Paula Anta

Paula Anta

Artist selected by Sánchez Balmisa, Alberto at 2010
More artist content updated at 2016

The line between the natural space and the rationalised space is increasingly blurred and ambiguous. It comprises a vast region that invented the civilising process from the first paradise (in ancient Persian, paeredís meant an enclosure, from paer, ‘around’, and dis, ‘to make/create’), from the first attempt to dominate nature.


This ambiguous and largely discontinuous region shares a hybrid space between the natural and the artificial, where both aspects become confused. Added to the difficulty in understanding this ambiguous space is the new ability to industrially produce simulated spaces and synthetic natures.


Botanic gardens, palm trees in northern Europe (imaginary bubbles of the 19th-century positivist middle-classes), shops selling plastic vegetation in Korea, shy plants in the middle of an office in Frankfurt, and butterflies (united in uncertainty) carefully reproduced on the rooftops in deprived neighbourhoods in Lima surround a void or sometimes broken path along which I walk.


Paula Anta
Madrid 1977.
Vive y trabaja entre/Lives and works between: Frankfurt, Madrid.

Formación Académica/Education
Profesora de fotografía, facultad de Bellas Artes de Cuenca, Universidad de Castilla-La Mancha.

Doctorada en Bellas Artes, Diploma de Estudios Avanzados, Universidad Complutense de Madrid.


Título Profesional de piano, plan 66.


Exposiciones Individuales/Solo Exhibitions
Centro de Arte Moderno Hospital del Rey, Melilla.


Bring Me a Leaf of Grass From the Edge of the Image - Chapter II, Frankfurt am Main; Johannesburg; Wien.


Palmehuset, Festival PHotoEspaña, Galería Blanca Soto (Madrid), Madrid.


Sunset Delux-Art, Gastatelier Kunstverein, Linklaters, Frankfurt am Main.


Sonate nº1 Augenmusik K505, Galería Blanca Soto, Madrid.


Réflexe, Sala Temptacions, Alicante.


Dokumenta Off, Jeune Creation, Art Contemporain, Paris.


Exposiciones Colectivas/Group Exhibitions
Air_port_art, Colección Fundación Aena, Centro de Arte Complutense, Madrid.
Wallpaper, Galería A&D, Barcelona.
Palma Photo 2011, DIZ, Galería SKL, Palma de Mallorca.


Sonate nº1 "Augenmusik" K505, HomeMade.Bcn Davis Museum, Barcelona.
IV Concurso de Creación Artística, Fundación José García Jiménez, Murcia.
Risoletto, Indomitable Women Registration, BAC! Festival d’Art Contemporari, Centre de Cultura Contemporània de Barcelona, CCCB (Barcelona), Barcelona.
arteBA’19, Galería Blanca Soto (Madrid), Buenos Aires.


Estampa 2009, Galería Blanca Soto (Madrid), Madrid
ARCO 09, stand Comunidad de Madrid (Madrid), Madrid.


Premio Purificación García, Círculo de Bellas Artes, Madrid; Centro Cultural Deputación de Ourense; Centro Cultural Cajastur Palacio Revillagigedo, Gijón.


Beyond Nature, Galerie Heike Strelow, Frankfurt am Main.


Artist in Residence, Ministerio de Cultura Hessen, Frankfurt am Main.
Premio Joven, Universidad Complutense de Madrid.


Creación Injuve, Círculo de Bellas Artes, Madrid.
En primera persona: la autobiografía, Canal Abierto, Sala de Exposiciones Canal de Isabel II, Comunidad de Madrid, Madrid.
FORO SUR, Galería Fúcares (Almagro, Ciudad Real), Cáceres.


A-30 Nuevos Fotógrafos Madrileños, Museo de Arte Contemporáneo de Castilla-La Mancha Fernando Picornell, Hellín, Albacete.


Programas de Vídeo/Film Festivals and Screenings
LOOP 10, Video Art, Centre de Cultura de Dones Francesca Bonnemaison (Barcelona), Barcelona.
Longitudes de Onda, programa de vídeo y música, Estampa 2010, Auditorio Nacional de Música (Madrid), Madrid.


DIVA. Digital & Video Art, Galería Blanca Soto (Madrid), New York.


Postales de Madrid, instalación y fotografías, La Caja Mágica, Madrid. Documental para Telemadrid.


