Carolina Silva

Carolina Silva

Artist selected by Pardo, Tania at 2010

I use my work to explore human perception and vulnerability. Myths, taboos, legends and fantasies play a key role in identifying the ‘unnameable’, the void and abyss that arises from doubts and anxieties.

Recent installations, videos and drawings explore the uncertain land between reality and fiction, where there’s always a tension between innocence and perversity, inside and outside, light and dark, presence and absence. This tension can sometimes lead to humour; at other times, anguish.


Carolina Silva
Madrid, 1975.
Vive y trabaja entre/Lives and works between: Formentera, Madrid.


Formación Académica/Education
Programa de Investigación Artística, Center for Contemporary Art CCA Kitakyushu, Japan.


Master de Bellas Artes (MFA), San Francisco Art Institute, San Francisco.


Licenciatura en Historia del Arte, Universidad Complutense de Madrid.


Exposiciones Individuales (Selección)/Selected Solo Exhibitions
Desenlace, La Casa Encendida, Madrid.


Nada más negro, Galería Travesía Cuatro, Madrid.
Unseen Scenes, Artspace Tetra, Fukuoka, Japan.


Nosotros, los perdedores, Galería Travesía Cuatro, Madrid.
The Nada, Diego Rivera Gallery, San Francisco Art Institute, San Francisco.


Avid Gum, Fish Tank Gallery, Brooklyn, New York.


Face against the wall!, Next Gallery, New York.


Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Becas Generación 2008, ARCO 09, Madrid.


XXXV Premio Bancaja de Pintura, Escultura y Arte Digital, Institut Valencià d'Art Modern, IVAM, Valencia.
XV Premi Ciutat De Manacor D’Arts Plastiques, Torre de Ses Puntes, Manacor, Palma de Mallorca.
Certamen Internacional de Artes Plásticas, Museo de Pollença, Palma de Mallorca.
Premio de Pintura Colegio de Gestores de Valencia, Galería La Nave, Valencia.
Premio Ciudad de Palma, Casal Solleric, Palma de Mallorca.


Planes Futuros, Baluarte, Pamplona.
Aquí y Ahora, Sala Alcalá 31, Comunidad de Madrid, Madrid.
Destino Futuro, Real Jardín Botánico, Madrid.


The Line Up, Walter and McBean Galleries, San Francisco.


Programas de Vídeo/Film Festivals and screenings
A San Francisco le gusta el video arte, Área, Caguas, Puerto Rico.
More or less 3,480 seconds, Root Division, San Francisco.
John swims and Sally skis, UKS Gallery, Oslo; Bergen Kunsthall, Bergen; Konsnarshuset, Sverige.


Playtime, Immigratant’s Café, Tokyo, Japan. Death by tealight, ATA, San Francisco.


Becas y Premios/Awards and Grants
Beca Generación 2008, Obra Social Caja Madrid, Madrid.
Altoids Award, New Museum of Contemporary Art, New York (Selección)


Premio Ciudad de Palma, Palma de Mallorca (Selección de obra)


Certamen Internacional de Artes Plásticas de Pollença, Palma de Mallorca (Adquisición) Beca de residencia de artista, CCA Kitakyushu, Japan.


Premios Generación 2005, Obra Social Caja Madrid, Madrid (Selección de obra)


San Francisco Arts Commission, San Francisco (Selección de obra) Beca Fulbright, San Francisco Art Institute, San Francisco, MFA (Master de Bellas Artes).


1999 Beca Erasmus, Université Sorbonne, Paris.


Altoids Award Catalogue. Emerging Art in America, New Museum of Contemporary Art, New York, 2008, Cat. Exp.
Martín, María, Castro Flórez, Fernando, "Aquí y Ahora. Tiempo y lugar," Madrid, Consejería de Cultura y Deportes, Comunidad de Madrid, 2007.
Villa, Manuela, "Arte Emergente en España", Madrid, Ed. Vaivén, 2006.
De Corral, María, Martínez de Corral, Lorena, "Planes Futuros. Arte español de los 2000", Pamplona, Gobierno de Navarra, 2006.
Montes, Javier, “La materia oscura”, ABCD de las Artes y las Letras, nº 765, Madrid, 2006, pp. 41.
Hontoria, Javier, “Carolina Silva”, El Cultural, El Mundo, Madrid, 21/IX/2006.



1. What made you choose art as a profession?
Curiosity and intuition.

2. How would you define your work?
As a living thing.

3. What subjects are you interested in?
Unnameable things: things you can’t see, things that aren’t talked about, taboos, human nature…

4. What resources – formal or otherwise – do you use in your work?
Lights, sounds, snow, unexpected movement and transformation are all some of the resources that appear in my work.

5. What relationship does your work have with reality? What are your raw materials?
My work is rooted directly in reality and is based on my own experience and artistic sensitivity.

6. What, according to you, is the point of art?
Nothing – but this nothing is important.

7. How do you hope the public will receive your work?
What audience are you aiming at? I hope to transport people, each and every one of them.

8. What qualifications have you got? What do you value most from your time in education?
A Bachelor’s Degree in Art History from the Universidad Complutense in Madrid and a Master’s Degree in Fine Art from the San Francisco Art Institute. What I value most is that I’ve looked for things outside known, safe environments.

9. How would you define your current professional situation? And in the future?
In progress and always searching.

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?
Artists’ finances are a mystery unto themselves… To work I adapt to my means.

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 hope to have a healthy, respectful, mutually enriching relationship built on understanding. The advantage and the difficulty with these relationships is that they force you to communicate and get your ideas across.

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
Based purely on my own personal experience, I think the arts scene in Madrid is more closed than in other places I’ve lived or visited. On the plus side, it’s getting livelier with new centres and initiatives; on the down side, we still don’t take it very seriously.