Enrique Radigales

Artist selected by Duero, Javier at 2011
More artist content updated at 2016

Enrique Radigales uses HTML programming, video, photography and digital and analogue drawing techniques to explore the line between digital and physical and reveal an increasingly blurred terrain in which to question technological progress as a reflection of economic and social evolution.

This subject also encompasses other interests, such as the meaning of technological obsolescence, certain machines’ forms of archaeological recycling and languages that help us understand them, and the ties between temporariness and technology.


1. What made you choose art as a profession?
It was always my vocation.


2. How would you define your work?
Unplugged digital art.


3. What subjects are you interested in?
Technological industries, timelessness, the ephemeral nature of things, ruins, processes.


4. What resources – formal or otherwise – do you use in your work?
HTML programming, painting, video, analogue and digital drawing, photography.


5. What relationship does your work have with reality? What are your raw materials?
I use popular digital interfaces and technological concepts and then modify and/or translate them to physical settings.


6. What, according to you, is the point of art?
It offers a parallel vision to the contemporary way of life.


7. How do you hope the public will receive your work? What audience are you aiming at?
I always aim at a general audience, but there’s always an underlying layer with a more technical reading aimed at professionals in the technology sector.


8. What qualifications have you got?
What do you value most from your time in education?

I trained as a painter, but when I finished I broadened my knowledge with several courses on digital treatment of images and programming. What I value most is meeting other artists and professionals from other areas.


9. How would you define your current professional situation?
And in the future?

My current professional situation is good with respect to other artists I know within the context of Spain, but precarious compared with the international context. I have high hopes for the future, but I think that’s because I always think positively.


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?
Day-to-day issues determine how you work – you need to cover costs like rent, expenses, food, travel, etc. which you can't meet from your artistic work.
Creative action normally requires a slow rhythm and is unfortunately often interrupted by the thousand and one other things you have to do to survive.


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 look for experimental complicity rather than a formal agreement, although I’ve only ever found this ‘ideal’ relationship in projects where the work process and dialogue play a major role. Generally, relationships are driven by protocol, but I’d like to see the role of the curator expanded or at least become more approachable.


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 things are happening in Madrid at the moment; there are different centres of cultural action and social collectives that are energising the local scene. On the downside, you’re highly dependent on institutions and this makes you more of a grant manager than a creator.



Curriculum vitae

Enrique Radigales
Zaragoza, 1970.
Vive y trabaja en/Lives and works in: Madrid.


Formación Académica/Education
Posgrado en sistemas interactivos/Graduated from the Interactive Systems program, Universidad Politécnica de Cataluña, Barcelona.


Licenciado en Artes y Diseño, especialidad de pintura/Painting Especiality, Escola Massana, Centre d’Art i Disseny, Barcelona.


Exposiciones Individuales/Solo Exhibitions
12 metros de landscape, Eyebeam. Art and Tecnology Center, New York.
Disolvente sobre .TIFF, The Goma Gallery, Madrid.


12 metros de landscape+ruins, Baró Gallery, Sao Paulo.
Gran Amarillo, Cultural Center of Spain, Guatemala.
12 Meters of Landscape, Caja Madrid, Zaragoza.


Log Out Landscape, Formato cómodo Gallery, Madrid.

Contener la pintura, Galería Antonia Puyó, Zaragoza.


Enrique Radigales/Idealword, Galeria Baró Cruz, Säo Paulo.
Idealword, Museu da Imagem o do Som, MIS, Säo Paulo.
Boombox, Instituto Cervantes de Bordeaux; Casa Natal de Goya, Fuendetodos, Zaragoza.
Wall Source, Galería Formato Cómodo, Madrid.


Ruina y paisaje, Centro de Arte y Naturaleza, CDAN, Fundación Beulas, Huesca.


Tecnología lenta, Galería Antonia Puyó, Zaragoza.


Exposiciones Colectivas/Group Exhibitions
Datascape, LABoral Centro de Arte, Gijón, España.

Diálogos autónomos / Enrique Radigales y Adrián Villar Rojas, Casa Encendida, Madrid. 
Datascape, Borusam Contemporary, Istambul. 
Relat de Belles Coses Falses. Lopati (Centre dArt Terres de l´Ebre), Amposta, España.
Pasarela Media, Etopia (Center of Art & Technology) Zaragoza, España. 
En Casa, Casa Encendida, Madrid.


Open Studios, Eyebeam, Art and Tecnology Center, New York.
Explum 2012, Puerto Lumbreras, Murcia. Spain.


El Ranchito, Matadero Madrid.
Internacional Biennal of Granada, Spain.
14 Media Art Biennal WRO 2011 Alternative Now, Wroclaw, Poland.
Nulla dies sine linea, Campo Grande National Library, Lisbon; Cervantes Institut, Chicago.
Travesía cuatro Gallery, Madrid.
Reproduction, repetition and Rebelion, New Contemporary Art Museum, Zagreb, Croatia; Center for Graphic Art and Visual Researches AKADEMIJA, Belgrade ,Servia; International Centre of Graphic Arts (MGLC), Ljubljana, Eslovenia.
Noreste, Pablo Serrano Museum, Zaragoza, Spain.
Horizonte Vazado: artistas latinoamericanos en el filo, Cervantes Institute, Säo Paulo.
Biennal IEEB4, The Contemporary Art Gallery of the National Brukenthal Museum, Sibiu, Romania.

Nulla dies sine linea, Freies Museum, Berlin; Seoul National Unversity Museum of Art, OMA, Seoul.
Reproducción, repetición y reivindicación. Multiplicidad en el arte emergente español, Instituto Cervantes de Wien.
Apertura, Galeria Baró Senna, Säo Paulo.


