Clara Montoya

Clara Montoya

Artist selected by Moscoso, Manuela at 2010

I explore and question relationships and their consequences at individual, sociopolitical and economic level in a wide range of different formats, including interactive installations, objects and virtual, graphical and sound pieces. (I may not get any answers.)


Clara Montoya
Madrid, 1974.
Vive y trabaja en/Lives and works in: Madrid.


Formación Académica/Education
Master de escultura, Royal College of Art, London.


Cité Internationnale des Arts, Paris.


The Cooper Union, New York.


Licenciatura en escultura, Chelsea College of Art and Design, London.

Exposiciones Individuales (Selección)/Selected Solo Exhibitions
Un-stairs (coll. Olivier Dupont) Het raam, Venlo, Nederland.

Todo lo que tengo, Centro de Arte Joven, Comunidad de Madrid.


Chance, Vacio 9, Madrid.


Simple, Centres d’Arts, Lille.
Diario, Galerie 1 sur 1, Bruxelles.


Vacio 9, Madrid.


Exposiciones Colectivas/Group Exihibitions
Open Studios Künstlerhaus Bethanien, Berlin.
Purificación García VIII Photography Biennial, Museum of the City, Lisbon.
Tabula Rasa (Francesco Giaveri) Marta Cervera Gallery, Madrid.
Photography Purificacion Garcia, Porto Cristal Palace, Portugal.
Archivo de Creadores, Carrillo Gil, Mexico.
Expanding Drawing curated by Pilar Rubio, Espacio Atlantico, Vigo.
Asm28, New Media Week snm11, Madrid.


Outono Fotográfico, Orense; Museo de Pontevedra; Circulo de Bellas Artes, Madrid; Bilboarte, Pais Vasco, Photography Contest Purificación Garcia.
Villa Iris, Fundación Marcelino Botín, Santander.


Sites en Lignes, International Symposium of Land Art, Belgique.


Galerie für Zeitgenössische Kunst Leipzig, GfZK, Leipzig, Deutschland.
Nuevas propuestas, Galería La nave, Valencia.
Ecran Total, La Petite Surface, Villeneuve d’Ascq, France.
Camps de Joc, Girona.


Planes Futuros, Pamplona.
ARCO 07, Vacio 9 (Madrid), Madrid.
Art Brussels 2007, Vacio 9 (Madrid), Bruxelles.
MACO, México Arte Contemporáneo, Vacio 9 (Madrid), México D.F.
Nada Art Fair Miami, Vacio 9 (Madrid), Miami.
Volta, Vacio 9 (Madrid), Basel.
Interactivos?, Medialab, Centro Cultural Conde Duque, Madrid.
Sites en Lignes, International Symposium of Land Art, Bruxelles.


ARCO 06, Vacio 9 (Madrid), Madrid.
MACO, México Arte Contemporáneo, Vacio 9 (Madrid), México D.F.
Circuitos de artes plásticas y fotografía 2006, Centro de Arte Joven, Comunidad de Madrid, Madrid, Pontevedra, León, Alcalá de Henares.


ARCO 05, Vacio 9 (Madrid), Madrid.
XVI Bienal Internacional del Deporte en el Arte, Bida 2005, Contemporary Art Museum Thessaloniki; Reales Atarazanas de Sevilla.

Becas y Premios/Awards and Grants
Junge Akademie der Kunst, ADK Berlín, proposed by Mona Hatoum, (Jury Anthony Cragg, Valie Export, Karin Sander). (Beca/Grant)


Photography Contest Purificación Garcia. (Selección/Selected)
Marcelino Botin Grant for Mona Hatoum’s workshop Villa Iris, Santander.


Sites en Lignes, International Symposium of Land Art, Belgium. (Coll. Olivier Dupont, Fabio Maluf. Original idea and Design Clara Montoya (1er Premio/1st Prize)
Centro de Arte Joven Avenida de América, Comunidad de Madrid, Madrid. (Selección/Selected)


Sites en Lignes, International Symposium of Land Art, Bruxelles. (Selección/Selected)


Circuitos de artes plásticas y fotografía 2006, Comunidad de Madrid. (Selección/Selected)


Thames and Hudson and Royal College of Art Award, London.


