Laura F. Gibellini
For some time now I`ve been interested in the relationship between public and private spaces, between outside and inside, questioning how permeable, continuous and compatible these spaces are. My recent interests centre on the grammar of images used to make up maps as representations of localised outside points, and their link with the inside nature of domestic space. All this research takes shape in the form of the connection between drawing, collage and installation in (occupying) space.
Resume
Laura F. Gibellini
Madrid, 1978.
Vive y trabaja entre/Lives and works between: Madrid, New York.
Es profesora de teoría crítica en la School of Visual Arts, Nueva York / She teaches critical theory at the School of Visual Arts, New York.
Formación Académica/Education
2010
Doctora en Bellas Artes, Departamento de Historia del Arte Contemporáneo, Universidad Complutense de Madrid. Premio Extraordinario.
2002
Licenciada en Bellas Artes, Universidad Complutense de Madrid.
Kunsthochschule Universität, Kassel. Premio Extraordinario.
Exposiciones Individuales/Solo Exhibitions
2014
TBD, Slowtrack, Madrid.
2010
Variations on a Landscape, Galería Asm28, Madrid.
Salon, ISCP, New York.
2008
341 West 24th Street, New York, AC [Institute Unlimited Direct Chapel], New York.
Mundos Portátiles, Festival Off PHotoEspaña, Galería Carmen de la Guerra, Madrid.
2007
Cahiers d´artiste. Wohnzimmer, Künstlerhaus Glogauer, Berlin.
En tierra de nadie, Sala de Exposiciones del Centro de Arte Joven, Comunidad de Madrid.
2006
Room 303, Kappatos Gallery, Athína.
Mundos humanos: respirando por el ojo de una aguja, Espacio f, Madrid.
2005
¿Dónde viven los que viven en la tierra?, Galería Vacío 9, Madrid.
2004
…and I was Francis Mathews, Galería Antonio de Barnola, Barcelona.
Exposiciones Colectivas/Group Exhibitions
2013
Traduction-Tradition-Trahison, Le Cube, Rabat.
2012
Synthetic Zero, Bronx Art Space, Nueva York.
Two Hemispheres, The Gabarron Foundation, Nueva York.
Aproximaciones a una Poética del Espacio, Centro Cultural de León, México.
12 Mostra Internacional Gas Natural Fenosa, A Coruña.
Night of Festivals 2012, Nottingham.
The Fool’s Journey, Curious Matter, Jersey City.
JUSTMAD 03, Madrid, asm28.
2011
Yans and Reto, Anthology Film Archives, New York.
Region O. The latino video art festival of New York, King Juan Carlos I of Spain Center at NYU, New York.
Image Share Night, NURTUREart, Brooklyn, New York.
An exchange with Sol Lewitt, Massachusetts Museum of Contemporary Art, Mass MoCA; Cabinet, New York.
2010
BAC, FESTIVAL 11. El Tiempo, Centre D’art Santa Mònica, CASM, Barcelona.
Residencia de Señoritas, Galería María Llanos, Cáceres.
El Último Libro, Zentral Bibliothek, Zürich.
JUSTMAD, Madrid.
2009
VIideo Art From Spain: Hybrid Generations: 200-2009, Ullens Center for Contemporary Art, UCCA, Beijing.
VIdeoakt, LOOP Festival, Barcelona.
One Woman, Marmara University, Istanbul.
ARCO 09, Premios de Creación Artística de la Comunidad de Madrid, Stand Comunidad de Madrid.
2008
Night of thousand drawings, Artist Space, New York.
Bienal de Arte Público para un Itinerario Cultural y Artístico, Navacerrada, Madrid.
You Know How I Feel, Center for Contemporary Arts, Santa Fe, USA. Colectiva, Galería Paz y Comedias, Valencia.
XIX Edición de Circuitos: Partir para regresar, Sala de exposiciones del Centro de Arte Joven, Comunidad de Madrid, Madrid; Casa de la Entrevista, Alcalá de Henares, Madrid.
Linguistic of the image. Spanish videoart, CIGE 2008, Casa Asia, Beijing.
2007
Relámpago. Contemporary Drawings and Related matters, KBB, Barcelona.
Nada Art Fair, Miami, Galería Vacío 9.
Taking Action, Courier International Video Organization, Istanbul.
La noche en Blanco, Madrid.
MACO ‘07, México DF, Galería Vacío 9.
