My work is a communicative response to my environment, as well as a way of setting out and sharing attitudes. My interest as a producer and researcher is currently reflected in creating models of symbolic negotiation based on combining different possibilities, developing new environments or obsessively adapting scientific methodologies.
I regularly use structurally interrelated industrial, natural or office materials. I carry out site-specific interventions or installations, although my projects start out as drawings or incorporate them later.
In the future, I hope to include temporary interventions in urban space linking opposing variables and to continue developing flexible and plural groups of art work combining different disciplines and models of symbolic belief.
Vive y trabaja en/Lives and Works in: Madrid.
Master Oficial de Arte Contemporáneo, UEM Universidad Europea Madrid, Madrid.
Licenciado en Bellas Artes, Universidad Complutense, Madrid.
Exposiciones Individuales/Solo Exhibitions
Individual, EXPLUM 2009, Puerto Lumbreras, Murcia.
Exposiciones Colectivas/Group Exhibitions
XX Circuitos de Artes Plásticas y Fotografía, Sala de Exposiciones del Centro de Arte Joven, Comunidad de Madrid, Madrid.
Vídeos de Artista, 5ª Bienal VentoSul, Museo Oscar Niemeyer, Curitiba, Brasil.
Yo no tengo razón, Off Limits, Madrid.
Anonyme Zeichner & Kaskadenkondensator, LISTE 09, Basel.
Against Egocentricity – Young Madrid Artists, Brotfabrik Galerie, Berlin.
Anonymous Drawings nº9, Kunstraum Kreuzberg/Bethanien, Berlin.
UNO+UNO=Multitud, Doméstico’08, Madrid.
Lange Nachte der Museum, Dinckel Acker, Stuttgart.
Rundgang Universität der Künste, HdK Universität der Künste, Berlin.
PLAZA09: Producción e investigación en arte, colaborador y ponente, Universidad Complutense, Madrid.
Miembro del netlabel Plataforma LTW con los proyectos Swee y Fromskwee.
Becas y Premios/Awards and Grants
XX Circuitos Artes Plásticas y Fotografía, Comunidad de Madrid. Selección/Selected.
1ª Edición Premios y Ayudas a la Creación Contemporánea, Matadero Madrid. Premio/Prize.
Individual, EXPLUM 2009, Puerto Lumbreras, Murcia.
Beca de producción y selección/Grant and Selected.
Individual, EXPLUM 2008, Puerto Lumbreras, Murcia. Beca de producción y selección/Grant and Selected.
Obra en Museos y Colecciones/Works in Museums and Collections
Centro de Arte y Naturaleza, CDAN, Fundación Beulas, Huesca.
Fondo Bienal VentoSul, Curitiba, Brasil.
Kunstraum Kreuzberg/Bethanien, Berlin.
Fundación IAC-SONOM, Monterrey, México.
Fundación Antonio Pérez, Museo Obra gráfica San Clemente, Cuenca.
Díaz-Guardiola, Javier, Cada paso cuenta, XX Circuitos de Artes Plásticas y Fotografía, Madrid, Vicepresidencia, Conserjería de Cultura y Deporte, Portavocía del Gobierno, 2009, Cat. Exp.
Alonso Molina, Óscar, La Juventud Formal, ABCD de las letras, nº 923, Madrid, 7/XI/2009.
Fernández Mallo, Agustín, CTR+ALT+SUPR, El Cultural, Madrid, 13/XI/2009.
Navarro, Mariano, Arte joven sin freno, El Cultural, Madrid, 30/X/2009.
1. What made you choose art as a profession?
I suppose I was seduced by the idea of being able to work professionally with ideas, desires and attitudes we usually only have space for in our free time, in private or in dreams – everything we do when we leave work.
2. How would you define your work?
At the moment I’m very interested in processes for creating methodologies, systemisation and participating in knowledge. The processes I’m researching include creating models of symbolic negotiation based on combining possibilities, developing new environments and obsessively adapting scientific methodologies.
3. What subjects are you interested in?
Subjects that spark my curiosity and let me communicate something in an interesting and useful fashion. My latest work also shows an interest in questions relating geography, fiction, historical processes, utopia and landscapes.
4. What resources – formal or otherwise – do you use in your work?
I pay close attention to creating relationships between opposing materials and media and trying to see them as complementary. I imagine models, for example, where natural and artificial materials coexist and are mutually dependent. I also try to overlap different layers of information - virtual or otherwise – as complementary parts. Technically I’m attracted by processes that imply combination, repetition, geometry, physical experience or which include different technological processes at the same time.
5. What relationship does your work have with reality? What are your raw materials?
I see my work as falling within an area where perception, belief, concept or attitude allows for knowledge transfer. I try to involve myself in this cycle by paying close attention to the different layers of meaning; my objects of interest change depending on my personal evolution and context.
6. What, according to you, is the point of art?
Leaving aside the recreational and cultural- and economic-speculation side, I think art lets you read between the lines. I remember the title of an exhibition by artist John Isaacs that sums this up perfectly: The supernatural world in which I am professionally involved.
7. How do you hope the public will receive your work? What audience are you aiming at?
Work is well done or well communicated when it makes the different ‘publics’ want to go on and do something. From my own experience as a member of the public, this has been the case when I’ve seen or taken part in high-quality work. I say ‘publics’ to stress not only sociocultural differences, but also the inexplicable internal differences in everyone that keep the field of artistic work open with unlimited scope. I’m aiming at people who respect this reality.
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 and took a Master’s course in contemporary art at the European University of Madrid. In parallel I’ve expanded my studies by attending seminars, conferences and workshops, driven by my curiosity. What I value most is human contact. That’s what’s made me make progress and evolve at a professional level too.
9. How would you define your current professional situation? And in the future?
In my situation, you work like an executive, earn as much as a trainee (or nothing at all) and you’re seen as happy-go-lucky (in the best-case scenario). In the medium term I hope to make contact with diverse work groups and other fields of knowledge. At a practical level, I hope to be able to get more involved in a more regular professional framework.
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?
Economic considerations might affect projects, technical and promotional aspects, although not the general content. At a practical level, it adds a certain degree of tension to the activity, although I imagine that this isn’t the only area where this happens.
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 expect production models based on cooperation. So far I’ve not had any difficulties apart from the usual ones you find in any other everyday relationship, although I should stress the professionalism and understanding of all the professionals I’ve worked with.
There are many advantages of working with curators, including acting as a driving force that helps the project to evolve, adding greater complexity and enriching the work and encouraging close professional relationships. There is, though, the risk of falling into a pyramidal work relationship or personal issues taking precedence over the work framework.
12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
Since I lived in Germany for a while, I can certainly compare the arts model or ‘scene’ in Berlin and Madrid, but given my limited professional experience I can’t really go beyond that. The Madrid scene is more competitive and aggressive. I see Madrid as becoming aware of the responsibilities of art production; there’s greater cooperation, although these relationships are still closed to opposite numbers. There’s a need for closer, more trusting relationships with other fields of cultural and professional activity. And for sharing out money better.