Daniel Silvo

Artist selected by Torrente, Virginia at 2010
More artist content updated at 2016

Daniel Silvo (Cádiz, 1982) graduated in Fine Art from the Universidad Complutense in Madrid in 2005, where he is now working on his PhD. His work centres mainly on photography and video, although he is currently working on installation and sculpture.


In 2004 he won first prize at the Generaciones contest held by Caja Madrid, and he has taken part in a number of exhibitions, including Monocanal (Museo Nacional Centro de Arte Reina Sofía, 2003) and J’en Rêve (Fondation Cartier, 2005). He has lived in Berlin (2003–04), Aix-en-Provence (2006–07) and Mexico City (2007–08).


1. What made you choose art as a profession?
At the age of 16 I discovered that drawing let me reproduce reality: I could understand it, take it with me, reproduce it and own it.

2. How would you define your work?
A reflection on everyday life.

3. What subjects are you interested in?
Circularity, time, construction, language, death, partying, destruction…

4. What resources – formal or otherwise – do you use in your work?
Whatever I’ve got to hand and whatever the idea I’m working on calls for.

5. What relationship does your work have with reality? What are your raw materials?
Well, it’s reality that gives me the materials and ideas, the media and the stories. My raw materials are the objects that turn up around me.

6. What, according to you, is the point of art?
Art is my place in the world, and for me the point of art is to exist in it. The objects I produce as an artist may have a point for other people, but I can’t know exactly what that is (although I can guess).

7. How do you hope the public will receive your work? What audience are you aiming at?
I’m aiming at both the elite and the general public and each audience receives the message in a different way. I aim to entertain both, give food for thought to both and bring each to the edge of the precipice.

8. What qualifications have you got? What do you value most from your time in education?
I went to university and I value my degree and the time spent abroad very highly. I value the way in which I’ve learnt to face up to problems and solve them in the most practical, simple and effective way.

9. How would you define your current professional situation? And in the future?
I’d define it as seeing education as a way of solving my professional needs without having to give up creating. I aim to give classes and continue producing work, with or without help from institutions.

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?
Economic considerations affect the way you work and the resources you use, as well as the time you spend on work. But they don’t affect the subjects, contents or media. For example, you can produce a sculpture using many or few resources: you can make it out of paper clips (few resources) or have access to a foundry (more and better resources), but they’re still both sculptures. Or in another case you could use the camera on a borrowed mobile phone (low-level resources) or have access to a TV set (high-level resources), but they’re still both videoart.


It’s true, it’s difficult to make a living as an artist, and if you have to pay a lot in rent for a studio or feed a family, this complicates things even more and you have to find other kinds of work that cut into your time and concentration for doing artistic work. So there are two options: ensure you have enough money (to live on and for production) and accept you won’t be able to concentrate completely on art or risk the uncertainty of living completely from art. The third option, of making a comfortable living from art, hardly ever happens in Spain, although if it were possible (through generous public grants or a thriving private collectors’ market), I’m not convinced this would actually make for higher-quality art production in Spain. I did some of what I consider to be my best work when I had least time to spend on art.

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?
Promoters and curators are necessary for promoting and communicating art, as well as preparing discourses based on the works made by the artist. The artist provides the object or idea to promote and communicate and this gives the discourse for the curator to work with. They each have their place and their role to play. I look and hope for a constructive collaboration for coming up with interesting, high-quality ideas.

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
Madrid has a large number of commercial galleries and there’s more (private) economic movement around art than in other cities in Spain. However, this movement is still small if compared with other cities in Europe or further afield. The opposite is true of public grants: whilst other regions in Spain actively promote local artists (to a greater or lesser extent), the Madrid region offers very few resources for local artists. From the little I know about spending on art by public institutions, I think Madrid City Council makes most resources available. In addition, Madrid-based artists have very little space to work in, mainly as a result of the high studio rents.


The positive thing about our city is that there are lots of us working in the world of art and there’s fairly fluid communication between us. There’s a certain amount of activity on the edges of the institutional world (I don’t know how much – how much is a lot or a little anyway? – but it does exist), and in general the quality of ideas and initiatives is pretty good. There’s healthy competition and extensive culture on offer, not only in plastic arts, but also in all arts and not just in terms of contemporary creation. This wide range enriches everyone’s creative work: plastic artists, musicians, writers, filmmakers… Could there be better communication between the different disciplines? Without a doubt, but that’s an issue for everyone to consider on a personal level.



Curriculum vitae

Daniel Silvo
Cádiz, 1982.
Vive y trabaja en/Lives and works in: Madrid.


