Julia Spínola

Artist selected by Pardo, Tania at 2010
More artist content updated at 2016


1. What made you choose art as a profession? 
It’s the only activity that makes any sense to me. 

2. How would you define your work? 
Looking at the unpredictable side to a system I’ve marked out. 

3. What subjects are you interested in? 
Chance and necessity; processes for ordering images and shapes in relation to others; what’s left over or doesn’t seem very important; colour as a material. 

4. What resources – formal or otherwise – do you use in your work? What relationship does your work have with reality? What are your raw materials? 
I use a series of pre-established elements: paper, a very limited range of colours and photograph cuttings lying about around the paper on the table. My relationship with reality is fundamentally physical; I place myself in a physical spot with respect to what I’m looking at. 

5. What, according to you, is the point of art? 
I haven’t got an answer to that question. 

6. How do you hope the public will receive your work? What audience are you aiming at? 
I don’t expect anything a priori, but in general, without stating exactly what, I always expect some kind of response to help complete the work. I fear I’m aiming at a specialist public, because thinking of other publics would limit my work in the studio, although I vehemently reject the use of referential codes understood only by the initiated. 

7. What qualifications have you got? What do you value most from your time in education? 
I graduated in Fine Art. I value my experience with some of the teachers, especially Agustín Valle, and the fact that the painting studios were always open. 

8. How would you define your current professional situation? And in the future? 
I combine my studio work with other work that keeps me afloat. My dream is to do just studio work. 

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? 
I’ve never made a living from my work. It doesn’t have a bearing on me when I’m working and I don’t think it has a bearing on my work. 

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 expect different things from curators and promoters. I think the relationship should go beyond the exhibition. In an ideal relationship, a curator should be a means to an end, someone to interact with. 

11. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses? 
Talking about the Madrid scene is a bit abstract for me: I can’t really see where it starts and where it ends. I don’t have much experience of other scenes to compare with Madrid.



Curriculum vitae

Julia Spínola
Madrid, 1979.
Vive y trabaja en/Lives and works in: Madrid.


Formación Académica/Education
Licenciatura en Bellas Artes, Universidad Complutense de Madrid.


Exposiciones Individuales (Selección)/Selected Solo Exhibitions
Into the point (vibration), Tatjana Pieters Gallery, Gante.
Oreja. Naufragio, Galería Heinrich Ehrhardt, en diálogo con Mauro Cerqueira, Madrid.


Mosquitó, Centro de Arte Joven de la Comunidad de Madrid.


Exposición de dibujos, Espacio F, Madrid.


Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Change of Adress, Tatjana Pieters Gallery, Gent.
Plano, peso, punto y medida, Universidad Torcuato di Tella, Buenos Aires.
Antes que todo, Centro de Arte Contemporáneo Dos de Mayo, CA2M, Madrid.


Trigger, Tatjana Pieters Gallery, Gent.


Mañana es demasiado tarde, Los 29 enchufes/Invernaderocultural, Madrid.


En algún lugar alguien está viajando furiosamente hacia ti, La Casa Encendida,Madrid; Espai cultural, Barcelona.


Espacio Zuloa, Vitoria-Gasteiz.
Guasipichai, Los 29 enchufes/Invernaderocultural, Madrid.


Texto, publicación autoeditada por 18 artistas.

Nº 07 Script, invitada a crear un proyecto específico para la publicación.


Invitada por Mariano Mayer a participar en el proyecto Café, que culminará en la edición de un libro.
Embellecimiento de 20 caras de cds para la revista audiovisual Julio, coordinada por Black&Noir.


Becas y Premios/Awards and Grants
Beca-taller Marcelino Botín, Santander.
Beca Fundación Arte y Derecho, Madrid.


(+34) 665874344