Explorando Usera, colaboración en el proyecto de LaHostiaFineArts (LHFA), MADRID ABIERTO, Madrid. Proyecto de instalación y fotografías.
Risoletto, proyecto audiovisual para LaHostiaFineArts (LHFA) en colaboración con Los Torreznos, Centro de Arte Moderno, Madrid.


Manual de instrucciones y Grandes éxitos, colaboración con la revista La más Bella, ARCO, Madrid.


Becas y Premios/Awards and Grants
Beca MAEC-AECID para la ampliación de estudios artísticos en la Academia de España en Roma. (Beca/Grant)


Premio de Fotografía XV Edición, Fundación AENA, España. (3er Premio/3rd Award)


Ayudas para la creación y difusión del arte contemporáneo, INICIARTE, Junta de Andalucía. (Beca/Grant)


Premio de Creación Artística, Comunidad de Madrid, Madrid. (Beca/Grant)


Premio de fotografía El Cultural, periódico El Mundo, Madrid. (Finalista/Finalist)
GuestAtelierfrankfurt, Atelierfrankfurt und Linklaters, Frankfurt am Main. (Beca de residencia/Residence Grant)


Creación Injuve, InJuve, Ministerio de Igualdad, Madrid. (Accésit)


Cátedra Juan Gris, Universidad Complutense de Madrid; Área de Gobierno de las Artes, Ayuntamiento de Madrid.


Obra en Museos y Colecciones/Works in Museums and Collections
Comunidad de Madrid.
KfW Bankengruppe.
Ministerio de Fomento.



1. What made you choose art as a profession?
I’m not sure to what extent it’s a choice you make, even though you have the final say. Who can resist our fantasy?


2. How would you define your work?
I’d rather other people defined my work; I’ve got quite enough to do creating it.


3. What subjects are you interested in?
In recent years I’ve been attracted by the subject of restrained Nature, artificial Nature, the relationship between / supplanting of man and nature, Dada structure/architecture, the survival of elements, enclosed paradise… The historical component is also very important both as an intrinsic part of my work and as an external factor. There are three other ideas I think always accompany me, even though they’re not always visible: the relationship with intimacy, the relationship with sound, and journeys.


4. What resources – formal or otherwise – do you use in your work?
Essentially photography, digital images, video and sound. Within the photographic image I try systematically to go into subjects in greater depth through series, what I call a collection of places.
Videos let me carry on developing my passion for music and I see audiovisual work as musical pieces, basing myself most of the time on different formal structures from classical music.


5. What relationship does your work have with reality? What are your raw materials?
The relationship with reality is circular: you start with reality to create an imaginary world, thus forgetting the real world, only then to create a new reality.


6. What, according to you, is the point of art?
To challenge us, including aesthetically.


7. How do you hope the public will receive your work? What audience are you aiming at?
I’m aiming at you - yes, you! Don’t try and hide.


8. What qualifications have you got?
What do you value most from your time in education?
I studied music and art in Germany and Switzerland. I think I’m a potpourri of all that.


9. How would you define your current professional situation? And in the future?
My current professional situation is work, work, work. In the future I envisage work, work, work. In this sense for me working is the same as enjoying, so the future is pretty bright.


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?
Clearly, economic limitations affect my work in many different aspects, carrying it out and producing it. However, it doesn’t have a bearing on creativity and the pleasure of creating.


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?
It’s important to be able to move work as professionally as possible so it can be exteriorised and you can make progress and evolve productively. Perhaps both the advantage and difficulty in these relationships lie in maintaining this degree of professionalism at the same level.


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 been living between Germany and Spain. My studio is in Frankfurt and my house is in Madrid, so I try to make the most of the positive things in the different scenes in the two cities. There’s no doubt that different cultures come together in Madrid, both local and international, and that’s always enriching for creators. It’s best not to make comparisons, because it’s clear in many respects if we compare it with the arts scene and economic level in Germany, we still come out far behind, but if we compare it with the arts scene and economic level in Gabon, obviously we come out a lot more favourably.


Even so, there’s a need for more support for local and Spanish artists, and more collectors and gallery owners willing to take risks with young artists and more solid structures. The positive thing is that there’s a collaborative rather than competitive atmosphere between artists.