Ignacio Chávarri Urrutia
Vive y trabaja en/Lives and works in: Madrid.
Taller Funky Projects I+D+I (Identidad + Diversión + Innovación), Aula Abierta, Granada.
Taller con Gary Hill y George Quasha, Cátedra Juan Gris: Facultad de BBAA, Universidad Complutense de Madrid.
Licenciatura en Bellas Artes, Universidad Complutense de Madrid.
Beca de Intercambio en SAIC (the School of the Art Institute of Chicago), Chicago.
Exposiciones Individuales (Selección)/Selected Solo Exhibitions
ORLD, Enblanco Projektraum, Berlin.
100 metros lisos, una eternidad, Mad is Mad, Madrid.
Meille vai teille (en tu casa o en la mía), Instituto Iberoamericano de Finlandia, Madrid.
Celebration, Espacio BRUT, Madrid.
Paper turns me on, AC Mediodía Chica, Madrid.
Dog, god, playing with recent memory, Kultturikauppila AIR, Ii, Finland.
Cotas del cuerpo y otras manías sistemáticas, Espacio Menosuno, Madrid.
Tránsitos II, Centro de Arte nº 14, Alicante.*
Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Despúes de ahora, Galería Raquel Ponce, Madrid.
Lejos de casa, Galería MASart, Barcelona.*
News ‘11, Galería Capa, Madrid.
Longitudes de onda, Espacio OTR, Madrid.
Preparados, listos, ya, Espacio Trapezio, Madrid.
Heroismen, Neon Chocolate Gallery, Berlin.
F.U.D (fear, uncertainty, doubt), A. C. Mediodía Chica, Madrid.
Lichtenberg on Monday, Margarinen Kunstfabrik, Berlin.
Presupuesto: 6€. Prácticas artísticas y precariedad, Espacio Off Limits, Madrid.
Set in Black, Embajada de Francia, Madrid.
Premio Joven UCM, Casa de América, Madrid.*
Caucho, tela y otras pieles, A. C. Mediodía Chica, Madrid.
SlideLuck PotShow, MadPhoto, Madrid
Kill Your Idols, A. C. Mediodía Chica, Madrid.
Corpórea, representación del cuerpo en la contemporaneidad, MUA (Museo Univ. de Alicante).*
Postitución, La Maison de la Lanterne Rouge, Madrid.
On CDOs and Double Clubs, August Art Gallery, London.
Anverso-Reverso, Cátedra Juan Gris, Facultad de BBAA de Madrid.*
Japan-Paper-Scissors, Agripas 12 Gallery, Jerusalem.
Propuestas 2007, Centro de Arte Nº14, Alicante.*
Postcards from the edge, Sikkema Jenkins & Co. Gallery, New York.
Paper Never Lies, Washi Paper Museum, Japan.*
Taste of Spain, Fundación John David Mooney & Instituto Cervantes, Chicago.
* Cat. Exp.
ICEBERG, equipo de investigacion, comisariado y publicaciones con Bernardo Sopelana.
A.C. Mediodía Chica: Co-creador del espacio de talleres de artista y coordinador de la sala de exposiciones. Hasta la actualidad.
Proyectos Curatoriales/Curatorial Projects
ICEBERG #1, Matadero Madrid (nave 16), Madrid.
A traves del cuerpo A.C. Mediodía Chica, Madrid.
Intervenciones en el espacio público A. C. Mediodía Chica, Madrid.
Arpías, A. C. Mediodía Chica, Madrid.
Caucho, tela y otras pieles. A. C. Mediodía Chica, Madrid.
Kill Your Idols, A. C. Mediodía Chica, Madrid.
ICEBERG #1, nº 1, Madrid, Matadero Madrid, en proceso de edición.
ICEBERG #0, Meille vai teille, nº0, Madrid, Autoeditado, 10/05/2011.
Becas y Premios/Awards and Grants
Comunidad de Madrid, (beca de Residencia en el extranjero). GlogauAIR, Berlin.
