Repair manuals and cosmic sounds is an expanded exhibition proposal that displays a necessarily incomplete and subjective selection of graphic, textual and sound publications that use collective and experimental self publishing to address the emergencies of the climate crisis and the self-management of resources.
Through a series of community projects that, since the 1960s, have used self-edited publications and experimental music to activate new forms of existence and coexistence, we review the successes and failures of the counterculture and its influence on cyberculture. We propose a device of fanzines, manuals, vinyls, cassettes, sound experiences, posters and essays that inspire us to think about other possible ways of inhabiting the planet from an ecofeminist and ecosocial interspecies alliance.
The research is based on the impact that the work of the architect, inventor and utopian Buckminster Fuller has had on different generations of creators when seeking alternative ways of inhabiting space and relating to the environment, based on the strategies of ‘do it yourself’ or ‘more with less’. The influences that these and other utopian theories exerted on thought and creation are recognisable in publications such as Whole Earth Catalog (1968) or The New Woman’s Survival Catalog (1973), authentic countercultural references that nourished hippies, beatniks and a whole series of movements based on self-management and feminist libertarian ecology.


Repair Manuals and Cosmic Sounds is an expanded exhibition proposal that looks to the past to find experimental and collective forms of self-publishing. Besides printed publications, the exhibition also includes sound editions. So, the programme Let’s talk about… is thus transformed into Let’s sound with… to approach the exhibition from a perspective of listening, in a vindication of music as a catalyst.
A journey that begins through the lo-fi sound of h waas, with guitar ambiences, multiple layers of textures and choral harmonies. It continues with Draft, in an almost a spoken and sound manifesto of all the music that passes through them as a collective. It closes with soundscapes that show us Molero’s tropical fictions, accompanied, on this occasion, by Aina Climent’s visuals. And it ends with the atmospheric polyrhythms of the Colombian Verraco.
A sound invitation to enter this exhibition from different sound perspectives.