Canal Abierto 2007, Canal de Isabel II, Madrid.
Arco’07, Madrid, Galería Vacío 9.
Proyectos/Projects
2013
A Dom (Variations), arte público/public art, MTA Arts for Transit. Proyecto de arte permanente en tres estaciones de la red de metro de Nueva York. Instalación prevista en otoño 2013.
Constructing a Place, Independent Curators International, Nueva York. (Panel, Organizadora y moderadora/ Panel, Moderator)
2012
Construyendo un Lugar/Constucting a Place, Colección Palabras de Imágenes, Sección Departamental de Historia del Arte III (Contemporáneo), Universidad Complutense de Madrid. (Libro/ Book)
2011
International Studio & Curatorial Program, ISCP, New York.
"Construyendo un lugar/Constucting a Place, publicación/publication, Colección de la Sección Departamental de Historia del Arte III (Contemporáneo), Universidad Complutense de Madrid.
2010
Gateway: An Artistic Response to the Immigration Crisis, Art For Change, New York.
Hacia Afuera, Public Arts and Music Festival, El Barrio, East Harlem, New York.
2008
Celda nº18. After Solaris, Festival Okuparte, Antiguo Seminario, Huesca.
Disculpen las molestias (artista trabajando), CBA.NET, Círculo de Bellas Artes, Madrid.
Becas y Premios/Awards and Grants
2011
International Studio & Curatorial Program, ISCP, New York.
(Residencia/ Air)
2010
Ayuda a la Producción de las Artes Plásticas, Comunidad de Madrid, Madrid. (Beca/Grant)
2009
Ayuda para la Promoción del Arte Español y Apoyo a las Nuevas Tendencias en las Artes, Ministerio de Cultura, Madrid. (Beca/Grant)
Beca de movilidad para investigadores, The Aldrich Contemporary Art Museum, Ridgefield, Connecticut. (Beca/Grant)
2008
Premio de Creación Artística de la Comunidad de Madrid, Madrid (1er Premio/1st Award).
Beca de movilidad para investigadores, The Museum of Modern Art, MoMA, New York. (Beca/Grant)
Bibliografía/Bibliography
Suset Sánchez, “Laura F. Gibellini
. Variations on a Landscape”,
ARTECONTEXTO, nº 33, Madrid, 2012/1, pp. 128-129.
Miguel Á. Hernández- Navarro, “Habitar la Huella” Antipoda. Revista de Arqueología y Antropología. Nº 12, Universidad de los Andes, Bogotá, 2011, pp. 239-240.
Yael Friedman, “The Alchemy of Maps and Pretty Wallpaper”, Antipoda. Revista de Arqueología y Antropología. Nº 12, Universidad de los Andes, Bogotá, 2011, pp. 241-243.
VVAA, "Art Arcade", New York, AC Institute, 2011, Cat. Exp.
VVAA, "On Minded Prints", dx5 - digital & graphic art research, Vigo, Universidad de Vigo, 2010, Cat. Exp.
Carrasco, Martin, “Itinerarios, Cáceres”, Hoy de Extremadura, Cáceres, 15/V/2010, p. 13.
Berruguete, Ana, “Los diez de Javier Hontoria”, El Duende, cultura, ocio y tendencias, n 95, Madrid, 1/VI-1/VII/2009, pp. 44-45.
VVAA, Premios de Creación Artística de la Comunidad de Madrid 03-08, Madrid, Consejería de Cultura y Turismo, Comunidad de Madrid, 2009, Cat.Exp.
Rubira, Sergio; Herráez, Beatriz, XIV Jornadas de Estudio de la Imagen. "Una tirada de dados: sobre el azar en el arte contemporáneo", Madrid, Consejería de Cultura y Turismo, Comunidad de Madrid, 2008, Cat.Exp.
Alonso Molina, Óscar, XIX Edición de Circuitos. "Partir Para regresar", Madrid, Consejería de Deportes, Comunidad de Madrid, 2008, Cat.Exp.
Alonso Molina, Óscar, “El núcleo de lo frágil”, ABCD Las Artes y Las Letras, ABC, nº 859, Madrid, 1/VII/2008, p. 33.
H. Pozuelo, Abel, “Laura F. Gibellini. Mundos Portátiles”, El Cultural, El Mundo, Madrid, 26/VI-2/VII 2008, p. 42.
Romero, Alba Lucía; Rubio Ahumada, Fernando, Transurbancia, Inéditos 2005, Madrid, Obra Social Caja Madrid, 2005, Cat.Exp.
