Daños Colaterales

Daños Colaterales

Artist selected by Democracia at 2010
More artist content updated at 2016

A work team set up in 2006 by María González and Mariano López in Madrid. 

The collective base their action on carrying out art projects where art and politics form part of the same mechanism for thought. Their work involves creating pieces that introduce dissonant messages into society through systems for disseminating art to cultivate critically aware spectators.


Colectivo Daños Colaterales
Madrid, 2006
Viven y trabajan en/Lives and works in: Madrid.

María González Rodríguez (Madrid, 1983) y Mariano López Rodríguez (Madrid, 1983)


Formación Académica/Education
- María González Rodríguez
Máster Oficial en Arte Contemporáneo, Universidad Europea de Madrid, 2009.
Licenciada en Bellas Artes, CES Felipe II, Universidad Complutense de Madrid, 2008.


- Mariano López Rodríguez
Máster Oficial en Arte Contemporáneo, Universidad Europea de Madrid, 2009.
Inscripción de Tesis doctoral en Universidad Complutense de Madrid, 2009.
Miembro del equipo de investigación internacional ACIS, 2009.
Licenciado en Bellas Artes, CES Felipe II, Universidad Complutense de Madrid, 2008.


Exposiciones Individuales/Solo Exhibitions
Tierra Prometida, Espacio F, Madrid.


Exposiciones Colectivas/Group Exhibitions
Arte Social-Colaboración vecinal, Casa del Barrio de Carabanchel, Madrid.
Comida basura, Teatre Antich, Barcelona.
Hic me, Obra Social Caja Madrid, Espacio para el Arte y la Cultura de Aranjuez.
Biblioteca intervenida, muestra itinerante/traveling exhibition.
Visite nuestro bar, Sala La Bomba, Gerena, Sevilla.


Presupuesto 6 €: prácticas artísticas y precariedad, Off Limits, Madrid.


Yo no tengo razón, Off Limits, Madrid.


Creador de dueños, Off Limits, Madrid.
Psicogeografías; espacio y memoria, Red Itiner Comunidad de Madrid, Madrid.


Proyectos Curatoriales/Curatorial Projects
Tierra Prometida, Espacio F, Madrid.


Actividades Académicas/Academic Related Activities
Producción, gestión y distribución de la obra de arte, Cursos de Verano 2009, Universidad Complutense de Madrid. Conferencia/Lecture.


Procesos en la producción de obras de arte contemporáneo, Idea, concepto y proceso 2008, Universidad Complutense de Madrid. Conferencia/Lecture.


"Bajo el dogma democrático", Nolens Volens, n. 3, Madrid, Ed. Universidad Europea de Madrid, 26/IX/2009.
"El artista ante el dolor de los demás", Contraindicaciones, 5/VIII/2009. www.contraindicaciones.net
"El artista ante el dolor de los demás", Salonkritik, 10/VIII/2009. www.salonkritik.net
"El artista ante el dolor de los demás", Proyecto Cultural Noviembre, www.proyectoculturalnoviembre-bitacora.blogspot.com, 8/VIII/2009.
"El artista ante el dolor de los demás", Esfera pública, www.esferapublica.org, 5/VIII/2009.


García de Castro, Carlos, "Yo no tengo razón", Madrid, Universidad Europea de Madrid, 2009. Cat. Exp.
García de Castro, Carlos, "Lenguajes artísticos y conciencia política", Diagonal, n. 98, Madrid, Ed. Asociación, Comunicación y Prensa, 19/III/2009–01/IV/2009, p.8.
Álvarez Reyes, Juan Antonio, "Psicogeografías: Espacio y memoria", Madrid, Conserjería de Cultura y turismo de la Comunidad de Madrid, 2008. Cat. Exp.
Democracia; Gil, Francisco, "Creador de dueños", Madrid, Ed. Asociación Cultural Maelström, 2008. Cat. Exp.


