Antía Moure

Antía Moure

Artist selected by Barro, David at 2010
More artist content updated at 2016

Antía Moure displays her passions simply and directly. In a trusting outpouring of emotion, she reveals secrets (almost always real-life experiences) in abandoned spaces and fragile installations, on walls and torn bits of paper.

Her messages contain a bitter taste of impotence, linked to a certain rebellious streak, but steer clear of the most obvious activism and manage to share her intimacy very naturally.


Antía Moure
Monforte de Lemos, Lugo, 1981

Vive y trabaja entre/Lives and works between: Madrid, Galicia.

Formación Académica/Education
Gestión de proyectos interculturales, Escuela de Convivencia, Madrid.

Seminario Coleccionar en el presente, Museo de Arte Contemporáneo de Castilla y León, MUSAC, León.

Máster en Gestión Cultural, Universidad Carlos III, Madrid.

Seminario Empresa, Humanismo y Gestión Cultural, Universidad Internacional Menéndez Pelayo, Fundación Luis Seoane, A Coruña.


Curso Diálogo imposible, Museo de Arte Contemporáneo de Castilla y León, MUSAC, León.

Curso La Filosofía de la condición postmoderna, Auditorio Caixanova, Vigo.

Licenciada en Bellas Artes, Universidad de Vigo.

Exposiciones individuales (Selección)/Selected Solo Exihibitions
Arkhé, Carlos Carvalho Arte Contemporânea, Lisboa.
Yo también me acordaré de todos vosotros, Festival PHotoEspaña, Galería Astarté, Madrid.


Besbellar, A Chocolataría, Espazo de Experimentación e Creación Contemporánea, Santiago de Compostela.


Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Marxes e mapas, Auditorio de Galicia, Santiago de Compostela.
Bridge Art Fair, Galería C5 Colección (Santiago de Compostela), New York.
CIGE 2008, Subliminals Projects, Casa Asia (Barcelona, Madrid), Beijing.

ARCO, Carlos Carvalho Arte Contemporânea (Lisboa), Madrid.
D-PHOTO 2007, Carlos Carvalho Arte Contemporânea (Lisboa), San Sebastián.
Liste Köln Art Fair, Galería C5 Colección (Santiago de Compostela), Köln.

Ciclo de videocreación, Centro Galego de Arte Contemporánea, CGAC, Santiago de Compostela.
Octava, Galería Luis Adelantado, Valencia.
Surrounding Matta-clark, Carlos Carvalho Arte Contemporânea, Lisboa.
Urbanitas, Museo de Arte Contemporánea de Vigo, MARCO, Vigo.

Es ya ayer, Stage Estampa 2008, Madrid.

Encuentro-Feria Proyecto-Edición, Pazo da Cultura, Pontevedra.
2 mentiras, Observatori, VII Festival Internacional de Investigación Artística de Valencia, Ciudad de las Artes y las Ciencias, Valencia.

Becas y Premios/Awards and Grants
Bolsas Feima-Fundación Laxeiro 2007 a la creación artística, Feima-Fundación Laxeiro, Vigo.(Accésit, Adquisición de obra)

Concurso de Artes Visuales Premio Miquel Casablancas, Centro Cívic Sant Andreu, Barcelona. (Finalista)

I Certamen de Videocreación y Formatos Digitales Imaginarte, Caixa Galicia, A Coruña. (1er premio Artistas Noveles)

Obra en Museos y Colecciones/Works in Museum and Collections
Fundación Caixa Galicia.
Fundación Laxeiro, Vigo.
Diputación de Pontevedra.
Centro Português de Serigrafía, C.P.S., Lisboa.

Martínez Domínguez, Chus, "3 de mayo 2008", Art Notes, nº 21, Santiago de Compostela, VI/2008, pp. 11 y ss.
Doñate, Antonio; Permui, Uqui, "Entrecruzar", Santiago de Compostela, Xunta de Galicia, Consellería de Cultura e Deporte; Centro Galego de Arte Contemporánea, CGAC, 2006, Cat. Exp.
Álvarez Basso, Carlota; Barro, David; Figueroa, Fernando; García, Silvia; Lens, Xosé Manuel; Martínez Antelo, Iñaqui; Urbanitas, Vigo, Museo de Arte Contemporánea de Vigo, MARCO, 2005, Cat. Exp.