Video in foco / foto in foco, Galeria Baró Senna, Säo Paulo.
Al final la fusilan, Can Felipa, Barcelona.
Secuencias, Galería Antonia Puyó, Zaragoza.


L’art com a escriptura, Interferències 08, Terrasa.
Ingráfica, proyecto específico, Universidad de Castilla-La Mancha, Cuenca.
Patrimonio Tecnológico, Tentaciones, Estampa 2008, Madrid.
Specificos, proyecto Glitch, 4º Espacio, Zaragoza.
Showroom Ideaword.org, La Noche en Blanco, Centro Cultural Galileo (Madrid), Madrid.
Atasco de papel, La Casa Encendida, Madrid.


</open seed>, Centro de Arte y Naturaleza, CDAN, Fundación Beulas, Huesca.


Barcelona Producció, La Capella, Institut de Cultura de Barcelona.


Programas de Vídeo/Film Festivals and Screenings
Plug&Pray, Proyectaragón, IV Muestra Audiovisual Aragonesa, Zaragoza.
Plug&Pray, Semana del Cine Experimental de Madrid, Madrid.


Nit* CASM, Centre d’Art Santa Mònica, CASM, Barcelona.
Dossier: la ventana de la escisión, Oberhausen Short Film Festival, Oberhausen, Deutschland.



Actividades Académicas/Academia Related Activities
Taxonomía de un paisaje, LABoral (Center of Art & Technology), Gijón, España.

Gran Amarillo, Etopia (Center of Art & Technology), Zaragoza, España.

Gran Amarillo y el Principio de incertidumbre, Instituto Tecnológico de Aragón, Zaragoza.
Tecnología Unplugged,  Centro Cultural de España en Guatemala, Guatemala; El Ranchito, Matadero Madrid.


Cultura y Nuevas Tecnologías Symposium, Ciudades 3.0., Huesca.
Summer School, La Rioja University, Pamplona.
Jugada a tres bandas, RMS La Asociación, Madrid.
Workshop / Digital totems, Digital Water Pavilion, Zaragoza.
Workshop / Source, Digital Wather Pabilion, Zaragoza.


Faculty of arts, Zaragoza University, Zaragoza.
Workshop / Tecnology unplugged, Digital Water Pavilion, Zaragoza.
Tecnologías libres Symposium, Milla Digital, Pablo Gargallo Museum, Zaragoza.
Mapear Madrid Project, CA2M, Madrid.


Procura Symposium, Zaragoza.
PechaKucha, Matadero Madrid.
Curating, Center of History, Zaragoza.
Mapear Madrid Project, CA2M, Madrid.


Becas y Premios/Awards and Grants
Explum, Puerto Lumbreras, Murcia, Spain. (Beca/Grant)
Eyebeam Spring-Summer Residency, Eyebeam, New York.


Promoción y difusión del arte español, Ministerio de Cultura de España. (Beca/Grant)


Ayudas a la Movilidad Internacional de Creadores, Matadero Madrid, Madrid. (Beca/Grant)


Producción de proyectos de arte, Generalitat de Catalunya, Barcelona. (Beca/Grant)


Un jardín una idea, Centro de Arte y Naturaleza, CDAN, Fundación Beulas, Huesca. (Selección/Selected)


Barcelona Producció 2006, La Capella, Institut de Cultura de Barcelona. (Beca/Grant)


Ingenio 400, Net.art, Ministerio de Cultura, Madrid. (2º Premio/2nd Award)
Propuestas, IX Convocatoria de Ayuda a la Creación Visual, Fundación Arte y Derecho, Madrid. (Beca/Grant)


Mad’03, Segundo Festival de Arte Experimental, proyecto Popchar, Madrid. (Selección/Selected)
Canon Digital Creator Contest 2003, Web Division, Tokyo. (Premio Bronce/Bronze Award)


Muestra de Arte Joven, InJuve, Madrid. (Selección/Selected)


Obra en Museos y Colecciones/Works in Museums and Collections
InJuve, Instituto de la Juventud, Madrid.
Centro de Arte y Naturaleza, CDAN, Fundación Beulas, Huesca.
Biblioteca Española, Säo Paulo.


Fuentes Guaza, Luisa, "Contemporary Languages from Centro América", Turner 2013.
"Una Retrospectiva", Sala Juana Francés, Ayuntamiento de Zaragoza, 2013.
"Enrique Radigales", 2007-2012 Documents, Baró Gallery 2012.
"12 Meters of Landscapes", Caja Madrid , 2012.
"Electrohype", Ystad, Sverige, Ystads Konstmuseum, 2010, Cat. Exp.
Radigales, Enrique, "Boombox", Zaragoza, Instituto Cervantes/Fundación Goya en Aragón, 2010, Cat. Exp.
"Nulla dies sine linea", Madrid, Ministerio de Cultura, 2010, Cat. Exp.
"Reproducción, repetición y reivindicación, multiplicidad en el arte emergente español", Madrid, Ingráfica, 2010, Cat. Exp.
Sanchez Vidal, Agustín, "Notas a pie de obra", Boombox, Zaragoza, Fundación Goya en Aragón, 2010, Cat. Exp.
Morata, María, "Caprichos del tóner", Boombox, Zaragoza, Fundación Goya en Aragón, 2010, Cat. Exp.
Roma, Valentín, "Tiempo, Tecnología y lenguaje", Boombox, Zaragoza, Fundación Goya en Aragón, 2010, Cat. Exp.
"Inéditos 2008", Madrid, Obra Social Caja Madrid, 2008, Cat. Exp.




Mud and Straw, 2013.


GranAmarillo Big Yellow, 2012.