Fernando Arrocha

Fernando Arrocha

Artist selected by Cabello / Carceller at 2011

I explore people’s immersion in the relentless flow of all kinds of images that we are bombarded with today. My work is based on recreating and inventing images, films and historical documents, mainly propaganda. My aim is to get people to think about the technical, political and sociological manipulations and psychological effects of these procedures.


Fernando Arrocha
Valladolid, 1977.
Vive y trabaja en/Lives and works in: Madrid.


Formación académica/Education
Diplomado en magisterio, especialidad de Educación Musical, Universidad Complutense de Madrid (UCM).


Licenciado en Bellas Artes por la UCM.


Exposiciones individuales/Solo Exhibitions
Survival, Comisariada por/curated by: Javier Hontoria, Amparo Lozano y Ana Carceller, Centro de Arte de la Comunidad de Madrid, Madrid.


Reality Show, Galería Ka, Madrid.


Autorretrato, Mad 03, The Art Palace, Madrid.


Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Austrian´s cinemas, TopKino and shikaneder Kino, Wien.
Le Syndicat Potentiel, Strasbourg.


Intruso, Loop Festival, Barcelona
Haus der Kulturen der Welt, Berin.
International Festival of videoart of Camagúey-Cuba, Cuba.


Piedad. Reencontres, Centre Pompidou, Paris.


Líneas de Mira, comisariada por/curated by: Amparo Lozano. Centro Atlántico de Arte Moderno, Gran Canaria.
Planes Futuros, comisariada por/curated by: Lorena y María del Corral, Baluarte, Pamplona.
Tumulus, Centro de Arte Joven, CAM, Madrid.


Little Boy Show, Circulo de Bellas Artes, Madrid.
Versus, Espacio Menos Uno, Madrid.


Piedad, Proyecciones en la Plaza de Santa Ana, Photoespaña O5, Madrid.
Interiores, con el colectivo Mirador, Galería Oliva Arauna, Madrid


Becas y premios/Awards and Grants
Premio INJUVE a la creación audiovisual. (Premio/Award)
Premio Jóvenes Creadores, Madrid. (2º Premio/2nd Award)
Circuitos de Artes Plásticas, Comunidad de Madrid.


Bibliografía (Selección)/Selected Bibliography
Lozano A., "Lineas de Mira", Centro Atlántico de Arte Moderno, Gran Canaria, 2007, Cat. Exp.
Hontoria, J., "Fernando Arrocha", El Mundo, El Cultural, 2005.
Vozmediano, E., "Reality Show", Galería Ka, Madrid, 2005, Cat. Exp.
Carceller, A., Hontoria, J., Lozano A., "Survival", Centro de Arte Joven, Madrid. 2006, Cat. Exp.


Fernando Arrocha
(+34) 687756051

1. What made you choose art as a profession?
I’ve always had an interest in art for as long as I can remember. It wasn’t a choice; I simply realised it was a need.


2. How would you define your work?
I’d say it encompasses many different ways of getting things across within the same very definite overall idea and style. It’s based on research and is constantly evolving.


3. What subjects are you interested in?
I’m interested in the way art, or things derived from art (advertising, fashion), has been used to create subtle forms of control; visual education, the role of technology in communication and how people adapt to such face-paced change today; the times we live in.


4. What resources – formal or otherwise – do you use in your work?
I use a wide variety of different genres or artistic disciplines (mainly video and installation, although sometimes I also revisit classical genres such as painting, drawing and sculpture). The choice of medium varies depending on the needs of the piece in question.


5. What relationship does your work have with reality? What are your raw materials?
I try to get the image I’m working with to resemble the images transmitted by the media, but in my case the clean, concrete, readily assimilated images of the media contain traces that can raise doubts. I work with direct media images and the internet and then make the images my own.


6. What, according to you, is the point of art?
The strangest thing about art is that in and of itself it has no point. It has no use or purpose. It’s the first notion we have of the appearance of abstract thought, intelligence, what sets us apart from animals. Art satisfies no physical need, but in all its expressions (literature, painting, music, etc.) it is one of the most important forms of influence in our society.


7. How do you hope the public will receive your work? What audience are you aiming at?
I try to ensure my works have several different readings. At first sight, people see something similar in form to what they see every day, something that seems familiar. By reinterpreting or reshaping these aspects of visual communication, I open up chinks for exploring the use of images in greater depth.


8. What qualifications have you got? What do you value most from your time in education?
I studied teaching before fine art. I remember a maxim that comes up time and time again in teaching: you have to learn how to learn. It’s important to seek things out, create new interests and look at the world through the eyes of a child, always eager to learn. Even though I’ve spent time in education, I basically see myself as self-taught. What I value most is the contact with people with similar interests who are keen to do things.


9. How would you define your current professional situation? And in the future?
I’m involved with several projects. I coordinate a small production company that produces video and design work and I’m also working on the preproduction for an experimental feature film. As far as art is concerned, I’m starting work on a project that looks at the epic perception of war in 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?
Anyone not used to the art world would think artists are in a strange position. People think that an exhibition centres on an artist or their work, but often they’re the only one in a large group of people that doesn’t get paid. It’s hard to remain independent and do something you really believe in.


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 think promoters and artists are both looking for the same thing: professionalism and a meeting of ideas. If there’s also a good personal relationship, then so much the better.


12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I’ve lived in Madrid since I was a child and I’m very happy here, but there’s still a lot to do on the arts scene. Artists are not taken care of in this community, especially when they are starting out. Risks need to be taken with new ideas without waiting for international acclaim. We need to realise we’ve got more than good sportspeople here.