Carlos Maciá

Carlos Maciá

Artist selected by Barro, David at 2010

My work started out in the field of painting, although it occasionally ventures out into other media or formats. I aim to tease painting out of its hypothetical limits, unleashing a plethora of whys and wherefores. I’m interested in borderline areas, limiting spaces - undefined, vague, unclear places where I think my work fits. Lately I’ve developed something of an obsession with records of things. Traces of specific and fleeting actions, many of them transitory, although with an impressive finish, which I see more as a record of actions than works of art in themselves. I’m more aware now than ever of a work’s temporal and procedural coordinates.


Carlos Maciá
Lugo, 1977.
Vive y trabaja en/Lives and works in: Madrid.

Formación Académica/Education

Licenciado en Bellas Artes, Universidad Politécnica de Valencia, Valencia.


Exposiciones Individuales (Selección)/Selected Solo Exhibitions
Life in Technicolor, Galería Bacelos, Vigo.


In situ, Néon diffuseur d´art Contemporain, Lyon.
La leyenda del tiempo, Museo de Arte Contemporáneo Unión Fenosa, MACUF, A Coruña.
Miopía, Galería SKL, Palma de Mallorca.
Tirarlo todo por el suelo, Galería Cubo Azul, León.


Four hundred dollars, Jack the Pelican Presents Gallery, Brooklyn, New York.
Shake well for best taste, Galería de Arte Casaborne, Antequera, Málaga.
Time goes back, Espacio Herrezuelos nº31, Antequera, Málaga.


¡Ten cuidado, no vayas a matar a alguien!, A Chocolataría, Espazo de Experimentación e Creación Contemporánea, Santiago de Compostela.


2046, Galería C5 Colección, Santiago de Compostela.


Wonderland, Galería Clérigos, Lugo.


Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Spain on the edge. Fragments of a narrative conflict, Instituto Cervantes, Chicago. Just Madrid, Galería Cubo Azul (León), Madrid.
Espacio Atlántico, Galería Bacelos, Vigo.


ARTE LISBOA, Goran Govorčin Contemporary (Santiago de Compostela), Lisboa.
KIAF, Korea International Art Fair, SKL Gallery (Palma de Mallorca), Seoul.
Entornos S.L., Galería Cubo Azul, León.
Hambre´09, Atocha 24, Madrid.
ARCO 09, Galería Cubo Azul (León), Madrid.


Uno más uno, multitud, Doméstico 08, Madrid.
Superficies minimales, Goran Govorčin Contemporary, Santiago de Compostela.
Sobre el espacio infinito. La creación alrededor del mar, Palexco, Palacio de Exposiciones y Congresos Congresos, A Coruña.


Corpografías, Galería Sargadelos, A Coruña.
Tropical Punch, Jack the Pelican Presents Gallery, Brooklyn, New York.


Urbanitas. Actitudes urbanas en el arte gallego actual, Museo de Arte Contemporánea de Vigo, MARCO, Vigo.


Resistente al agua, Salas de exposiciones Caixa Galicia, Santiago de Compostela.
Todos mis amigos han muerto, Galería de Arte Casaborne, Antequera, Málaga.
Nuevas propuestas, Galería La Nave, Valencia.
Emergentes, Casa da Parra, Santiago de Compostela.


Furnished NY, Revista Internacional de Arte Art Notes, nº14.


Becas y premios/Awards and Grants
Ayuda Promoción del Arte Contemporáneo, Ministerio de Cultura, Gobierno de España.


Beca Colección CAM de Artes Plásticas, Japan. (Beca/Grant)


Ayuda de movilidad internacional, Ministerio de Asuntos Exteriores y Cooperación, Berlin. (Beca/Grant)
XI Bienal de Artes Plásticas Ciudad de Pamplona, Pamplona. (Selección/Selection)


Generación 2007, Premios y Becas de Arte Caja Madrid. (Mención Honorífica/Honorable Mention)


VII Premio ABC de Pintura y Fotografía para Jóvenes Creadores. (Mención Honorífica/Honorable Mention)