Kulttuurikauppila: beca de residencia y creación en Ii, Finland.
UCM.Premio Joven UCM, Casa de América, Madrid. Selección/Selected
MUA (Museo Univ. de Alicante)“ Corpórea, representación del cuerpo en la contemporaneidad”. Selección/Selected.
Mino Paper Art Village: beca de residencia en Gifu Prefecture, Japan.
Cátedra Juan Gris: Beca de taller con Gary Hill y George Quasha, Facultad de BBAA (UCM). Selección/Selected.
Obra en Museos y Colecciones/Works in Museums and Collections
Kulttuurikauppila Art Center, Ii, Finalnd.
Centro de Arte nº 14, Alicante.
Washi Paper Museum, Japan.
John David Mooney Foundation, Chicago.
Departamento de Arte Contemporáneo, Biblioteca Nacional, Madrid.
Departamento de dibujo, Facultad de Bellas Artes de Madrid (UCM).
1. What made you choose art as a profession?
Pleasure. A process of elimination.
2. How would you define your work?
A mixture of an apple, a flare and coral.
3. What subjects are you interested in?
I think I’m probably more interested in certain attitudes or circumstances, and playing around with them, than specific subjects. I really like the idea of a short circuit. This can happen just as often when you’re representing a landscape, telling a joke or talking about geopolitics.
4. What resources – formal or otherwise – do you use in your work?
I’m drawn to a large extent by unstable, demanding things and although drawing is always present in my work, I think each project calls for its own choice of resources. I have to say that I’ve got a big weakness for all forms of paper and, much like a film director with his favourite actress, I use it whenever I can.
5. What relationship does your work have with reality? What are your raw materials?
My work naturally has a very close relationship with reality. As I said above, I’m fascinated by short circuits – they might be my raw materials.
6. What, according to you, is the point of art?
Nothing in particular – that’s the best bit.
7. How do you hope the public will receive your work? What audience are you aiming at?
I suppose I’d like the same thing that creates my work: curiosity. Although part of my working processes might include the public space or people from a context outside contemporary art, in the end I use conventional exhibition platforms, so I can’t really say I choose the audience I’m aiming at.
8. What qualifications have you got? What do you value most from your time in education?
I graduated in fine art at UCM. What I value most from there is the range of different people you can find, since it’s such a big university. Many of the people I met there are people who, ever since, I’ve been lucky enough to share time and thoughts with and enjoy joint projects and life in general. For my final year, I went to the School of the Art Institute of Chicago on an exchange grant, which really whet my appetite for travelling. Now I always try to find an excuse to do projects overseas. My education, at all levels, is greatly enriched and changed with each and every new experience.
9. How would you define your current professional situation? And in the future?
My professional situation is good. In the future I hope the word ‘precarious’ doesn’t feature quite so frequently.
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?
If only economic factors affected just my work! This profession and the current economic situation make it hard to think about the future and my hopes. I see economic considerations more as a question of a lack of time (since you have to have a parallel working life) than a problem about producing work. In my case, I don't usually do super-productions and don’t use expensive materials (might that be to do with “economic considerations”?). In any case I think a lack of money can’t be the excuse for a lack of activity. I think being enthusiastic about doing something is more important than the budget you have to work with.
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?
Like all the people who make up the art world (in the widest sense), I want them to be enthusiastic, curious and respectful. In general, I’ve not had many problems with these relationships. I should say that I haven’t worked with many promoters or curators, but when I have done, there’s been a fairly horizontal relationship. It’s only recently that they’ve had a proactive attitude towards working with artists, though. I couldn’t be waiting for someone to come forward and offer me a project or a platform, so I’ve been more inclined to come up with these ideas myself, through associations and the now-faded fashion of do-it-yourself, all of which are great.
12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I think the difference could be that the arts scene used to be very fragmented until, only recently, producers started to show more interest in creating a series of platforms and relationships to help consolidate this scene. An advantage and disadvantage is that there are still lots of things to do.