Formación Académica/Education
Doctor en Bellas Artes/PhD Fine Arts, por la Universidad Complutense de Madrid.


Certificado de Aptitud Pedagógica, Universidad Complutense de Madrid.


Exposiciones Individuales (Selección)/Selected Solo Exhibitions
Daniel Silvo, 10 años de video. Centro Cultural de España en México. México D.F, México.

Plattenbau, Galería Isabel Hurley, Málaga, España.
Fünfzig Verfassungen, Studio /-, Berlin, Deutschland.


Negro sobre blanco y negro, Espacio El Butrón, Sevilla.
Monstruos del Nuevo Mundo, performance en la Picnic Sessions CA2M, Móstoles, Madrid.
Cómo doblar tu dinero, Espacio F, Madrid.
Nostalgias Ajenas, Galería Marta Cervera, Madrid.

Cien formas de doblar tu dinero, Galería Michel Mejuto, Bilbao.
Y Dios creó la política, Espacio Abisal, Bilbao.



Constelaciones en el parking, Centro Cultural Conde Duque, Madrid.

El mecanismo definitivo, Centro de Arte Joven de la Comunidad de Madrid.

A7-A54, École Nationale Supérieure de la Photographie, Arles.

Shooting Stars, École Supérieure d’Art, Aix-en-Provence.


Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Politics: I do not like it, but it likes me. Laznia Centre for Contemporary Art. Gdansk, Poland*
8ª Bienal d’Art Leandre Cristòfol, Centre d’Art La Panera, Lleida, España.


Ondas en expansión: derivas del conceptual lingüístico, Centro Andaluz de Arte Contemporáneo, Sevilla. España.
INJUVE. Tabacalera Promoción del Arte, Madrid, España *
Generación 2012, La Casa Encendida, Madrid.


Es la economía, estúpido! Espacio Trapèzio, Madrid.
Campus. Espai Cultural Caja Madrid, Barcelona.
Salon Flux #4, London.
Summer Calling ’11. 3+1 arte contemporanea, Lisboa.
Saltar de la página. De Velázquez a Canogar, 20 años de ABC Cultural. Museo ABC, Madrid.
Proyecto Circo. Galería 23 y 12 y Centro Wilfredo Lam, La Habana.
Reproducción, repetición y reivindicación. Multiplicidad en el arte emergente español. National Brukenthal Museum, Sibiu, Romania; International Centre of Graphic Arts (MGLC), Ljubljana, Slovenia; Centro de Grabado de la Facultad de Bellas Artes (Universidad de Artes de Belgrado), Belgrade; Nuevo Museo de Arte Contemporáneo. Zagreb.

The Big Screen Project, 6th Avenue, New York.
Ecología Expandida, Centro Cultural de España en México, México D.F.
Restless (E)motion, MOCA - National Museum of Contemporary Art, Seoul.
Noche en Blanco, Residencia de Estudiantes, Madrid.
Nulla dies sine linea, Freies Museum, Berlin; Sangsang Madang Gallery, Seoul.

Insert coin, Para/Site Art Space, Hong Kong.
Injuve, Círculo de Bellas Artes, Madrid.
Circuitos, Centro de Arte Joven, Madrid.
Purificación García, Círculo de Bellas Artes, Madrid.
Premio ABC, ARCO’09, Madrid.



En tiempos de video, Museo de Arte de Puerto Rico, San Juan de Puerto Rico.

Destino Futuro, Real Jardín Botánico, Madrid.



En Español, An arts festival, Instituto Cervantes en New York.

Izolenta, Museo del Cine de San Petersburgo.



Somewhere Beyond The Sea, The Artists Cinema, Frieze Art Fair, London.

J´en rêve, Fondation Cartier, Paris.

Generación 2005, La Casa Encendida, Madrid.



Monocanal, Museo Nacional Centro de Arte Reina Sofía, MNCARS, Madrid.


¡Hola! K ase? Encontexto., La Casa Encendida, Madrid.


Cómo doblar tu dinero. Es la economía, estúpido! Espacio Trapèzio, Madrid. España.
How to fold your money. Reproducción, repetición y reivindicación. Multiplicidad en el arte emergente español. International Centre of Graphic Arts (MGLC), Ljubljana, Slovenija; Musej Suvremene Unjetnosti Zagreb, Hrvatska (Croatia)


How to fold your money. Reproducción, repetición y reivindicación. Multiplicidad en el arte emergente español. Instituto Cervantes de Viena. Österreich (Austria)

Dibujos por objetos, objetos por dibujos. La Galería de Comercio, México DF. México.


