Mbuchi is what David Habets and Eva Posas call their family collective, which includes their child, Bigu. The first sound Bigu used to name the world, Mbuchi, has no fixed meaning, yet they understood it well. Rooted in Mexico and the Netherlands, their practice is marked by a transcontinental drift that weaves their heritages together. In Ireland the wind was a constant presence, and ‘Roaring Winds’ unfolds along two strands: a radio station carried across land and sea, and a photographic installation.

Twenty-two windows hang from the ceiling, their panes printed with photographs taken on an old-fashioned large-format camera. Cyanotype, a 19th-century process, is achieved by coating a surface with light-sensitive iron salts and laying a negative over it in daylight. When washed, the image is revealed in deep blue. The hanging windows outline an absent architecture, a house made of air – a space within a space, with many possible views that never fully resolve into a singular place. Whichever path visitors take, they are neither wholly inside its shelter nor entirely outside it. Among the images are lichens, which Mbuchi describe as an atmospheric archive: they live off the air itself and store decades of atmospheric history in their bodies.

The radio can be accessed here.

David Habets, Eva Posas and Biguzaa Habets-Posas are members of Mbuchi Collective, a transcontinental collective of artists and researchers. Rooted between Mexico and the Netherlands, their practice weaves together Binnizá heritage and European narratives. Through spatial installations, live radio, public programs, curatorial research, and in play, Mbuchi journeys across linguistic and cognitive territory, mapping the winds that carry memory, identity, and language.

Eva Posas is a curator, writer, and editor. Her work has evolved at the intersection of curatorial and editorial practices, the politics of language, non-western imaginaries, the power of subtlety and intergenerational memory as a form of resistance and reflection. She is the initiator of Xigagueta, a program of art, writing, and thought from Binnizá land, the author of ‘Mbuchi: Turtle Words. On Forbidden Mother Tongues’, published by PrintRoom in the Netherlands in 2024. Since 2024, she is curator of Resquicio at Casa de Lago, UNAM and from 2026, she is the Head of the Master Programme Phantom Scores at Sandberg Instituut. She has a background in German Literary and Language studies, additionally, she conducts research and dissemination activities related to Binnizá culture. Interested in collective learning processes, Posas was part of the team behind Materia Abierta from 2019 to 2024. Alongside Mônica Hoff, she co-curated the edition ‘Ni apocalipsis ni paraíso’ in 2021. From 2020 to 2021, she was selected as a curator in residence at the Jan van Eyck Academie and as a fellow at the Nieuwe Instituut from 2022 to 2023. From 2012 to 2018, she served as editorial director and curator at Fundación Alumnos47, where she explored the role of publishing as social provocation, counter narratives, the intersection of public and private spaces, and editing as a subversive methodology. In 2019 and 2020, she shaped and curated Reading Material, a program within Material Art Fair. She has collaborated with various institutions in Mexico City, Guatemala, Bogotá, Gateshead, Rotterdam, Amsterdam, Basel, Zurich, Berlin, Copenhagen, Venice, Los Angeles, and New York.

Habets’ practice revolves around making place-based art installations and staging material performances. He operates at the crossroads of visual arts, landscape architecture, and philosophy. Over the last fifteen years, Habets has been making a series of large-scale site-specific artworks as a core member of RAAAF (‘Still Life’, ‘Deltawork //’, ‘Hidden Worlds’, ‘Intensive Care’, a.o.). Following Habets’ background in physics and landscape architecture, his work is grounded in collaboration. Habets’ work concerns mental and physical pollution through staging fragile, temporary art installations that slowly degrade, dissolve, or wash away over time. He has founded and is active in several art/science collectives to explore wide-ranging topics from lichen (WAAE) to the zoo (ZOOOF) to resource depletion (LiCo), working closely with architects, lichenologists, anthropologists, and political scientists. Recent work involves collaborative art installations, performances, and drawings together with artists Marriët Zwaan (Amsterdam), performer Antonio Ianiello (Rome), RAAAF (at Cappadox in Turkey), and at the Jan van Eyck (Maastricht). His work has earned him invitations to HKW in Berlin and the Art/Science program at the Royal Netherlands Academy of Arts and Sciences (KNAW), a fellowship at the van Eyck Academy, and a PhD research project in arts and philosophy at the AMC department of psychiatry, titled ‘Landscapes of Stress’.