Ana Carnerero

Ana Carnerero

Artist selected by Cabello / Carceller at 2010

In late 2006 I changed my style and subject matter and steered my vision towards a more intimate and personal place – a kind of autobiography. I embarked upon an inwards journey, a dark quest full of memories and wounds I’d tried long and hard to forget. I produced works based on pain, the idea of wounds and identity, obsessive-compulsive disorders and social contacts.

Obsessive-compulsive disorders are the result of our postmodern life, with all its pros and cons. Stress, work, the millions of problems with food, children, injustice, etc. create disorders and we develop defence mechanisms – sometimes even against ourselves. These are the illnesses of the new century.

Although some works aren’t directly related to social conflicts, they have powerful political connotations which at the end of the day affect us all.


Ana Carnerero
Vélez-Málaga, Málaga, 1982.
Vive y trabaja entre/Lives and works between: Madrid, Australia.

Formación Académica/Education
Licenciatura en Bellas Artes, Universidad Europea de Madrid.

Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Presentación de la revista Nolens Volens nº 1, Off Limits, Madrid.
Una tirada de dados: sobre el azar en el arte contemporáneo, XIV Jornadas de Estudio de la Imagen de la Comunidad de Madrid, Off Limits, Madrid.


La imagen duele, Campus Universidad Europea de Madrid, Villaviciosa de Odón, Madrid.
Arte en un Jardín, Casa de Velázquez, Madrid.

Becas y premios/Awards and grants
Concurso de la UEM, Departamento de Creación Artística, ESAYA, Campus Universidad Europea de Madrid, Villaviciosa de Odón, Madrid. (Selección)

Bruguera, Tania; Castro, Jota; Ivars Joaquín; Democracia; Villegas, Daniel;
Méndez, Aitor, "Espiral en crecimiento", Nolens Volens, nº 1, Madrid, Área de Arte de la Escuela de Arte y Arquitectura por la Universidad Europea de Madrid, 2007, pp. 106-107.
El Perro; Costa, Jordi; Ridao, José María; Herráez, Beatriz; Villegas, Daniel, "Un Nuevo y Bravo Mundo", Madrid, Consejería de Cultura y Deporte, 2006.
Guardiola, Juan, "Filipiniana", Madrid, Consejería de Cultura y Deporte, 2006.
Villegas, Daniel; Espuelas, Fernando; Cabello, Helena, "Test Madrid", Madrid, Área de Arte del Departamento de Creación Artística por la Universidad Europea de Madrid, 2006.

C/ Leganitos nº 14 1-2, 28013, Madrid
(+34) 661239266

1. What made you choose art as a profession?
I can’t remember ever doing anything else.

2. How would you define your work?
A field of constant experimentation, based on my experience and interaction with the world and other human beings. Everything is very autobiographical and highly personal.

3. What subjects are you interested in?
The subjects I’m interested in are always closely linked to wounds; some might be related to the news or have political connotations, but they all say something about social relationships that affect us all.

4. What resources – formal or otherwise – do you use in your work?
The formal resources I’ve used up to now have been mainly photography and video. Photography lets me capture individual moments, whilst video lets me tell stories, which is one of my other resources.

5. What relationship does your work have with reality? What are your raw materials?
My work is based on real-life experiences as seen through my own personal vision. It’s pretty clear that everyone sees the world differently, so I’d say that my work is related to my perception of reality.

6. What, according to you, is the point of art?
Art helps us understand and decipher the incredibly complex world we find ourselves in by offering something new to slowly change this world.

7. How do you hope the public will receive your work?
What audience are you aiming at? I hope people think about the social issues I raise, since there isn’t much social conscience these days. The only way to awaken people’s conscience is to make them think a bit. I’m aiming at anyone who is willing to invest a little time in an enriching experience.

8. What qualifications have you got?
What do you value most from your time in education? I went to university and what I value most from my time there is having the opportunity to grow personally and professionally. Above all, it helped me banish a certain angst, the need to have foundations and pillars to support you and defend an idea. I value the ability to give a name to ideas and theories I believe in, but couldn’t previously name.

9. How would you define your current professional situation?
And in the future? I’d say I’m at a turning point, reassessing what my work will be like from now on, after spending a year away from everything I knew in a country as different and strange as Australia. I feel the need to talk about this new experience, which I’m still assimilating and taking on board. This is my outlook for the future – to carry on absorbing and creating.

10. Many artists say it’s difficult to make a living from their work; how do economic considerations affect you when it comes to work?Do you think this has a bearing on your work?
I don’t think economic considerations have a negative effect on your work – quite the opposite, in fact: on a non-existent budget, your mind works much closer to full capacity and you’re less inclined to produce spectacular works. Works made on a low budget but with great ideas make much more of an impact and are usually far more enriching. If the question is whether or not you can make a living out of art, then I’d have to say it’s tough at the moment.

11. What do you look for or expect from your relationship with promoters and curators? What advantages and difficulties have you found with these relationships?
I’d hope for a relationship based on exchange, just as at university, where students learn from teachers and teachers learn from students. Relationships with promoters and curators should be a learning process.

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
The arts scene in Madrid is very varied and accessible to everyone. Going to galleries is free, whereas in other countries it can be almost a luxury. However, there are no bonds between artists on a personal level or groups of young people sharing life, art and experimentation. We also need art and artists to be seen through other eyes, given that for some people the role of the artist doesn’t appear to have changed at all.