Félix Fernández

Félix Fernández

Artist selected by Blas, Susana at 2010
More artist content updated at 2016

Félix Fernández’s work centres on contemporary individuals’ relationship with the environment they find themselves in (time, space, body, identity, socioeconomic situation, landscape, media, etc.). His sharp subjective vision aims to engage spectators and thus give his work meaning. 

He uses a wide range of different formats and creates hybrids between photography and performance, audiovisual shows, installations, videos, etc. 

The body plays a key role in his work and he often features himself, adding an autobiographical dimension that combines with the symbolic power of objects and situations to create a language that mixes reality and fiction in equal parts.


Félix Fernández
Lugo, 1977.
Vive y trabaja en/Lives and works in: Madrid.

Formación Académica/Education
Licenciado en Bellas Artes, Universidad de Vigo, Pontevedra.

Exposiciones Individuales/Solo Exhibitions
Crossed lines, Museo Unión Fenosa. A Coruña. (próximamente)

Rompiendo Ciclos, Galería C5 Colección, Santiago de Compostela.

Cajas Negras, Museo Provincial de Lugo, Lugo.

LATITUDES III: proceso autobiografía, Fundación Caixa Galicia, Ferrol, A Coruña.

DESCENSO, Centro Torrente Ballester, Ferrol, A Coruña.

Exposiciones Colectivas/Group Exhibitions
Home sweet home, Werkstatt der Kulturen, Berlin.
Festival INTER-CAMBIO, Paris Métro, station Europa, Paris.
Love song_canción de amor, Ex Convento Jesuita, Morella, México.
Somos o que vemos, vemos o que somos, Pazo da Cultura, Pontevedra.
Perfect Day, Off Limits, Madrid.


¿Nadie en el espejo / Niemand im spiegel?, Künstlerhaus Dortmund, Deutschland.
Premios de creación artística de la comunidad de Madrid, ARCO 09, stand Comunidad de Madrid, Madrid.
ZOOM IN, XIX Bienal de Zamora, Palacio de la Alhóndiga, Zamora.


Berliner Liste, Galería C5 Colección, Santiago de Compostela; Haus Cumberland, Berlin.
Imágenes multimedia de un mundo complejo, Sala de Exposiciones del Convento de Santa Inés, Sevilla; Hospital Real, Granada.
Sen Froteiras, XXX Bienal de Arte de Pontevedra, Pazo da Cultura, Pontevedra.


Urbanitas, Museo de Arte Contemporánea de Vigo, MARCO, Vigo.
Canal Abierto, En primera persona, Sala de Exposiciones Canal de Isabel II, Comunidad de Madrid, Madrid.


Cinco semanas, cinco colectivos, Galería Oliva Arauna, Madrid.


Audiovisual InJuve 03, Sala Amadís, InJuve, Madrid.


Programas de Vídeo/Film Festivals and Screenings
Presents, Galleri Rajtaide, Tampere, Finland.
The noise of silence, Galleri Sinne, Helsinki.
Videoholica, Varna, Bulgaria.
Múltiplos de cinco, Centro Cultural Chacao, Caracas.
Porn Film Festival Berlin, Berlin.


LOOP 09, Video Art, Hotel Catalonia Ramblas, Barcelona.


I love you, Centro Galego de Arte Contemporánea, CGAC, Santiago de Compostela.
XIII Festival Internacional Canariasmediafest, Gran Canaria Espacio Digital, Las Palmas de Gran Canaria.


Vídeo Héroes, Centro Galego de Arte Contemporánea, CGAC, Santiago de Compostela.
Laberinto de Museos, Instituto Cervantes, Beijing.

MORE, MORE, MORE, … Grimmuseum. Berlin. Alemania.


BLURRR 2009, Center for Contemporary Art, Tel-Aviv, Israel.
Nits Salvatges, Festival dansa o no LP´09, Centre de Cultura Contemporània de Barcelona, CCCB, Barcelona.


VEXATIO, Instituto Cervantes, Tokyo, Japón.


OBSERVATORI 2005, Museu de les Ciéncies Príncipe Felipe, Valencia.

