 2018); and Night Studies, which explores the potentials of nocturnality.
Morandeira has lectured at numerous places such as the De Appel Curatorial Program (Amsterdam), the Dutch Art Institute, Curatorial Laboratory at the CCE La Paz (Bolivia), Pompeu Fabra University (Barcelona), University of the Basque Country-EHU (Bilbao), Goldsmiths College (London), Notre Dame University (Indiana, USA), SomethingYouShouldKnow (Paris), Nottingham Contemporary, Jeu de Paume (Paris) or TEOR/Ética (San José, Costa Rica), among others.