Tamara Arroyo

Tamara Arroyo

Artist selected by Duero, Javier at 2010

The work I’ve been doing involves actions in which I observe and interpret the space surrounding me and strike up a dialogue between the real and the imaginary. It is based on real spaces to which I add elements or act through drawings to make them a place for thinking and researching what happened before. My work leans towards life experiences in everyday places. But nothing, least of all a place, is forever. Perhaps that’s why my media are ephemeral – I make installations and on-site drawings and adapt myself to this permanent impermanence, and why the materials used are reflected through photographs.


Drawing and photography are therefore my usual, although not only, tools. I’ve created public art projects, like Mientrastanto, Juegos populares and Legázpolis, where I worked with the public through actions and situations to reflect the permanence and change in all aspects of their environment and human situations, as well as the absence of certain activities, to echo my personal experience. I’ve also made series of drawing and animations to help me narrate a small personal story or ‘memory exercise’.


Tamara Arroyo
Madrid, 1972.
Vive y trabaja en/Lives and works in: Madrid.


Formación Académica/Education
Licenciada en Bellas Artes, Universidad Complutense de Madrid.


Exposiciones Individuales/Solo Exhibitions
Muroadelita, intervención, Madrid.
El arte de la memoria, Galería José Robles, Madrid.


Legazpolis, Intermedie, Matadero Madrid, Madrid.


Playgrounds, Estampa 2008, Feria Internacional de Arte Múltiple Contemporáneo, Madrid.
De Casa Encendida a Casa de Empeños, La Casa Encendida, Madrid.


Nevera, FRAGIL, un lugar para el arte Contemporáneo, Madrid.


Una Película de piel IX, Galería Marisa Marimón, Ourense.
Dibujar la casa, Galería Vacío 9, Madrid.
Visite nuestro hogar, Sala de Exposiciones del Centro de Arte Joven, Comunidad de Madrid, Madrid.


Exposiciones Colectivas/Group Exhibitions
Dibujando páginas, Columpio Galería, Madrid.
47ª Certamen Internacional d'Arts Plàstiques, Museu de Pollença, Mallorca.
Explum, Certamen Internacional Arte Actual 2010, Puerto Lumbreras, Murcia.


Soñar despierto es una contradicción que da miedo, Galería José Robles, Madrid.
Anonymous Drawings, LISTE 10, Kaskadenkondensator, Projektraum für aktuelle Kunst und Performance (Basel), Basel.


Uno más uno multitud, Doméstico’08, Madrid.
Anonymous Drawings Nº 9, Kunstraum Kreuzberg/Bethanien, Berlin.
Construir, Habitar, Pensar, Institut Valencià d'Art Modern, IVAM, Valencia.
ARCO 08, Stand ABC, Madrid.
ARCO 08, Stand Colección Unicaja (Málaga), Madrid.
Cuentos Modernos, Galería Max Estrella, Madrid


PILOT 3, Live Archive for artists and curators, Biennale di Venezia, Antichi Granei de La Giudeca, Venezia.
FORO SUR 2007, Galería Marisa Marimón (Ourense), Cáceres.
OASIS, Colección Unicaja de Arte Contemporáneo, Centro de Arte Contemporáneo del Ayuntamiento de Málaga, CAC, Málaga.


Generaciones 2006, Premios y Becas de arte Caja Madrid, La Casa Encendida, Madrid.
X Certamen de artes plásticas Unicaja, Málaga.
X Bienal de Artes Plásticas “Ciudad de Pamplona”, Conde de Rodezno, Pamplona.


Nit Niu´04, La noche del Naufrago, Cala San Viçenc, Pollença, Mallorca.
I Premio de Fotografía Purificación García, Real Jardín Botánico, Madrid.
Mientrastanto, Centro Cultural Conde Duque, Madrid.


Siete estudios en una nave, Doméstico’02, Madrid.


XIII Edición de Circuitos de Artes Plásticas y Fotografía, Sala de Exposiciones del Centro de Arte Joven, Comunidad de Madrid, Madrid.


