El señor anónimo

El señor anónimo

Artist selected by Blas, Susana at 2010

We’re interested in human emotions, inner journeys. We think about the audiovisual medium itself, its material nature and its formats, and creatively revise the canons of advertising images.


el señor anónimo
Viven y trabajan en/Lives and works in: Madrid.

Formado por:
Eneko Obieta (Gernika, Vizcaya, 1974)
Mischa Lluch (Madrid, 1974).
“el señor anónimo” nace ante la necesidad de encontrar un espacio donde crear en el que el límite sea uno mismo/“the anonymous man” arose out of the need to find a creative space where the limit was oneself.

Programas de Vídeo/Film Festivals and Screenings
Historias, cuentos y amnesias, La Casa Encendida, Madrid.

Caminando, proyecto audiovisual, en proceso.
83, proyecto audiovisual, en proceso.


1. What made you choose art as a profession? 
We were driven by the need to find a creative space where the only limits would be the ones we set ourselves. 

2. How would you define your work? 
It draws you in through its appearance and makes you think when you look more deeply. 

3. What subjects are you interested in? 
We’re interested in human emotions, inner journeys. I think our work also examines the audiovisual medium itself, its material nature and its formats, which cover a wide range of media, from film to high-definition video. We’re also creatively revising the canons of advertising images… 

4. What resources – formal or otherwise – do you use in your work? 
Mainly impulses that then become ideas we breathe life into through moving images and sound, and which take shape as installations. 

5. What relationship does your work have with reality? What are your raw materials? 
Our work has a lot (and very little) to do with reality. Since we work with moving images, we play with the reflection of reality, but we’re keen for spectators to create their own, unique reality after watching it for a while. In terms of form, our raw materials are carefully produced images; conceptually, they’re emotions transmitted as impulses. 

6. What, according to you, is the point of art? 
As creators, art provides a space where we have the freedom to examine ourselves and the world around us. It offers an outlet for our concerns and feelings that would be difficult to express in any other way. As spectators, art gives us some distance from reality and lets us view it from another perceptive and think critically about it and ourselves. In short, it helps bring us a little bit closer to the unreachable meaning of life. 

7. How do you hope the public will receive your work? What audience are you aiming at? 
We hope our work has a life above and beyond an ephemeral, albeit appealing, audiovisual piece and leaves an indelible mark on spectators. I don’t think we aim at any audience in particular; all we ask for is receptive spectators ready and willing to look at themselves. Since we work with carefully produced images that recall films and advertising, perhaps we attract a wider audience that might not necessarily be conversant with contemporary art but has a trained eye for images and can understand the games we play with these languages. 

8. What qualifications have you got? What do you value most from your time in education? 
We don’t have any direct education. We prefer to focus on what we’ve still got ahead of us to learn and experience. 

9. How would you define your current professional situation? And in the future? 
We don’t live off creating art. We’d like to have the means to spend more time on art and, given the technical complexity and high cost of the installations we design, actually get to see them finally exhibited. 

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? It has a huge effect. When we produce work we look for high-quality images, which means working with expensive means: film or high-definition video cameras, lighting, postproduction… Plus the fact that there are lots of people involved on each project who aren’t there simply out of the goodness of their heart. It’s not cheap exhibiting these kinds of works, because they require specific equipment: high-definition projectors, multiple plasma screens with HD signals… All this has a bearing on our work, although that’s not to say we necessarily limit ourselves when we’re coming up with ideas for our projects. Deep down we’re sure that at some point they’ll be exhibited as we really want them to be. 

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? 
It’s not been easy to find open paths in the world of art, above all because we’ve not had a typical career in this sense; but we’re also seeing that there are young curators who look at works more open-mindedly, without scrutinising your CV, and who are interested in projects like ours in the crossover between different disciplines. 

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses? 
Although we might not be the best ones to offer an opinion on this subject, it’s true that in recent years the arts scene in Madrid has been getting its act together and centres like Matadero, La Casa Encendida, CaixaForum, as well as other existing places, are putting on lots of quality programmes that would have been unthinkable a few years ago. The only thing you shouldn’t forget is that a city always needs to invest in art ‘from the ground up’, ie by supporting and promoting artists in the city to carry out projects and ideas, rather than splashing out on showy acts and activities at the top end that perhaps really ought to have a smaller percentage of the culture budget spent on them.