Drawing is the main tool I use to act in the social space. This wasn’t initially a question of talent, since I lack the skills of a professional artist, but more because it was cheap and easily adaptable to all kinds of media. My territory is my field of action: it is boundless and has very different natures and forms and opposing shapes; it exists in conventional places like galleries and museums; it is born on paper, crosses walls and pavements and appears on screens and advertising hoardings; it pops up in newspapers and on the television. With my work I try to analyse and dialogue with my environment, exploring our attitudes and everyday actions. For me, art plays a real role in the world, thanks to its capacity to engage with others, its approach of proposing rather than trying to persuade, because it opens the doors of opinion instead of shutting them.
Vive y Trabaja entre/Lives and works between: Madrid y Nantes
Master en Arte Creación e Investigación, Facultad de Bellas Artes, Universidad Complutense de Madrid.
DNSEP, Diplôme National Supérieur d’Expression Plastique, École Nationale des Beaux-arts, Nantes.
Master Management de la Culture, des Arts et du Patrimoine, opción multimedia, Unviversité d’Angers, France.
Certificat de Gestion Culturelle, Unviversité d’Angers, France.
Licenciada Beaux-Arts, École Nationale des Beaux-arts, Nantes.
Exposiciones Individuales/Solo Exhibitions
Les insaisissables, Musée Estève, Bourges, France.
TAKE IF YOU LIKE, Espacio F, Madrid.
Mundo en perdición, “La gesta imposible”, La Noche en Blanco, La Boca Espacio Cultural(Madrid), Madrid.
Feelings it, Espacio Menosuno, Madrid.
Golondrina, Fundación Caixa Galicia, A Coruña; Fundación Caixa Galicia, Vigo.
Territoires de l’esprit, Atelier Sisenon, Montpellier, France.
Pensées, Direction Régionale des Affaires Culturelles, Nantes.
Sin sentido, Maus Hábitos, Porto.
Perifiestas, Festival Periferias’06, Matadero de Huesca.
Sans toi, Espace Santeuil, Nantes.
Exposiciones Colectivas (selección)/Selected Group Exhibitions
Todo Disfraz, OTR Espacio de Arte, Madrid.
Sellos, Estampa 2010, Galería Estampa (Madrid), Madrid.
14x18, Mecánica Galería de Arte, Sevilla.
Intransit, Sala del c Arte c, Museo del Traje, Madrid.
BAC, Centre de Cultura Contemporània de Barcelona, CCCB, Barcelona.
Irrecuperable, Espacio Menosuno, Madrid.
Oh no John, Barcelona.
Pour ne pas venir, Galerie Non sens, Marseille.
Forum de l’image, Centre BBB, Toulouse.
Artistas de la Casa Velázquez 2009, Casa de Velázquez, Madrid.
Le Panorama, Biennale d’Art Contemporain, Bourges, France.
Jeune Création, La Villette, Paris.
Certamen Gregorio Prieto, Museo de la Ciudad, Madrid.
Partir pour ne pas revenir, Galerie Alain Le Bras, Nantes.
Somnifère, Espace Mètres carré, Paris.
Promenades audoniennes, Festival Jel, Paris; Saint Ouen, France.
Etats d’âmes, Festival Scopitone, Nantes.
Lisboa, Galeria ArTo, Lisboa.
REVELAÇÃOS, Museu Serralves, Porto.
Becas y Premios/Awards and Grants
Intransit, Plataforma Complutense de Creadores Universitarios, Universidad Complutense de Madrid. (Selección/Selected)
Prix Révélation, Ville de Bourges, France. (1er Premio/1st Award)
Beca de Residencia Artística, Casa de Velázquez, Madrid. (Beca de Residencia/Residence Grant)
Beca de Residencia Artística, Fundación InspirArte, Alquería de los Artistas, Valencia. (Beca de Residencia/Residence Grant)
XIX Certamen de Dibujo Gregorio Prieto, Valdepeñas, Ciudad Real. (Seleccionada/Selected)
Beca de l’AFAA, residencia artística en Japón, Ministerio de Cultura. (Beca de Residencia/Residence Grant)
Bolsas para Primera Obra, Fundacion Caixa Galicia. (Beca de Producción/Production Grant)
Premio Jeune Création, Paris. (Finalista/Finalist) (2º Premio/2nd Award)
Premio Joven Creador Europeo, Biennale des Jeunes Créateurs d’Europe et de la Méditerranée. (Premiada/Prize-winning)
Artist in Context, Pépienières Européennes. (Beca de Residencia/Residence Grant)
Armengol, David, “Mundo en perdición”, exposición La Gesta Imposible, Madrid, La Boca Espacio Cultural, 2010, díptico exp.
