Esther Achaerandio

Esther Achaerandio

Artist selected by Blas, Susana at 2010

My artistic interests are based on the logic of contradiction. My methodology aims to reveal the absurd side to the social structures that govern us and shape us culturally. I constantly use irony as a strategy for creating a certain distance from our pre-established, inherited constructions, which lets us think and play with possible realities that haven’t yet been colonised. Most of my work deals with close-to-hand concepts found in the everyday life of anyone in our current context. Meanings are transfigured, twisted and juxtaposed to create a contradictory, extravagant scene – dissent that lets spectators think from another perceptive.


Esther Achaerandio
Madrid, 1982.
Vive y trabaja en/Lives and Works in: Madrid.

Formación Académica/Education
Máster Oficial en Arte Contemporáneo, Universidad Europea de Madrid, Madrid.

Doctorado en Bellas Artes y Categorías de la Modernidad, Facultad de Bellas Artes, Universidad Complutense, Madrid.

Certificado de Aptitud Pedagógica CAP, Universidad Complutense, Madrid.

Licenciada en Bellas Artes, Universidad Complutense, Madrid.

Exposiciones Individuales/Solo Exhibitions
Reversible, Centro de Arte Joven de la Comunidad de Madrid, Madrid.

Delicioso/Asqueroso, Galería Espacio F, Madrid.

Exposiciones Colectivas/Group Exhibitions
Yo no tengo razón, Off Limits, Madrid.

Videoakt, Internacional Video Art Show, GlogauAir gGmbH, Berlin; LOOP, Video Art, Barcelona.

DVD Project, Fundación Telefónica, Lima; Fábrica do Braço de Prata, Lisboa; Ex Teresa Arte Actual, México D.F.; Maus Habitos, Porto; Gran Canaria Espacio Digital, Las Palmas de Gran Canaria; Electron IDFX, Breda; Óptica Festival, Festival Internacional de Video Arte de Gijón; Scarpia VI, Córdoba; Espacio Menosuno, Madrid; LOOP, Video Art, Barcelona.

Accidentes Controlados, XIII Muestra Internacional de Performance, Ex Teresa Arte Actual, México D.F.
Qui vive?, I Moscow International Biennale for Young Art, National Centre for Contemporary Arts, NCCA, Moscow; Stella Art Foundation, Moscow.

Políticamente (in)correcto, Off Limits, Madrid.
Privacy 101, X International Istanbul Biennial, Büyük Londra Hotel, Istanbul.
Phatologenese, Stellwerk Galerie, Kassel, Deutschland.
Product Festival, KERA Association, Varna, Bulgaria.
Festival Ambulart, Deutschland; México; Ecuador.

Becas y premios/Awards and Grants
Certamen Nacional Pancho de Cossío, Gobierno de Cantabria, Santander. (1er Premio/1st Award).
Donde Habita el Olvido, X Edición 100x100, Ayuntamiento de Móstoles, Madrid. (Adquisición/Acquisition)
Generación 08, Premios y Becas de Arte Caja Madrid, Obra Social Caja Madrid, Madrid. (Mención de Honor/Honourable Mention)
BORN 04, Galería de Arte Casaborne, Antequera, Málaga. (1er Premio/1st Award).
XVIII Certamen de Artes Plásticas UNED, Universidad Nacional de Educación a Distancia, Cuenca. (Selección/Selection)

XIII Certamen de Arte Joven Latina, Ayuntamiento de Madrid, Madrid. (Selección/Selection)
VIII Certamen de Creación Joven Valencia Crea, Ayuntamiento de Valencia, Valencia. (Mención de Honor/Honourable Mention)

IX Vídeo Creación Joven de la Comunidad de Madrid, Madrid. (1er Premio/1st Award).
VII Certamen de Creación Joven Valencia Crea, Ayuntamiento de Valencia, Valencia. (Mención de Honor/Honourable Mention)
X Certamen de Arte Joven Latina, Ayuntamiento de Madrid, Madrid. (Selección/Selection)

Obra en Museos y Colecciones/Works in Museums and Collections
Ayuntamiento de Móstoles, Madrid.
Galería de Arte Casaborne, Antequera, Málaga.
Obra Social Caja Madrid.
Fundación Antonio Pérez, Cuenca.

