Teresa Solar Abboud
Teresa Solar Abboud
My recent work explores the contemporary landscape in relation to the tourist and film industries. I’m interested in the different changes an image or place undergoes as a result of these industries and how it is transported through space and time. I examine the intermediate, transitory states as structural components of the image, as exponents of its mobile, itinerant nature. I combine my artistic activity with several work groups and I’m a member of the Rampa production space.
Teresa Solar Abboud
Vive y trabaja en/Lives and works in: Madrid.
Taller Tiempos Modernos, con Jose Luis Pardo, La Casa Encendida, Madrid.
Nuevas dramaturgias, Centro de Arte y Naturaleza, CDAN, Fundación Beulas, Huesca.
MODIFI, Goethe-Institut, Madrid.
Máster Oficial en Arte Contemporáneo, UEM, Universidad Europea de Madrid.
Licenciada en Bellas Artes, Universidad Complutense de Madrid.
Taller Pensar el presente, La Casa Encendida, Madrid.
Estancia, Wimbledon Collage of Art, London.
Taller de Cátedra Juan Gris, con Christiane Löhr, Universidad Complutense de Madrid.
Estancias para la creación joven InJuve, Mollina, Málaga.
Estancia, Universitat Autònoma de Barcelona.
Exposiciones Individuales/Solo Exhibitions
Los embajadores, Galería Valle Ortí, Valencia.
Exposiciones Colectivas/Group Exhibitions
XXI Circuitos de Artes Plásticas, Sala de Exposiciones del Centro de Arte Joven, Comunidad de Madrid, Madrid.
Oscuro y salvaje, La Casa Encendida, Madrid.
Rencontres Internationales Paris/Berlin/Madrid, Centre Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofía, MNCARS, Madrid; Haus der Kulturen der Welt, Berlin.
Yo no tengo razón, Off Limits, Madrid.
LOOP 09, Video Art, Centre de Cultura Contemporània de Barcelona, CCCB, (Barcelona), Barcelona.
Sesión Continua, Otro Espacio, Valencia.
Picnic, Facultad de Bellas Artes, Universidad Complutense de Madrid.
Aptitud para las armas, Sala Amadís, InJuve, Madrid.
Muestra de Artes Visuales InJuve, Círculo de Bellas Artes, Madrid.
Sense Titol, Universitat Autònoma de Barcelona.
IV Concurso de dibujo y obra gráfica UCM, Jardín Botánico, Universidad Complutense de Madrid.
Fundación del espacio de producción Rampa, Madrid.
Gestión del proyecto Co·labor, Madrid.
Co-comisariado del proyecto Aptitud para las armas, Sala Amadís, InJuve, Madrid.
Gestión del colectivo Aula de Propulsión Escópica.
Becas y Premios/Awards and Grants
Glogauair, Berlin, Comunidad de Madrid. (Beca de Residencia/Residence Grant)
Beca de producción en artes plásticas, Comunidad de Madrid. (Beca/Grant)
Concurso Instantes de Paisaje 09, Centro de Arte y Naturaleza, CDAN, Fundación Beulas, Huesca. (Selección/Selected)
II Certamen de dibujo contemporáneo Pilar y Andrés Centenera Jaraba, Guadalajara. (Selección/Selected)
Beca para estudios de Master La Caixa. (Beca/Grant)
Beca Erasmus, Wimbledon Collage of Art, London. (Beca/Grant)
Beca de Producción InJuve, Instituto de la Juventud, Madrid. (Beca/Grant)
Beca Séneca, Universitat Autònoma de Barcelona. (Beca/Grant)
(+34) 630 256342
1. What made you choose art as a profession?
I don’t think I ever took a decision to choose art as such; I think it was a series of circumstances and minor decisions that led me along this path. However, I do see my professional activity as many different activities, rather than just one – I think centring only on your own art work can become a bit sterile.
2. How would you define your work?
I can’t come up with a good definition of what I do; I’m too involved to analyse it clearly enough.
3. What subjects are you interested in?
I’m interested in many different subjects at once and I find it difficult to answer such a wide-ranging question. Over the last few months, I’ve focused on processes linked to the construction, destruction and reconstruction of spaces and how they become delocalised.
4. What resources – formal or otherwise – do you use in your work?
I use any resources I need to tell the story in question.
5. What relationship does your work have with reality? What are your raw materials?
My work lies in the crossover of reality and fiction, so I usually start with real objects and events and then shift them to fictional terrains.
6. What, according to you, is the point of art?
As a spectator I really enjoy seeing art and also reading and listening to stories on work by other artists. In other people’s work I find answers and more questions that complement and join my own doubts. In this respect, for me art helps me grow not only intellectually but also emotionally.
7. How do you hope the public will receive your work? What audience are you aiming at?
I don’t expect people to grasp what I’m trying to say immediately. But I do hope the images I create come back to them later, perhaps when they see another work of art or simply when they’re walking down the street, so they stop and ask themselves why one image makes them think of the other. This is when people start to become actors in the work of art.
8. What qualifications have you got? What do you value most from your time in education?
I graduated in fine art and took a Master’s degree in contemporary art. I studied in different cities and I think the times I’ve spent abroad were key for my later work. Coming to and going from my usual environment made me feel a bit puzzled about myself, as if I were living with someone else I didn’t recognise. This feeling is the engine that drives my work, that feeling of not belonging to the ground you’re walking on.
9. How would you define your current professional situation? And in the future?
My current situation is uncertain. In the future, I’d like to combine my art work with other activities outside art.
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?
Obviously, whether or not you can finance a piece of work is important, but I try to move my projects on even if there isn’t enough money.
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?
Horizontal dialogue open to collaboration.
I’ve been lucky enough to work with people who are interested in my work and in these cases everything has gone like clockwork. In other cases, they’ve been totally uninterested and more obsessed with quotas than anything else.
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 a fragmented and somewhat inactive scene. Art should be an excuse for dialogue and debate; but in Madrid people only get together for openings and little else. There’s a need for more individual initiatives – we’re reaching a situation where artists don’t move without institutional support. The good thing about Madrid is that there’s still lots to be done.