Loidys Carnero Pineda
Loidys Carnero Pineda
Our space is being redefined in another format. We’re currently witnessing major innovations in computer creation, such as Google Earth, which basically involves building the Earth in a virtual space. And Google SketchUp, a free 3-D modelling program, makes it possible to create buildings or objects and put them onto this cyber-Earth.
So we’re willing accomplices in creating an exact replica of the world, the environment we live in; we’re creating morbid, exact online models. The series I present is made with SketchUp, and the models used in the pieces are predesigned and waiting to take their place in the space or context. My activity involves working with them in accordance with their own rules. The car parks refer to human collectiveness and in this sense I use them as impersonal places, containers for (this time passive) machinery where I can create structures to cover a vast surface.
These closed or rather private environments talk about the imposing presence of power, even in a virtual space: windows onto motley, forbidden places. My aim is to create images for a different map, in a different space and time – material realities on virtual surfaces.
Loidys Carnero Pineda
La Habana, 1982.
Vive y trabaja en/Lives and works in: Madrid.
2000 – 2003
Graduado de la Academia Nacional de Bellas Artes San Alejandro, La Habana.
Exposiciones Individuales (Selección)/Selected Solo Exhibitions
Loidys Carnero, Galería Punto, Valencia.
Evasión Funcional, Academia Nacional de Bellas Artes San Alejandro, La Habana.
Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Salud Deporte y Control, Galería Umberto di Marino, Napoli.
Generación´08, La Casa Encendida, Madrid.
La Capella, Institut de Cultura de Barcelona.
Convento de Santa Inés, Sevilla.
Lança Cuba, Galería A Gentil Carioca, Río de Janeiro.
Artesantander 2008, Feria Internacional de Arte Contemporáneo, Santander.
Program Preview, Galería Punto, Valencia.
Foro Sur, Feria Iberoamericana de Arte Contemporáneo, Cáceres.
FEM 7, Festival Edición Madrid de Nuevos Creadores, Madrid.
Carlos Garaicoa Open Studio, Madrid.
Art is not Enough, Workshop with Carlos Garaicoa Studio in Liverpool Biennale, Liverpool.
Encuentro de Grabado´05, Centro de Arte Contemporáneo Wifredo Lam, La Habana.
Salón de Premiados, Centro de Desarrollo de las Artes, La Habana.
Salón Ciudad, Centro Provincial de Artes Plásticas y Diseño, La Habana.
Deja-Vú, Intervención Pública, Marianao, La Habana.
Becas y Premios/Awards and Grants
Generación´08, La Casa Encendida, Madrid. (Mención de Honor)
Obra en Museos y Colecciones/Works in Museum and Collections
Obra Social Caja Madrid. Colección Meana Green Maura & CO, Madrid.
Gisbert, Paco, "La Ciudad como Amenaza", Valencia, El País, 1/XII/2008.
Carnero Pineda, Loidys, “Parkings”, Generación 2008, Madrid, Premios y Becas de Arte Caja Madrid, 2008, Cat. Exp.
Díaz, Maria; Callado, Alexis; Carnero Pineda, Loidys, "Campos de Fuerza", FEM 7 Festival Edición Madrid de Nuevos Creadores, Madrid, Fundación Temas de Arte, 2007, Cat. Exp.
1. What made you choose art as a profession?
I don’t remember actually taking a decision. People move forward as they flow through life, letting themselves go with the context or ideas they are exposed to.
2. How would you define your work?
It’s pretty difficult to define something. I’d say that my work is research into modern-day life.
3. What subjects are you interested in?
I like to question the phenomena of images and coding, social control through technology, the growth and development of a virtual space that belongs to us and which we’ve created, and how it attracts and represses us. I play an active part in a space or place until I’ve completely dominated it.
4. What resources – formal or otherwise – do you use in your work?
I try to use resources that support the idea or conceptual interest I’m working on best. At the moment, for example, I’m carrying out a project on physical space and virtual space where the end result is only seen online.
5. What relationship does your work have with reality? What are your raw materials?
In my work, reality is multiplied and stretched towards another context by taking situations, structures or objects from real life and repeating them in a virtual space – an infinite reproduction of the brief space of life. In this case, the raw materials are walking, reading, sitting in front of the computer, taking the metro, watching the news or simply observing.
6. What, according to you, is the point of art?
Art is an encoded reflection above and beyond the needs of man – other than this it might well have no current use. There have been many failed attempts to define art as something useful, but art has never changed a society. In my view, art is creation, creating something that wasn’t there in the world until then, and nothing more.
7. How do you hope the public will receive your work? What audience are you aiming at?
I’m aiming at the public in general, although unfortunately contemporary art is currently very elitist and only for a select few. I think the end piece or artistic object should have an aesthetic force that sets it apart from common standards.
8. What qualifications have you got? What do you value most from your time in education?
I’d like to go back to drawing classes at art school and rediscover the possibility of different realties.
9. How would you define your current professional situation? And in the future?
At the moment I’m in a complex process where there’s little expectation of being able to make a living from art. I’m working on several projects and quite simply the idea carrying on doing this sums me up professionally right now.
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 has absolutely no affect on my work. I don’t live off art or my artistic work at the moment.
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?
The work of curators, promoters, gallery directors, etc. is key for artists’ development. It’s quite clear that artists who shut themselves up in their studio will simply stay there. We need a helping hand in terms of assessing our work, as institutions have the final word as to what is art and what is not.
12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
The city’s main shortfall is a lack of alternative spaces for young Madrid-based artists outside elitist galleries and official institutions. There are also many positive sides to the scene, though, such as contests for young artists and institutional initiatives to promote young art. I’d like to do what I can here to encourage their work.