1.What made you choose art as a profession?
I never felt I actually took that decision; I simply followed the course of my life.

2. How would you define your work?
Sincere, intuitive, obsessive, sentimental and deeply personal.

3. What subjects are you interested in?
I don’t like talking about ‘subjects’ in the context of my work; I know there are certain recurring key ideas, but I don't know whether I’d call them subjects. The most important thing to me is to experience life itself.


Everything that happens in this cycle, all the things that we love, hate, fear or remember to varying degrees at different times. Taking a deeper look at these feelings is what really interests me.

4. What resources – formal or otherwise – do you use in your work?
On the one hand, I use everything around me, because I think this helps my work develop naturally – spaces familiar to me, personal objects or other people’s, simple materials, recycled objects… In short, ‘friendly’ resources I can easily relate to.


On the other hand, there’s the written word.


My work is crisscrossed with links to my writings and readings – confessions rescued from my notebooks, from the margins of books I’ve read, snatches of conversations I’ve had…

5. What relationship does your work have with reality? What are your raw materials?
It’s intensely related. Each project always follows long periods of reflection and studying my own reality. When it starts to take shape, I try to ensure each piece retains its original referent, its sincerity, its purpose as a document, a record of reality and truth.


I find it difficult to separate creative experience from life itself. Emotional maturity goes hand in hand with creative maturity, so I see the experience of living life as my raw material.

6. What, according to you, is the point of art?
I like to see it as a necessary stimulus in life, in my life.

7. How do you hope the public will receive your work? What audience are you aiming at?
I hope my works are lived and not just contemplated. If an ‘object’ aims only for immediacy, representation or artifice, it loses its essence, and the chance of revealing its true nature vanishes – which means we won’t appreciate the aesthetic experience as I understand it.


I’d like people who come to see my work to feel something as well. I’d like them to be able to transcend other interferences and come face to face with the incredible notion of the other.

8. What qualifications have you got? What do you value most from your time in education?
I graduated in Fine Art and finished my education with seminars, workshops and courses that helped me put the knowledge I’d digested during my degree into practice.


I’m well aware that my artistic education is far from complete, but I’m extremely grateful for what I’ve experienced so far, which has whetted my appetite and meant I’ve met people who have helped me to understand questions about my work and my way of working which I might otherwise have found much more difficult.

I also took a Master’s Degree in Cultural Management and completed my education with more seminars and courses related to this subject. What I value most from my experience of this world is being able to see the other side of the coin. Thanks to this experience, I can work actively in culture as both an artist and a promoter.

9. How would you define your current professional situation? And in the future?
I don’t have enough time. I need more time to create, to work on a more stable basis, more consistently and with more continuity so I can take a step back from my works, put them to one side… In terms of projects, I’m happy with the offers I get.


Obviously I’d like to get involved in more things, but there’s a time for everything. I like to go slowly. And anyway, I can’t do anything until I solve the issue of my lack of time.


My hopes for the future: to strike the perfect balance and spend lots of time on my work now and, hopefully one day, all my time.

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?
It’s very difficult. I get by with my work as a promoter and try to pay for artistic production with the money I make from selling my art works. I should also say that I’ve got incredibly supportive parents who are always willing to help, which is a tremendous relief.

I imagine that economic considerations have a certain bearing on my work, because they disrupt the course my work would have taken without this hurdle. Sometimes I look over my notebooks and see sketches of projects I know won’t see the light of day for quite some time.

Anyway, I can assure you that this factor has far less effect on me than the lack of time.

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?
My own personal experience has been positive, I have to say. I’ve got good relationships with the curators and promoters I know. I think we understand each other well, and whenever possible they’ve given me advice and helped me with many aspects of my work. I hope it stays like this.
I’ve found lots of advantages. I think when the relationship works well (and this is often not the case) it provides a vital network whose activity I value greatly.

Difficulties arise when things don’t work properly -unequal, unhealthy relationships that normally have a negative effect on the artist.

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I’m lucky to be familiar with the scene in Madrid and in Galicia and I’d say the difference is one of size. Everything here is on a much bigger scale and much more concentrated, or at least that’s how I see it. There are more stimuli too. And that’s very positive.

On the down side, there’s still a need for much more infrastructure, particularly to increase visibility and promotion. The apparent “establishment” here only tries to soften an unstable situation in the Spanish art world.