Beca de creación artística en el extranjero Unión FENOSA, New York. (Beca/Grant)
Beca perfeccionamiento estudios artísticos, Diputación de A Coruña. (Beca/Grant)
Generación 2005, Premios y Becas de Arte Caja Madrid. (Selección/Selection)


Na Vangarda 2004, Artes Plásticas, Xunta de Galicia, Santiago de Compostela (1er Premio/1st Award)
Generación 2004, Premios y Becas de Arte Caja Madrid. (Adquisición/Purchase)


Obra en Museos y Colecciones/Works in Museum and Collections
Ayuntamiento de A Coruña.
Caixanova, Vigo.
Caja Madrid.
Centro Galego de Arte Contemporánea, CGAC, Santiago de Compostela.
Diputación de A Coruña.
Diputación de Ourense.
Fundación Araguaney, Santiago de Compostela.
Museo de Arte Contemporáneo UNION FENOSA – MACUF, A Coruña.
Xunta de Galicia.


VV.AA, "90:08 Artistas Galegos do Século XXI" Santiago de Compostela, Editorial DARDO DS, 2008, Cat. Exp.
Barro, David, "Manejando Tensiones Para Perseguir La Pintura. A Propósito De Carlos Maciá".
"Carlos Maciá. La Leyenda del tiempo", Santiago de Compostela, Editorial DARDO DS/ MACUF, 2008, Cat. Exp.
Ribal, Pilar, "Carlos Maciá, huellas visuales", Madrid, El Cultural, El Mundo, 24/IV/2008.
Lens, Xosé Manuel, "Carlos Maciá. El comienzo del después, Tirarlo todo por el suelo", León, Galería Cubo Azul, II/2008. Tríptico-invitación/Leaflet-invitation.
Carlos Maciá, Galería Casaborne, Antequera, Málaga, 2007, Cat. Exp.
Padín Otero, Román, "Cuando el artista se parece a su obra pictórica", Carlos Maciá, Antequera, Málaga, Galería Casaborne, 2007, Cat. Exp.
Palomo, Bernardo, "Carlos Maciá", Madrid, El Cultural, El Mundo, 22/III/2007.
Generación 2007. Premios y Becas de Arte Caja Madrid, Madrid, Obra Social Caja Madrid, 2007, Cat. Exp.
Barro, David, "¿Una generación urbanita?", Madrid, El Cultural, El Mundo, 16/III/2006.
Urbanitas, Vigo, Museo de Arte Contemporánea de Vigo, MARCO, 2006, Cat. Exp.


(+34) 654505432

1.What made you choose art as a profession?
A combination of the twists and turns of my own life and a personal need.

2. How would you define your work?

3. What subjects are you interested in?
Almost everything around me.

4. What resources – formal or otherwise – do you use in your work?
It’s a bit complicated to describe synthetically and obviously it varies depending on the work in question.

5. What relationship does your work have with reality? What are your raw materials?
My work is clearly the result of my own reality, my day-to-day life, although that doesn’t mean there’s an explicit reference to reality in my work.

6. What, according to you, is the point of art?
For me it’s a form of therapy.

7. How do you hope the public will receive your work? What audience are you aiming at?
Any reaction other than indifference is fine with me.

8. What qualifications have you got? What do you value most from your time in education?
I graduated in Fine Art and started a doctorate in Art History, although I didn’t finish it. I had some good teachers: José Luis Cueto, Agustín Valle and Alberto Datas, amongst others.

9. How would you define your current professional situation? And in the future?
Unstable and precarious. I try to stay afloat economically by doing art, but it’s very tricky.

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?
Economic conditions obviously affect your work. If you’re not paid for your work, of course this has a bearing on whether you can carry on working. It’s ridiculous.

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 suppose I’d like a more open and sincere relationship.

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
Obviously this depends on what you compare it with – London or Cuenca, for example. With respect to other regions in Spain, I only see advantages in Madrid. It’s got all the advantages of a major city in a country that’s still highly centralised: it’s the place to see and be seen. It’s also not an issue if you’re from somewhere else. Compared with Berlin or London, from what I know there’s room for improvement. I think Madrid’s got huge potential and could be a great beacon for artists from all over the world, like Berlin or London.