García de Castro, Carlos; Alonso, Carolina, Yo no tengo razón, Madrid, Universidad Europea de Madrid, 2009, Cat. Exp.

Pyrkina, Daria, Qui vive?, I Moscow International Biennale for Young Art, Moscow, National Centre for Contemporary Arts, NCCA, 2008, Cat. Exp.
Taborga, Miguel Ángel, Paint It Red, Certamen Pancho Cossío, Santander, Ayuntamiento de Cantabria, 2008, Cat. Exp.

Martínez Martínez, Carlos Mª; Verdú, Vicente, Generaciones 08, Madrid, Obra Social Caja Madrid, 2007, Cat. Exp.
Miranda, José, II Bienal de Artes Plásticas Villa de Móstoles, Madrid, Ayuntamiento de Móstoles, 2007, Cat. Exp.

(+34) 661451393

1. What made you choose art as a profession?
For me art is a strategy that lets me think about the cultural norms shared by the members of a society, which makes it a means for examining the underlying anomalies and contradictions present in any given structure. In general, you could say that art is a form of knowledge that lets me explore different questions concerning the environment around us, so it helps satisfy one of the main needs that led me to choose this path: curiosity. 


2. How would you define your work?
Broadly speaking, I see my work as a kind of ironic game, where I shake up pre-established norms to think about possible new realities. 


3. What subjects are you interested in?
I don’t limit myself to any subjects in particular; I’m always looking for aspects of my everyday life that I can use as a vehicle for thinking about something that affects us all. I don’t think the wide range of subjects found in my work means I tackle questions in any greater depth, but it makes my projects more thought-provoking as a whole. 



4. What resources – formal or otherwise – do you use in your work?
In the same way that I don’t stick to pre-established, common subjects, I don’t use one single formal resource. I could be working with painting or performance, depending on the project in question. The interesting thing about the process is developing an abstract idea and materialising it with a given resource and seeing how we’re able to project out possible relationships. 



5. What relationship does your work have with reality? What are your raw materials?
Direct or indirect experiences of reality are my raw materials. 



6. What, according to you, is the point of art?
To think. 



7. How do you hope the public will receive your work? What audience are you aiming at?
Since I use close-to-hand aspects of everyday life familiar to anyone in our society, my work can be read in many different ways depending on spectators’ inherent qualities. So my pieces can be interpreted in a wide range of very different ways, which makes for an enriching experience. 



8. What qualifications have you got? What do you value most from your time in education?
I graduated in fine art from the Universidad Complutense in Madrid, where I also did a doctorate. Last year I completed a Master’s degree in contemporary art at the European University in Madrid, and I’m currently finishing a course in social and cultural anthropology. What I value most is continuing to learn new things, and I hope this doesn’t ever change. 



9. How would you define your current professional situation? And in the future?
Like any young artist, my current professional situation isn’t that clear. The problem is that in the art world ‘young’ is often equated with ‘nonprofessional’ and ‘unpaid’. It’s not easy to carve out a niche for yourself in the art market, so I hope to find paid work that I like and that lets me carry on doing art. 



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’s clear that economic considerations have a huge bearing on an area like art. Often there’s not the money for projects, and they never get off the ground. However, you don’t always need a major production for a piece to work – we shouldn’t always let economic factors shape our work. It’s certainly true, though, that artists need economic stability to spend time and effort on their 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?
I imagine that most of the artists in this archive have a fairly short artistic career and have very loose ties with our predecessors, be they artists, promoters or curators. Given this distance, it would be an idea for our generation to try and make contact – not as a handover to a fashionable young generation, but as a necessary complement that’s missing on the current Spanish scene. 



12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
As I mentioned in my previous answer, there is a huge gap between young artists and professionals in previous generations, which makes it difficult for an art scene to emerge in Madrid. I think there are lots of professional artists doing very interesting work without much visibility in general. If you compare the current scene with some years ago there are definitely now more platforms offering support for producing and exhibiting art work, although in comparison with other cities, like other European capitals, this is still insufficient.