Patricia Esquivias

Patricia Esquivias

Artist selected by Cabello / Carceller at 2010

I’ve been working with video for the last four years. I make short videos featuring my voice talking about different subjects, both historic and everyday. The image is usually my laptop screen or photos or notes I put in order. There’s usually a certain desire to explain something in a melancholic, hesitant and humorous tone.


Patricia Esquivias
Caracas, 1979.
Vive y trabaja entre/Lives and works among: Guadalajara, México y Madrid.

Formación Académica/Education

Master en Bellas Artes, California College of Arts, San Francisco.


Skowhegan School of Painting and Sculpture, Maine, Deutschland.


Taller con Mireya Masó, Murcia.


Licenciatura en Artes, Central Saint Martins College of Art and Design, London.


Foundation Studies, Chelsea College of Art and Design, London.


Exposiciones Individuales (Selección)/Selected Solo Exhibitions
Minneapolis Midway Contemporary Art, Minneapolis.
Museo Nacional Centro de Arte Reina Sofía, MNCARS, Madrid.
Art Basel, Art Statements, Basel.


White Room, White Columns, New York.
Folklore, Murray Guy Gallery, New York.


Present/Future, Artissima, Silverman Gallery (San Francisco), Torino.
Reads like the paper, Galería Maisterravalbuena, Madrid.


Folklore, Galería DF, Santiago de Compostela.


Temporalmente Hawaii, Centro Arte Joven de la Comunidad de Madrid.


¡Mira, mira!, Espacio F, Madrid.


Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Younger than Jesus, New Museum of Contemporary Art, New York.


Refrain (ritournelle), Galerie im Taxispalais, Innsbruck, Österreich.
The Salon of the Revolution, Zagreb.
Bending the word, Matrix Program, Berkeley Art Museum.
Despistando al Enemigo, Fundación Arteria, Bogotá.
Other Than History, Silverman Gallery, San Francisco.
Other Certainties, NYCAM, New York.
Beyond Paradise, Stedelijk Museum, Amsterdam.
Systeme C, Mains d'Oeuvres, Paris.
When Things Cast No Shadow, 5th Berlin Biennale.
Of this Tale, I cannot guarantee a single word, Royal College of Art, London.
Self Storage, California College of Arts, San Francisco.


Preview Berlin, Galería Maisterravalbuena (Madrid), Berlin.
Pensée Sauvage- On human freedom, Frankfurter Kunstverein, Frankfurt.
EAST International, Norge.
A Kingdom for a Horse, Peles Empire, Los Angeles.
En exhibidor vs Anaquel, Celda Contemporánea, México D.F.
Barclay Simpson Award, Oliver Art Center, Oakland, California.


Programas de vídeo/Film Festivals and Screenings
Cinema Indeed, Instituto Itaú Cultural, São Paulo.
Más o menos cine, Centro Andaluz de Arte Contemporáneo, CAAC, Sevilla.


Cine Casi Cine, Museo Nacional Centro de Arte Reina Sofía, MNCARS, Madrid.
Still Cinema, Open Eye Gallery, Liverpool.
Night at the museum (or what Betty Boop saw), Museo Nacional Centro de Arte Reina Sofía, MNCARS, Madrid.


Pixapins, Photoespaña´06, Madrid


Becas y Premios/Awards and Grants
Generación´09, Premios y Becas de Arte Caja Madrid.


Premio Present/Future Artissima de Illy, Torino.
Premio EAST International, Norge.
Deutsche Borse Residency Program, Frankfurter Kunstverein, Frankfurt.
Premio Barclay Simpson, San Francisco.
Beca Fundación Sa Nostra, Palma de Mallorca.(Exposición los29enchufes)


Beca Fullbright.


Beca Embajada Méxicana para realizar residencia en OPA, Oficina para estudios de Arte, Guadalajara, México.
Inéditos, La Casa Encendida, Fundación Caja Madrid, Madrid.
Fundación Arte y Derecho, Madrid. (Proyecto los29enchufes)


Obra en Museos y Colecciones/Works in Museum and Collections
Colección del Museo de Pollença, Mallorca.
Museo Nacional Centro de Arte Reina Sofía, MNCARS, Madrid.
Colección de Isabelle and Jean-Conrad Lemaître.


Bauman, Silke, When things cast no shadow, Berlin Biennale Short Guide Day, Berlin, 2008.
Ward, Ossian, Of this tale, I cannot guarantee a single word, Time Out London, London, 15/IV/08.
Of this tale, I cannot guarantee a single word, London, Royal College of Art CCA, 2008, Cat. Exp.
Patricia Esquivias, New York, The New Yorker, 4/II/08.
Alemani, Cecilia, Critic's Picks Patricia Esquivias,, 2008.
Pensée Sauvage, Frankfurt, Frankfurter Kunstverein, 2007, Cat. Exp.
East International, Modern Painters, XI/07. H.
Pozuelo, Abel, Patricia Esquivias. Decir lo indecible, Madrid, El Cultural, El Mundo, 21-27/VI/07.
Tobias, Maier, Folklore, Patricia Esquivias, Pensée Sauvage, Frankfurt, Frankfurter Kunstverein, 2007, Cat. Exp.


Murray Guy Gallery 453 W 17th St, New York, NY 10011

1. What made you choose art as a profession?
Because it encompasses anything, any subject, any age; it’s spark, its rarity, its thousands of possibilities; because it’s got nothing and everything to do with anything.

2. How would you define your work?
Attempts to understand and explain; the only way to try and make things a bit more as I’d like them to be.

3. What subjects are you interested in?
Everything. I try to work with everything that’s important to me, everything related to how people live now.

4. What resources – formal or otherwise – do you use in your work?
Whatever I’ve got to hand: my computer, the internet, a city, people…

5. What relationship does your work have with reality? What are your raw materials?
All my work is the product of the reality I experience and have experienced – what I’ve learnt since I was young.

6. What, according to you, is the point of art?
To do everything that otherwise wouldn’t be done.

7. How do you hope the public will receive your work? What audience are you aiming at?
I hope people either completely understand what I’m getting at or don’t get it at all, think it very odd and become intrigued by it. I’m not aiming at any audience in particular.

8. What qualifications have you got?
What do you value most from your time in education? I spent six years at different art schools. I value art schools because of the people I met there, the libraries, cafeterias, timetables, resources, visitors.

9. How would you define your current professional situation? And in the future?
I don’t know what to say.

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?
I’ve never had problems producing my work. It’s not that I need money for – it’s everything else.

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 try to strike up a conversation; I don’t like simply sending off DVDs.

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
It’s strange what happens in Madrid. We often talk about it without coming up with any explanations. It’s odd that a city like Madrid doesn’t have a more active contemporary art scene.