Premios y Becas/Awards and Grants
Premio ABC de Pintura y Fotografía. (2º Accésit)


Madrid Procesos, AVAM, Artistas Visuales Asociados de Madrid, Madrid. (Beca de proyecto/Project Grant)


Premio-Beca de Creación, Comunidad de Madrid. (Beca de proyecto/Project Grant)
Premio Ciutat de Palma Antoni Gelabert de Artes Plásticas, Palma de Mallorca. (1er Premio/1st Award)


Premio de Artes Plásticas Diputación de Ourense. (1er Premio/1st Award)
Beca de Residencia en Hangar (Barcelona), Círculo de Bellas Artes, Madrid. (Beca de Residencia/Residence Grant)


Generaciones 2003, Premios y Becas de arte Caja Madrid, Obra Social Caja Madrid. (Beca de Proyecto/Project Grant)
Beca de Artes Plásticas de la Junta de Andalucía.


Certamen de Fotografía InJuve, Instituto de la Juventud, Madrid. (Accésit)
III Premio de Arquitectura y Fotografía, Ministerio de Fomento. (1er Premio/1st Award)


Obras en Museos y Colecciones/Works in Museums and Collections
Ayuntamiento de Puerto Lumbreras, Murcia.
Colección ABC.
Ayuntamiento de Palma de Mallorca.
Ayuntamiento de Pamplona.
Colección Unicaja, Málaga.
Museu de Pollença, Mallorca.
Fundació Guillem Cifre de Colonya, Mallorca.
Colección Caja Madrid.
Galería Marisa Marimón, Ourense.
Diputación de Ourense.
Galería Vacío 9, Madrid.
Sala El Brocense, Cáceres.
Universidad Nacional de Educación a Distancia, UNED, Madrid.
InJuve, Instituto de la Juventud, Madrid.
Ministerio de Fomento.



1. What made you choose art as a profession?
I think one thing leads to another. It’s not a choice; you simply are an artist. More than a profession, I see art as a form of life, a vocation. I’ll say it’s my profession the day I can make a living just from art.


2. How would you define your work?
I’d define my art work as an interaction between the environment and my personal experience…


3. What subjects are you interested in?
Mainly memory, my personal experience, permanence and change in all aspects of the environment and human situations, the absence of certain activities, etc.


4. What resources – formal or otherwise – do you use in your work?
For me, it depends on the project in question. At the moment, above all drawing, but also photography, installation, animation and video.


5. What relationship does your work have with reality? What are your raw materials?
In my case, my work is autobiographical and draws from life experiences, so it’s very closely linked to reality. My raw materials are my personal experience with the environment, from my own life or collective memory.


6. What, according to you, is the point of art?
It’s a way of describing situations and experiences from a personal perspective that I’d be unable to express any other way.


7. How do you hope the public will receive your work? What audience are you aiming at?
In principle I’m aiming at all audiences who express an interest in my work. Not everyone is ready to understand certain things, although I think my work is fairly accessible to everyone, at least in terms of form.


8. What qualifications have you got?
What do you value most from your time in education?

I graduated in fine art. What I value most from my years in academic education – because you still carry on educating yourself in other things – is that it was the best education you could have. I don’t value the teachers’ work as much, because they don’t prepare you for the world of art. And I didn’t have much contact with them.
We shouldn’t forget that artists are a bit of everything. We’re always training as designers, layout artists, managers, secretaries, photographers, etc. You educate yourself.


9. How would you define your current professional situation?
And in the future?

Well, I can’t complain, but in the future I’d like society to recognise our work a bit more and see us as workers, since we’re professionals like many others who make a living from their work.


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?
A handful of us make a living from art; the rest of us scrape by. Sometimes you can’t carry on working as an artist because you need a decent standard of living like everyone else. The bohemian days are over. We all have bills to pay. Sometimes producing work is the least of your concerns, since doing a drawing isn’t very expensive. To really dedicate yourself to art work, I think we ought to get money for our work or be on scholarships for life. For example, you need time to fill in this questionnaire, get together images, look over your CV, etc. Any other professional would charge for this, so why not artists?


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’d like them to value our work and have a good professional and intellectual relationship. They should support you, which is vital for moving forward, and ensure people see your work. The main difficulty is that they pay little or nothing at all.


12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I’m not that familiar with other scenes, so I’m not the best qualified to answer.
I think Madrid has improved. Lots of new things are happening and others are being revamped – and that’s all good. On the down side, there needs to be more help and support so artists from here can travel to other places and carry out exchanges. You hardly see any Spanish artists abroad.