Archivo Cinemático, Escarabox Populi. Matadero, Madrid. España.


Monstruos del Nuevo Mundo, Picnic Sessions CA2M. Móstoles, España<, Entrevista al presidente de Eslovenia, Danilo Türk. Ljubljana, Slovenija.


Proyecto Lugares de Tránsito, Trabajo fotográfico en La Habana en colaboración con el artista cubano Humberto Díaz.
Asistencia al comisariado en la exposición Encuentros Digitales, en el Centro de Arte Complutense. Madrid



Dirección del espacio “Transmisiones”, programa Hablar en arte, Radio Círculo 100.4 FM, Madrid.



Colaboración semanal sobre arte en Cauro FM. 107.8 FM., Pozuelo de Alarcón, Madrid.

Programas de vídeo (selección) / Film Festivals And Screenings
Festival Transitio05. Centro de Cultura Digital, México DF.


Panorama Event #1: Unstating the Obvious. IMPAKT Festival, Utrecht, The Netherlands
IN-MEDITERRANEUM. Videoart Festival. Open Terrario de Intermediae – Matadero, Madrid, España / Instituto Cervantes de Palermo, Sicilia, Italia / 210 Multicultural Space, Atenas,Greece / Espacio Cultural MuMu, Córdoba, Argentina; Festival Video Guerrilla, Sao Paulo. Brasil.


Proyecto Circo. 2ª muestra de videocreación. Galería 23 y 12 y Centro Wilfredo Lam (La Habana, Cuba)


Restless (E)motion. MOCA - National Museum of Contemporary Art (Seúl)


En Español. An arts festival, Instituto Cervantes, New York, USA; Izolenta, Cinema Museum, San Petersburgo, Russia; Somewhere Beyond The Sea, The Artists Cinema, Arnolfini, Bristol, UK.


Proyectos de radio / Broadcasted Projects
Transvisiones, Colaboración mensual en el programa Hablar en arte / Monthly collaboration at Hablar en Arte programme, Radio Círculo 100.4 FM. Madrid, España. 2005-2010
Colaboración semanal / Weekliy collaboration at radio Cauro FM 107.8 FM. Pozuelo de Alarcón, Madrid, España. 2002-2003


Proyectos curatoriales /Curatorial Projects
Objects in The Mirror are Closer than They Appear. Lugar a Dudas, Cali, Colombia.
Atelier. Centro de Arte Joven de la Comunidad de Madrid, Madrid, España.


Paisajismo Craneoencefálico, galería Espacio Valverde, Madrid, España.
Dúplex. Guadiana 27, Madrid, España; Objects in The Mirror are Closer than They Appear, galería Isabel Hurley, Málaga. España.


Juegos Reunidos. Espacio Trapézio. Madrid, España.
Objects in Mirror are Closer than They Appear. ASNOVA Architect Studio, Utrecht; Una Historia Vintage. Alcalá 273, Madrid.


Noches Americanas. Centro de desarrollo de las artes visuales. La Habana, Cuba.


Actividades académicas (selección) / selected Academic Related Activities
Profesor de “Proyectos e Innovación” y “Metodología del Diseño” en la Facultad de Bellas Artes de la Universidad Antonio de Nebrija, Madrid. España.
Profesor de “Taller de animación”, grado en Animación, U-Tad, Madrid, España.
Taller de edición de video con celular, Centro Cultural de España en México, México DF, México
Curso de Fotografía digital, Centro Cultural Agustín de Tagaste, S. Agustín de Guadalix. Madrid. España.
Conferencia “La vida es así. Arte desde la precariedad”. Facultad de Bellas Artes de la UCM. Madrid, España.

Taller La fotografía y la construcción de otros mundos, Centro de Desarrollo de las Artes Visuales. La Habana, Cuba.
Conferencia La sustitución del tiempo por el espacio en la era de Internet, IKAS-ART, Bilbao. España.
Conferencia Cultura visual / cultura material: creaciones y culturas contemporáneas, Jornadas Internacionales Encuentros con Clío. Memoria, epistemología y representación. Centro de Ciencias Humanas y Sociales del CSIC, Madrid.

Profesor de “Edición y postproducción”, Facultad de Comunicación Audiovisual, Centro Universitario Villanueva. Madrid, España.
Profesor de “Tecnología de los medios audiovisuales para publicidad”. Facultad de Publicidad y RR.PP., Centro Universitario Villanueva. Madrid, España.

