Carlos Irijalba

Carlos Irijalba

Artist selected by Barro, David at 2010

Perhaps one of the features of art is that it’s impossible to pin things down. As soon as you try to define anything, it slips through your fingers. When you work with and shape your environment, you almost inevitably discover relational qualities: the creative capacity between objects and subjects when they relate to each other. I think that art today should take on a transitive character as an element that dilutes or uses its own entity as a connection, reflection or transparency of the other.


Carlos Irijalba
Pamplona, 1979.
Vive y trabaja en/Lives and works in: Madrid.


Formación Académica/Education
Rijksakademie van Beeldende Kunsten. Amsterdam.


International Studio & Curatorial Program. ISCP. New York


Klase Prof. Lothar Baumgarten, Universität der Künste, UDK, Berlin.
Licenciado en Bellas Artes, Universidad del País Vasco.


Graduado en la Escuela de Arte de Pamplona.


Exposiciones Individuales (Selección)/Selected Solo Exhibitions
Urdaibaiarte. Comisariada por Alberto Sanchez Balmisa. Urdaibai.
Proyections Urbaines. Yokohama Contemporary Art Center. Japan
Delimitations. Curated by Ghila Limon. Herzliya Museum Israel.
Goazen Txinara. Egg gallery Beijing
Lugares en Perdida. Comisariada por Teresa Blanch. Centro Huarte.


No man is an Island. LMCC New York. Curator Omar Lopez-Chahoud
Esa cosa verde de ahí afuera. Travesía Cuatro Madrid.
Rencontres internationales. Screening Centre Pompidou Paris.
“Entre Temps” Le Carré. Bayone.
VOLTA NY New York.


Welcome home. Galeria Moisés Pérez de Albéniz. Pamplona
Off Mostoles CA2M Mostoles Spain
25 años INJUVE Comisariado por Maria Corral en Tabacalera Madrid
Queens move, White Box Satellite, Long Island City, NY
Spain on the edge. Instituto Cervantes Chicago.


Atopia. Centro de Cultura Contemporánea CCCB. Barcelona
Rencontres Internationales Paris/Berlin/Madrid. Jeu de Paume Paris.
RISK. MA Studio. Beijing
La Colección 2 TEA Tenerife.
“Et in arcadia ego” Comisaria Blanca de la torre.
Thornton Room. Chelsea NY
Generaciones 2009. Caja Madrid. Itinerante Nacional.
Itinerarios 07-08 Beca Artes plásticas Fundación Marcelino Botín.


Exposures Dina Mitrani Gallery Miami.
Ajenos. Curator. Raffalella Guidobono. Palazzo Sambuca. Palermo.
Extraños en el paraíso. Fotografia Contemporánea
en el Pais Vasco. Exposición Itinerante. ARTIUM
Institutos Cervantes de Beijing y Tokio.


Balance. Curator: Raffael Gavarro
Galeria Unosunove. Roma
Bienal de Valencia-Sao Paolo . Anamnesis
Photo Miami. `07


2006 Injuve 2006 Muestra de arte
Generación 2006 Caja Madrid



Becas y Premios/Awards and Grants
Beca Fundación Alicia Winters (para Rijksakademie) Premio de Arte Joven Explum


Premio revelación FhotoEspaña Residencia en ISCP New York


Primer premio de fotografia Purificación Garcia
Mención de Honor Generaciones 2009. Obra Social Caja Madrid
Ayudas a la Movilidad Matadero Madrid
Beca Residencia MA Studio Beijing


Beca Artes plásticas, Fundación Marcelino Botín.


Beca Residente Fundación Bibao Arte
Premio Artes Plásticas.
Colegio de España de París


2005                                                                                                                                                                                                                                                                                                                                                                                                                                                                 Beca de Creación Artes Plásticas Gobierno de Navarra


2004                                                                                                                                                                                                                                                                                                                                                                                                                                                                      Beca de Fotografía Guggenheim Bilbao
Primer premio Jóvenes artistas de Navarra


2003                                                                                                                                                                                                                                                                                                                                                                                                                                                                           Beca Erasmus Universität der Kunst. Berlin


Bibliografía(Selección) Selected /Bibliography
Lars Bang Larsen, “The indifference of the Terrain and the Meeting of the flows”, 2012.
Occulto Marco Antonini, The Whistle, Edit, Alice Cannava, Berlin, 2011.
Guaza Luisa Fuentes, Ustedes/Nosotros, Iberoamerican young artists, Ed, Sr Tata, 2011.
Ramoneda Josep, Dictionary of disconfort in Culture, ATOPIA CCCB Barcelona, 2010.
Arrieta Judas, Goazen Txinara, Edit, Basque Government MA Studio, 2010.
Enguita Nuria, Extraño no es sinónimo de Raro. Iti, 07-08. Marcelino Botín Foundation 2009.
Gavarro Raffaele, Working on the necessity and uncertainty of balance, Unosunove, Rome 2007.
Golvano Fernando, Anamnesis, Valencia- Sao Paolo Biennale Catallog, 2009.
Hontoria Javier, La vida a este lado, Galería Esopacio Liquido, 2009
Fernandez Orlando, INJUVE Catallog, Spanish Young art show, 2006.
Castro Florez Fernando, The last vehicle and the (non) place of reflection., Catalog, 2006.
San Martin Javier, About Lonely Genetics, Enviromnet series Catalog, 2005.


Contacto/Contact Galería Juan Silió

1.What made you choose art as a profession?
It’s not something I chose in preference to other options. I’d say that making art is just another facet of life: it simply happens and above all it’s not something you can avoid.

2. What subjects are you interested in?
My most recent work centres on questioning the constructed real world, its opposing social and psychological structures – interventions in the fragile sphere of what has been called the society of the spectacle. 

3. What resources – formal or otherwise – do you use in your work?
Recently I’ve been carrying out interventions, normally in public spaces, documented with photographs and video. 

4. What relationship does your work have with reality? What are your raw materials?
I think to a certain extent it’s the social apparatus itself. Incursions into the public space are small triggers in themselves and the work is the combination of both.

5. What qualifications have you got? What do you value most from your time in education?
I studied sculpture and photography at the Fine Art School in the Basque Country and the UDK in Berlin, where I really appreciated a fresh dose of reality as opposed to the world of art. 

6. How would you define your current professional situation? And in the future?
Fortunately, at the moment my professional activity is centred on art and my only aim is to carry on doing this, and above all to enjoy doing it.

7. 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?
There comes a point when economic considerations become important – you can’t live on thin air so you have to spend some of your time on this. Above all, though, the priority is to have the means to satisfy your needs and desires with respect to your work.

8. What do you look for or expect from your relationship with promoters and curators? What advantages and difficulties have you found with these relationships?
Amongst other roles, they act as a link between you and institutions and have a wider perspective on the context of art than artists, who are often more focused on their relationship with their own work. I think artists and curators should have a symbiotic relationship.

9. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I’d say it’s very varied, since it’s made up of people from very different places and it’s very open compared with other regions, which might be more closed. In terms of improvements, there could be better interaction with institutions or artistic collectives from other countries to enrich the cultural scene here.