(+34) 625 06 62 15
(+34) 654 09 07 27

1. What made you choose art as a profession? 
We’re not sure we really made a conscious decision; we simply saw art as a place to carry out a series of common interests. It was more that there was a lack of alternative options. When we started work on the Daños colaterales [‘Collateral Damage’] project, we discovered that art offered a space for meeting spectators that doesn’t exist in other fields. The artistic sphere acts as a hybrid, indefinite area open to very different ideas, and that’s the space we’re most interested in at the moment. 

2. How would you define your work? 
The constant saturation of images in the media has made people numb. We aim to offer other ways of relating to images that go above and beyond simply contemplating them, and we invite spectators to engage more actively. 

3. What subjects are you interested in? 
The use of images by power structures. How are they made? Who makes them? For what purpose? We understand images as vehicles with political and social connotations and we focus on images that act as alibis for the system to maintain social control. 

4. What resources – formal or otherwise – do you use in your work? 
In many pieces we start by accepting the system and then use over-identification exercises to lay bear its excesses. One example is Promised Land, where we started with the media portrayal of the conflict in the Gaza Strip to denounce the media’s virtualisation of war, ie how the conflict is presented as a spectacle and turned into just another tool for entertaining viewers – a game. 

5. What relationship does your work have with reality? What are your raw materials? 
It’s very complicated to talk about reality, especially from the field of art. In any case, our work is based on representations, which is a key pillar in constructing realities. We start with representation, since we see this as the field of action that encompasses art. Having said that, we believe art can operate over reality. 

6. What, according to you, is the point of art? 
In our opinion, this really depends on who you’re talking about. For many people art is a business; for others, a profession; and for some, a form of tax-dodging. Art helps set up a space for reflection and debate for a given audience and some artists even manage to expand this space to other social areas. 

7. How do you hope the public will receive your work? What audience are you aiming at? 
We think all works of art are collective, since they are aimed at a certain audience. Right from the start, our pieces are shaped by the exhibition context and the target public; in addition, many of them are only activated when there’s contact with spectators. Most of our ideas take shape in the form of installations that invite spectators to play a role in the work. In terms of who we’re aiming at, any audience is welcome. You don’t need an art background to understand our work, although the specialist public will obviously find nods and winks that other spectators may well miss. 

8. What qualifications have you got? What do you value most from your time in education? 
We both graduated in fine art from the Universidad Complutense in Madrid and we took a Master’s course in contemporary art at the European University in Madrid. We’ve also had experience producing work by other artists, which helps broaden your vision. Without a doubt, what we value most is the contact with professionals. We were lucky enough to meet lecturers who combined their teaching work with professional work in the world of art; we’re hugely indebted to them and they have certainly shaped our collective. There were, however, other teachers we’d rather forget… 

9. How would you define your current professional situation? And in the future?
We’re both working on our PhD thesis and continuing our research in the university sphere, as well as working on new projects inside and outside the collective. We’re both drawn to the figure of the teaching artist, who carries on researching and studying whilst working on art projects. 

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? 
This is a real issue for us. On top of all the difficulties of being a young artist, as a collective any money for producing art and any pay is divided between the group members. And even when there’s paid work or money to cover production costs, we end up forking out money from our own pockets. We’re hopeless with money. Nevertheless, money doesn’t shape the work, although it’s true that at times, economic constraints force you to look for art competitions or grants to produce the piece. However, economic considerations should never be a determining factor for the quality of the work. 

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?
Curators play a key role in being close to artists. Often, curated projects expand and enrich the artistic productions themselves. Generally, they’ve been our champions vis-à-vis institutions, which we’re very grateful for, since it’s never easy negotiating with institutions. We’ve had a very positive experience; we’ve been fortunate to work with professionals who’ve been able to overcome any obstacle to get exhibition projects moving. We’ve not have the chance to work directly with any cultural managers yet. 

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses? 
We don’t see Madrid as having a single arts scene, but rather lots of different ones. They don’t work in the same way as museums or galleries or alternative spaces, to give some examples. In any case, this vision is limited by our short professional career, but we think that collective action by artists and spaces can open up new channels of visualisation, as happened in Madrid in the 1990s.