Costelo, “News Madrid”, PHOTO Magazine, nº 420, France, Levallois-Perret Cedex, VI/2005, p. 12.
F. Gibellini, Laura “Otro lado del arte o el mismo de siempre”, en Fernández Polanco, Aurora; Larrañaga Altuna, Josu, "Entre nubes de polvo, poéticas del presente", Cuenca, Diputación Provincial de Cuenca, 2003, pp.37-39.
Contacto/Contact
laura@laurafgibellini.com
http://www.laurafgibellini.com
SlowTrack
Cañizares 12, 28012 Madrid
info@slowtracksociety.com
Questions
1. What made you choose art as a profession? Is art a profession?
Is it something you can choose? I’d never thought about it like that; in any case, I thought art chose you…
2. How would you define your work?
I’d rather think about it at its limits, rather than try to define it. When we define something, we restrict it to this definition and I think this closes off lots of possibilities.
3. What subjects are you interested in?
Thinking about subjects is also a risky business. I don’t think it should be thought of in terms of subjects; I think it’s more interesting to talk about strategies, devices… Subjects should be an excuse for giving shape to a thought. I can see I’m not really answering your questions.
4. What resources – formal or otherwise – do you use in your work?
I don’t understand the question. Are you referring to the technical side of creating work? If so, it depends on the project; I think this should be developed from the idea in question, but above all I’m interested in drawing, collage and installation in the space in question.
5. What relationship does your work have with reality? What are your raw materials?
I think most artistic work is centred on the relationship with ‘reality’, which can work on many levels. I don’t know whether you’re referring to figurative work representing reality or not. By ‘raw materials’ do you mean the starting point for giving shape to a work? If so, I focus on what’s around me.
6. What, according to you, is the point of art?
I’m finding these formal questions a bit awkward. What do you mean by ‘the point of art’? I sense a romantic or utilitarian idea behind this question and I don’t believe in either of these ideas. Art can potentially lead on to discourses and content, but that’s not always the case.
7. How do you hope the public will receive your work? What audience are you aiming at?
I think it’s risky having expectations, as well as an unnecessary burden. I don’t think you should expect anything specific from the public – and I don’t have a preconceived idea of my public – although it’s true that presenting a project in public always creates a reaction. In that sense I don’t think it’s right to expect anything. Wouldn’t that be a bit arrogant? I’m more interested in growing through the process.
8. What qualifications have you got? What do you value most from your time in education?
I’m currently writing my PhD thesis on contemporary art. It’s hard, but it’s my most enriching experience to date.
9. How would you define your current professional situation? And in the future?
I have to say I’m working more and more and I’m increasingly interested in working abroad. In the future I hope to be able to carry on working.
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?
As far as production is concerned, economic considerations don’t affect me too much. If you need money, you have to look for it – which obviously isn’t always easy – and if you can’t find it you have to find the best solution for the project you’re working on. It’s very important for the work not be conditioned by economic considerations. You can always want to produce more, but you have to learn to live within your limits, or else you’ll be paralysed.
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?
Artists, curators and promoters should aim to work towards the same goals, share the same interests and believe that it’s a relationship between equals. There’ll be the same difficulties as between any two individuals. Sometimes, institutional and bureaucratic structures and dynamics can complicate things, but that’s normal.
12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I think there’s a fluid fabric being woven here, although there’s still much to do. In general, Madrid lacks integrating policies and vehicles for channelling stability and creating activity at different levels. In addition, for better or worse, it has hardly any regional policies – policies I personally don’t agree with – which sets it apart from other places in Spain. As far as this generalised ‘limiting’ policy is concerned, the city might come off worse. Generalising a lot, the difference between Spanish and foreign arts policies is that there are very few levels for action, and competiveness is promoted through contests, awards, etc., which does nothing to help foster a firm, stable fabric.
The positive thing is that the scene in Madrid is evolving and growing; it’s starting to become much more dynamic, although it’s still limited. I think there are lots of good artists working here and this is key.
On the negative side, there’s not enough value placed on the potential here and there’s no support for mechanisms to help give artists some continuity. Sometimes it seems we’ve been forgotten; it’s not about giving out awards, but creating platforms and stable structures to promote the production and distribution of stable, international creation.
Interview
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