Cité Internationnale des Arts Residency, Paris, Royal College of Art. (Beca/Grant)
Future maps, London Institute. (Selección/Selected)

The Cooper Union exchange residency, New York, Chelsea College of Art, London. (Beca/Grant)


Obra en Museos y Colecciones/Works in Museum and Collections
Galerie für Zeitgenössische Kunst Leipzig, GfZK, Leipzig, Deutschland.
Seomi & Tuus Collection, South Korea.
Colecção Madeira, Portugal.
Consejo Superior de Deportes, España.
Centro de Arte Contemporáneo del Ayuntamiento de Málaga, CAC, Málaga.


"Clara Montoya", Elephant magazine,, III/2010.
"Ni se ve ni se toca",, 25/I/2009.
Pérez Pont, José Luis, "Clara Montoya", Exit Express nº38, 2008, pp 39. 
Calvo Serraller, Franciso, "Clara Montoya", Babelia nº231, 27/I/2007, pp 23.
H. Pozuelo, "Clara Montoya, Chance", El Cultural, 13/IX/2007.
A. Puigventos, Mireia, "Clara Montoya: Chance", Artecontexto, 2007.
Bosco, Roberta, "El triunfo del lienzo", El País, 13/V/2007.
Esparza, Ramón, "Planes futuros. Arte español de los 2000", El Cultural, 11/X/2007.
Navarro, Mariano, "Circuitos, la manía de la introversión", El Cultural, 22/XII/2005.
Pantoja, Javier, "ARCO o el vértigo del arte", 21/II/2005.



1. What made you choose art as a profession? 
Above all, the freedom to create and because it’s where I fit in best. 

2. How would you define your work? 
Eclectic, disparate, changing, evolving, synthetic, experimental, inquisitive, restless, fluid… 

3. What subjects are you interested in? 
I’m interested in many different kinds of relationships and ties between people and, by extension, between societies at different levels: emotional, political, existential… 

4. What resources – formal or otherwise – do you use in your work? 
I try to use the most appropriate resources for each idea. I like to take risks and learn something with each project. 

5. What relationship does your work have with reality? What are your raw materials? 
My work is based on reality and distorts it slightly. My raw material is questions or ‘areas of vibration’ where I want to dig deeper. My pieces end up being tools for understanding abstract questions (which don’t teach anything specific). 

6. What, according to you, is the point of art? 
It’s not so much that art has a point for me; it’s that I need it. In general, it’s as useful as music, film, literature… It creates new ties between thoughts and develops feelings. 

7. How do you hope the public will receive your work? What audience are you aiming at? 
I don’t expect anything in particular, but interesting conversations can often arise. I’m aiming at anyone and everyone who’s interested. Interest can come in many different forms. 

8. What qualifications have you got? What do you value most from your time in education?
I’ve got a Bachelor’s Degree and a Master’s Degree. Without a doubt, what I value most is having tutorials from acclaimed active artists from many different areas. I also value sharing a work space with other students, seeing them work and being able to think with them. 

9. How would you define your current professional situation? And in the future? 
Unfortunately, the gallery I was working with closed over a year ago; it’s a shame because I had a great creative relationship with them. So I decided to learn how to go it alone as an independent artist, which is turning out to be very interesting. In the near future I’ll be starting to work with galleries in Germany and Belgium. 

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’ve often had to get a part-time job, which was easier in London. In my work, a lack of money is not necessarily a determining factor; there are always solutions and it certainly sharpens your wits. However, it can slow down production on certain projects. For me it just means more stress. 

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? 
They’re always interesting exchanges, with all the advantages that come with working in a team. I’ve only had the odd difficulty with promoters from outside the trade. 

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses? 
I think that’s asking a lot: the differences between one place and another are related to training centres, production centres, exhibition centres, the level of movement in the market, grants, the price of space… On the plus side, the city has gone through major changes in recent years. On the down side, the Fine Art School at the Universidad Complutense: its entire structure, the fact that the lecturers aren’t necessarily active artists and they hold their positions for life. These factors produce a school that lacks an active, modern approach. There’s also a need for a production centre like Hangar in Barcelona or Arteleku in San Sebastián to produce pieces regularly with the necessary means, with or without institutional backing. This would help boost creativity and dialogue. You can learn a lot by talking to other creators, but far more by seeing them at work.