Marlon de Azambuja
Right now I could say I’m looking for strategies for expanding someone’s conceptions of and relationships with the city, architecture and the art world in general.
Marlon de Azambuja
Santo Antônio da Patrulha, Brasil, 1978.
Vive y trabaja en/Lives and works in: Madrid.
Exposiciones Individuales (Selección)/Selected Solo Exhibition
Proyecto moderno, Galería Luisa Strina, São Paulo.
Casas modernistas para pájaros, Galeria Zaum Projects, Lisboa.
Intención de panorama, Sala de Exposiciones del Centro de Arte Joven, Comunidad de Madrid, Madrid.
Exposiciones Colectivas (Selección)/Selected Group Exhibitions
La Ligne, La Vitrine, Paris. Certamen Explum, Puerto Lumbreras, Murcia.
A propósito del espacio, Semana de la Arquitectura de Madrid, OTR. Espacio de Arte, Madrid.
Certamen Ubica, Sant Joan d´Alacant, Alicante.
Construir, Habitar, Pensar - Estrategias para el arte y arquitectura contemporáneos, Institut Valencià d'Art Modern, IVAM, Valencia.
Generación 2008, La Casa Encendida, Madrid, Valencia, Valladolid, Sevilla; Barcelona.
Premios InJuve, Círculo de Bellas Artes, Madrid.
Circuitos XVIII Edición, Sala de Exposiciones del Centro de Arte Joven, Comunidad de Madrid, Madrid; Girona; León; Pontevedra; Alcalá de Henares, Madrid.
I Bienal del Fuego, Museo de Bellas Artes, Caracas.
9º Salón de Artes Victor Meirelles, Museo de Arte de Santa Catarina, Florianopolis, Brasil.
Premios y Becas (Selección)/Selected Awards and Grants
Ayudas a la Creación Contemporánea Matadero Madrid, Abierto X Obras, Madrid.
Beca de Ayudas a la Creación de la Comunidad de Madrid, Madrid.
Premios Creación InJuve, Madrid. (Accésit) V Becas Roberto Villagraz, Escuela de Fotografía Centro de Imagen, EFTI, Madrid. (Finalista)
Certamen Jóvenes Creadores 2006, Madrid. (Accésit)
Obra en Museos y Colecciones/Works in Museums and Collections
Museu de Arte Contemporânea de Paraná, Curitiba, Brasil.
Museu Oscar Niemeyer, Curitiba, Brasil.
Museu de Arte Contemporânea de Cascavel, Brasil.
Fundação Cultural de Curitiba, Brasil.
Fundação Cultural Cassiano Ricardo, São José dos Campos, Brasil.
Casa do Brasil, Madrid. Colección OTR.
Espacio de Arte, Madrid.
1. What made you choose art as a profession?
As far as I can remember, I’ve always wanted to be an artist. If I happen to work on other things from time to time, it’s just to help finance my art projects.
2. How would you define your work?
Strategies that seek to alter, expand or strengthen the perception of things.
3. What subjects are you interested in?
Lots! But I’m particularly interested in cities.
4. What resources – formal or otherwise – do you use in your work?
I find it difficult to define my work in terms of formal resources; I think my production as a whole is related more to processes, strategies and ideas than specific forms. A strategy I really like is revealing things that were already there.
5. What relationship does your work have with reality? What are your raw materials? With whose reality?
I don’t want to overstate it, but I know people who’ve said they’ve changed their way of understanding things after seeing one of my works. My raw material is the world – all of it!
6. What, according to you, is the point of art?
I’m not really sure. It’s clear that there’s no consensus on this point. I like to think that what I’m doing might change the way spectators (and obviously me too) relate to the world, even if the change is only small. I’m more interested in the world of possibilities than the world of facts.
7. How do you hope the public will receive your work? What audience are you aiming at?
I hope the public take something of my work away with them, although what often happens is that it’s the public that bring things to me. That’s why I really value the live contact between art and people. In principle, I’m interested in all audiences.
8. What qualifications have you got? What do you value most from your time in education?
I studied at the Edilson Viriato Contemporary Art Centre in Curitiba, Brazil. One of the strengths of this informal studio is that it promotes exhibition right from the first productions, stressing how important this contact between works and spectators is for artists’ growth. However, I think the most important period in my education (which is still ongoing) was arriving in Madrid unable to speak a word of Spanish, with no friends and, above all, with no-one knowing anything about my work. The fact I started from scratch and the great artist friends I made (including Marta Alonso Berná, Carlos Bunga, Primož Bizjak, Carlos Garaicoa and Sandra Gamarra, amongst others) was without a doubt the most important thing that has happened to me to date.
9. How would you define your current professional situation? And in the future?
I’m very happy with the way my work’s going, mainly because of what I’m creating. In the future I hope that one day I’m able to consider myself a very good artist!
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?
Everything is affected by the economy, but I’m not worrying too much about that. As Hélio Oiticica said, “We thrive on adversity”.
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 don’t expect anything special from someone simply because they’re a curator. I expect the same from professional relationships as I do from everyone, be they artists, curators, gallery owners, etc. Collaborations are about being in tune with different ideas.
12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
Everywhere has its ups and downs. I think Madrid offers a lot of opportunities for young artists in general (at least at national level) and certainly for me in particular. It’s usually a very generous city; I’ve got great friends, especially artists, whom I admire as people and for the work they do. On the negative side, perhaps I should mention the domesticating effect ARCO has as a major art event in Spain, above all on the youngest producers. As good as it might be, ARCO is after all a fair and that has a certain impact.