Cris Noguer.

My studio work, on both an individual and collaborative level, is based on the politics and culture of materials, exploring imaginaries towards more livable futures through sensory matter. In Research you can see some of the work I’ve developed and carried out for galleries, institutions and self-commissioned projects in the form of exhibitions, objects and publications, while in Applied Research there are some projects I’ve done for companies in order to trigger innovation through a cultural shift. These take the form of strategic design proposals, new products, the exploration of materials and the curation of seminars and lectures.
I’m currently a researcher at the Institute of Political Materialities at BAU, and also at Holon, a cooperative whose mission is to evolve and transition towards a degrowth-based society through everyday actions.
I’m also part of L’Afluent, a coop for cultural transformation where I work on sustainability projects.
I’ve consulted for BDC, lectured in most universities in Barcelona, curated summer workshops based on linking different forms of knowledge at TMDC and at Sonar+D with Shestem Project, as well as publishing texts on A*Desk, an online critical thinking platform, and recently curated five podcasts on the politics of materials in collaboration with
Over the course of six years, I led the innovation department at Puig, where I linked science, technology, innovation and critical thinking to discover new narratives, aesthetics and concepts within the fragrance and perfume industry.
In 2014 I co-create  Proyecto Algo , a collective space for critical design and experimentation that I established alongside Pol Alert, Jordi Canudas, Rafel Oliva, Cristian Montecinos and Sander Wassink.
My background is in Industrial Design, and I first understood my deep interest in materials while working at Universidad de Talca in Chile . During my time there, I travelled the country learning about the idiosyncrasies of the territory, its materials and systems (of production, communication, resources, etc.) by engaging with and listening to local craftspeople. But where I was truly impacted by crafts and materials was in India, while working at  Jal Mahal  with Siddhartha Das. It was both an enlightening and confusing experience, which generated feelings of fascination and injustice all at once.