The first public programme of Arrietan Biennial, rolling, took as its point of departure an intuition articulated by Brian Massumi in Parables for the Virtual: Movement, Affect, Sensation (2002): no movement emerges from absolute stillness. For something to begin moving, a vibration must already exist, an energy in circulation, an initial force capable of setting everything in motion.

With this idea as its driving force, rolling inaugurated the biennial as an incipient movement, a prelude gesture from which to begin building a sustained relationship between contemporary art, the territory, and the community. The curatorial approach sought to foster these encounters by working with a group of artists capable of generating a fertile dialogue with the local context, while trusting in the capacity of the works to create unexpected relationships between the chosen sites, the inhabitants of Arrieta and visitors.