Rodríguez, Susana, “El talento no mira el DNI”, La Opinión, A Coruña, 23/XII/2009.
Baudoin, Valérie, “Jeunes Artistes à la Villette”, Connaissance des Artes, XI/2008.
Boulaire, Jean –Marie, “Panses-bêtes”, Jeune Création, Paris, La Villete, 2008, Cat. Exp.
Cesaron, Cristophe, “Les dessins de Françoise Vanneraud”, Revista Pil, Nantes, n. 394, 2008.
Lles, Luis, “Françoise Vanneraud muestra su obra en el centro Raíces”, suplemento Arte y letras, Diario del Alto Aragón, Huesca, 11/X/2007.
Sánchez, Javier, “La Fiesta Disfuncional”, El Mundo, Madrid, 19/X/2007.
1. What made you choose art as a profession?
I’ve always wanted to develop ideas, ask questions, strike up dialogues – and in complete freedom. At the moment, the position of an artist seems the most suitable one for enjoying this freedom.
2. How would you define your work?
Seductive and biting.
3. What subjects are you interested in?
None in particular; in short, everything. At the moment, I’d stress personal mythology, time, destruction, doubt and jokes.
4. What resources – formal or otherwise – do you use in your work?
My favourite tool is drawing: you can use different media and timeframes; it’s cheap; you can shape an idea without too much skill; it’s easy to understand. But above all I think that resources are only tools to be put at the service of ideas.
5. What relationship does your work have with reality? What are your raw materials?
My work is intimately linked to reality; it’s my raw material, a source of inspiration. I transform reality by looking at it afresh, giving it new nuances, stressing the things we’re ashamed of, playing with collective and popular memory to create a kind of personal mythology tinged with universality.
6. What, according to you, is the point of art?
Art helps spark dialogue – not to try and persuade, but to propose, to open the doors of opinion instead of shutting them.
7. How do you hope the public will receive your work? What audience are you aiming at?
I’m aiming at anyone and everyone without exception. The audience is the least controllable thing I know; everyone reacts differently, depending on a whole range of contexts surrounding them that have led them here. There’s no one approach, opinion or feeling when it comes to my work – there are thousands.
For me a piece works when it leads to dialogue, confrontation and meetings.
8. What qualifications have you got? What do you value most from your time in education?
I graduated in fine art and did a postgraduate degree at the National Fine Art School in Nantes, followed by a master’s in directing and cultural management at the University of Angers. Now I’m studying for a master’s in art, research and creation at the Universidad Complutense in Madrid.
Every day I expand my expertise through workshops, seminars, parties, social networks, strikes and other eminently artistic activities. I studied mostly in France. I thought the fine art degree was fantastic, since rather than teaching content, it taught us to think critically, have our own opinions, fight for our ideals, know how to relate discourses and media, defend our work effectively, believe in ourselves, combine energies and create occasions to achieve what we set out to do.
9. 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?
At intellectual and personal level I think it’s great to be an artist. I work as an executive, setting my goals, defending my ideas with total freedom in terms of both content and media.
At economic level, it’s a game of chance. Entering yourself for contests, awards, scholarships and crossing your fingers. Most of the time I work for free and put in a lot of energy to earn a subjective wage, ie a new exhibition, a catalogue, a curator’s text, something which in the distant future will let me follow this path and live like any other worker.
This economic instability has positive sides when it comes to working: it keeps us on our feet and boosts our energy, tenacity, willpower and belief. In some way I need this uncertainty and with many of my pieces I take this to the extreme, giving away my work to the audience or bringing about its destruction.
10. 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’ve not had many relationships with these kinds of agents. If our paths cross more frequently, I’d expect dialogue, energy and enrichment – in short, teamwork.
11. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I don’t think there are arts scenes; there are shared energies, times, generations that create conditions and environments.
I’ve only been living in Madrid for two years and it’s not easy to give an objective answer to such a wide-ranging question. From this semi-new perceptive, I’d say Madrid lacks several key things for promoting new, active engaging art: there should be a wider range of alternative spaces, workshops and residences on offer within the city (for both people from here and people from outside). There’s a need for places where artists and people from other fields of research (scientists, philosophers, ethnologists, sociologists, architects…) can meet and work together. These places usually promote creation by creating melting pots for ideas and offering the city an artistic brew.
What amazes me about Madrid is the people; the actors in the industry are open, available, accessible. It’s much easier here than in France; you’ve got more means, but also more enthusiasm and generosity – for me I feel lucky to live here as an artist.