LOOP ART FAIR Barcelona 2025

In Rondalla 99, Anna Moreno departs from the voice of Yary, a young singer from the Ebro region, to project the living tradition of the rondalla, an improvised song still performed today at local festivities, into the future. The rondalla is news, memory, and collective storytelling; an oral practice that combines irony, popular wisdom, and resilience. When Yary sings from the year 2099, her voice does not reproduce an ancient song but invents a new rondalla from the future: a ballad that imagines life after the flood, subsistence above and below the water, and the persistence of the community despite the transformation of its territory.

The video unfolds around the Tower of Sant Joan, an emblematic ruin of the Delta and the last witness of a vanishing landscape, emerging from the water like a beacon of what still remains. Mixing found footage with her own recordings, Moreno weaves a narrative that oscillates between documentary and (science) fiction, between the present and the memory of a possible future. The voice of Yary and the archival imagery converse as fragments of the same submerged story.

The work is a prelude to Marfantes, a three-channel film currently in production that approaches post-production as a collective space for imagining ecological and social futures. Shot in the Ebro Delta in May 2025 and produced with the support of the Daniel & Nina Carasso Foundation, Marfantes brings together fishermen, rice farmers, scientists, and activists from the region in an experiment of collaborative fiction and shared editing. The project conceives post-production as a moment of collective imagination: a space where filmed material becomes open to reinterpretation, and where narratives around climate change are reclaimed in community rather than confined to dystopia. The film will come to light in Spring 2026.

The light boxes accompanying the installation expand this symbolic universe. Originating from Moreno’s solo exhibition Bash na Bash (curated by BAR Project, 2025), they depict three species that inhabit the world of Marfantes: the blue crab, the Pinna Nobilis pen shell, and genetically modified rice, Ebro-sprung symbols of adaptation, acceptance, and resistance.

Moreno positions Rondalla 99 as a choral opening to Marfantes: a space to reconsider how future narratives are articulated, not as warnings but as possible forms of speculation and collective imagination. In Yary’s voice emerges a spectral presence, a hauntological rondalla.