Becas y premios/Awards and Grants
Beca de Creación artística en el extranjero Unión FENOSA (Berlin; New York). (Beca/Grant)


Premio Mejor Videocreación Internacional, XIV Edición Canarias Mediafest 2010. (Premio/Award)


Beca para artistas Casa de Velázquez, Ministerio Francés de Enseñanza Superior y de Investigación. (Beca/Grant)


Premio de creación artística de la Comunidad de Madrid. (Beca/Grant)
Centro Coreográfico Galego, Instituto Galego das Artes Escénicas, A Coruña. (Beca de residencia/Residence Grant)


La Casa Encendida, Madrid; Aula de Danza Estrella Casero, Madrid. (Beca de residencia/Residence Grant)


III certamen de artes plásticas Deputación de Ourense. (1er Premio/1st Prize)
InJuve, Instituto de la Juventud, Madrid. (Beca/Grant)


Visualsound Barcelona 03, Barcelona. (Premio del Jurado mejor videocreación/Jury Grant to the best videocreation)
Muestra audiovisual InJuve, Madrid. (Accésit)


II premio Auditorio de Galicia, Santiago de Compostela. (Accésit)


VIII certamen de artes plásticas Cidade de Lugo. (Premio/Grant Nuevas Tendencias.)


Obra en Museos y Colecciones/Works in Museums and Collections
Museo Provincial de Lugo, Lugo.
Colección Caixa Galicia.
Colección Unión Fenosa.

VVAA, "Sen Fronteiras", Pontevedra, XXX Bienal de Pontevedra, 2008, Cat. Exp.
VVAA, "Madrid Creativa, diccionario de 200 artistas imprescindibles que trabajan en Madrid", Comunidad de Madrid, 2007, Cat. Exp.
VVAA, "Félix Fernández Fernández", Lugo, Museo Provincial de Lugo, 2006, Cat. Exp.
VVAA, "Urbanitas", Vigo, Museo de Arte Contemporánea de Vigo, MARCO, 2006, Cat. Exp.
Lens, Xosé Manuel, "Latitudes III", Ferrol, A Coruña, Fundación Caixa Galicia, 2005, Cat. Exp.

(+34) 636462039

1. What made you choose art as a profession? 
Because if I didn’t do this, I’d be in a pretty wretched state. 

2. How would you define your work? 
It’s the natural result of work that I’m not really sure when I started, because I’ve been doing what I do for as long as I can remember. So I’d define it as work inspired by life, existing, and doing so in a specific geographical-historical-temporal context. 

3. What subjects are you interested in? 
People’s relationship with the world and the reality they find themselves in. People’s relationship with themselves, their feelings and how they interact with them. 

4. What resources – formal or otherwise – do you use in your work? 
Each piece is a world unto itself and what I do is find different ways of approaching it depending on what I want to say. My most commonly used resource is me, since I usually appear in my work. I also usually give a symbolic meaning to everyday objects like a bed, mattress, door, corridor, etc. 

5. What relationship does your work have with reality? What are your raw materials? 
It has a very direct relationship with reality, although it passes through the filter of my head. I focus on situations that grab my attention, the media, specific chapters in books, sounds I hear, certain moments of my life that make me think deeply about something. 

6. What, according to you, is the point of art? 
To make the everyday sublime. 

7. How do you hope the public will receive your work? What audience are you aiming at?
I like spectators to see themselves reflected in what I do. Empathy is key to my work; if there’s no empathy, what I do appears completely ridiculous. I’m aiming at all kinds of audiences; I don’t have a specific sociocultural profile in mind. 

8. What qualifications have you got? What do you value most from your time in education? 
I graduated in fine art and took courses in dance-theatre-performance. I value everything from my time in education. 

9. How would you define your current professional situation? And in the future? 
Good. In the future I hope to carry on developing my work as I’ve done until now, which I’m very happy with. 

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 obviously has an effect. If you haven’t got the money to produce certain projects, you won’t be able to do them. Clearly, if you’ve got to find other work to feed you, this can have a huge bearing on what you do or on the amount of time you can spend on your work. I’m lucky in that the work I do to feed me gives me enough time for my own work, provides me with stability and connects me with the world, although it can also stress me out too. All my experiences have a bearing on my work, including this aspect. 

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 simply expect people to do their job well and politely. I love people who are into what they do, because I also think they’re much happier. The main difficulty is when the relationship between institution and artist, or between promoter/curator and artist, takes on a non-horizontal form and one of the two becomes more dominant and the other more submissive. I think that’s dreadful. 

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses? 
Madrid has given me the chance to make contact and work with artists like Andrés Senra, Juanma Carrillo and Diana Larrea and musicians like Rubeck and Lápsus. At this point in my life, this is hugely enriching for me and absolutely vital. In Madrid you can find an artistic circle where you feel at home and make use of social networks to be better connected to the world. On the plus side, there are good people doing lots of interesting things with very little institutional support. On the down side, there’s very little institutional support, very few centres with resources for producing art and in general it’s a very expensive city to live in with a fairly poor quality of life.