Publicaciones/ Writings

“Conversación con Danilo Türk”. Salonkritik, 13/I/2013.
“Entrevista a Marko Ivan Rupnik”. Revista Palabra, no 585-586. Abril 2012. Pp. 112-113.
“Espacio y tiempo en la era digital”. Encuentros Digitales. Ed. Universidad Complutense. Madrid, 2010. Pp. 27-33.
“La huella de la naturaleza y el arte religioso del siglo XXI”. Revista Palabra, no 588, junio 2012.
“La muerte del autor”. Revista Palabra, no 580. Noviembre 2011, pp. 80-81.
“Cómo doblar tu dinero”. Tresefes Revista de Pensamiento Musical. Nº 4, diciembre de 2011.
“La televisión en Alemania”, revista Vanidad. 2004
“Paisajes urbanos”. Diálogos entre-cruzados. Categorías para un diagnóstico del arte español contemporáneo. Madrid. Instituto de las Artes Fundación. 2001. Pp. 47-52.

Becas y premios / Awards and Grants
EMARE, artist residence / residencia en CANTE, San Luis Potosí, México.


Accesit INJUVE, Tabacalera Promoción del Arte, Madrid, España.
Artist residence / residencia IMPAKT Works, Utrecht, The Netherlands.
Generación 2012, Obra Social Caja Madrid. España. Premio y adquisición / Award and adquisition.


Generación 2012 Caja Madrid.


Residencia de Estudiantes. (Beca/Grant)


Accésit Premio ABC
Bilbao Arte (Beca de residencia/Artist in Residence)

Universidad Complutense de Madrid – UNAM México. México DF. (Beca/Grant)



Artists in context programme, Pépinières européennes pour jeunes artistes, Aix-en-Provence.



Generación 2005, Premios y Becas de Arte Caja Madrid. (1er Premio/1st Award)
Citemor TV, Festival de Montemor-o-Velho, Coimbra. (1er Premio/1st Award)


Obra en Museos y Colecciones/Works in Museum and Collections
Colección ABC.Colección Comunidad de Madrid.

Institut Valencià d'Art Modern, IVAM, Valencia.

Fundación Centro Ordóñez-Falcón de Fotografía, Fundación COFF, San Sebastián.

Fundación Caja Madrid, Madrid.
Iniciarte, Junta de Andalucía.



Rueda, Juan Francisco, "Arquitecturas del poder". Málaga Hoy, 29/IX/2012, P. 58.
Puerto, Sara, "La naturalidad de la estetización", Descubrir el Arte, n. 161. VII/2012, pp. 94 y ss.
Castaño, Andrés, "El artista como prestidigitador". ABC Cultural. Nº 1.044, 5/V/2012. Pp. 28-29
Núñez Luis, Mónica,"Artecontexto", 2011. n. 29, I/2011 pp. 108-109. ISSN: 1697-2341
Martínez, Lara, ABC de Sevilla, 5/XII/2011. P. 82
Torre Amerighi, Iván de la, ABCD nº1.020, 26/XI/2011, pp. 26.
Revista de Occidente nº 358, III/2011, ilustraciones interiores y portada/inside illustrations and cover.
Díaz-Guardiola, Javier, ABCD nº981, 22/I/2011, pp. 26-27.
Hontoria, Javier, El Cultural, 21/I/2011, pp. 31.
Ramírez, Jan Antonio, "El sistema del arte en España", 2010, Ed. Catedra, pp. 35.
"Espacio y tiempo en la era digital", En el catálogo de Encuentros Digitales, Ed. Universidad Complutense. Madrid, 2010. pp. 27-33.
"Aguzad vuestra conciencia", ABCD nº 925, 28/XI/2009-4/XII/2009, pp 40-41.
Hurtado, Eduardo, Mugalari nº543, Revista cultural de Gara, 25/IX/2009, pp. 63.
R. Aranguren, María, Deia, 24/IX/2009, pp. 63.
Díaz- Guardiola, Javier, "Fortaleza Renovada", ABCD nº888, Madrid, 7-13/II/2009, pp. 39.
Villa, Manuela, "Arte emergente en España", Ed. Vaivén, Madrid, 2006.
Fernández, Lola, “Fuga de talentos”, Yo Dona nº 14, Madrid, Unidad Editorial S.A., 6/VIII/2005, pp. 46 y ss.
Villa, Manuela, “Daniel Silvo: Arte madrugador”, El País de las Tentaciones, Madrid, 18/II/2005, pp. 16 y ss.
Canal, Mario, “Videocreadores: the next generation”, Vanidad, nº 94, Madrid, IV/2003, p. 81.
Canal, Mario, “Para ver y oír”, El País de las Tentaciones, Madrid, 14/II/2003, pp. 18 y ss.




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