Julio Adán

Artist selected by Estévez, Ruth at 2011
More artist content updated at 2016

In his work he explores creative processes as part and parcel of the practice of exhibiting a piece, blurring usually well-defined and clearly separated concepts such as author-spectator, process-result and studio-exhibition space. He takes elements found in everyday life or not far from an artist’s studio and gives them new readings linked to traditional languages in the arts and plays games with language.
Since 2009 he has combined his solo activity with work for the nadamásmate collective together with Mayte Nogueiras.


1. What made you choose art as a profession?
I’m not aware of a time when I actually decided to do this. It’s something that has always fascinated and thrilled me. You go and study fine art, surround yourself with people with similar interests and before you know it art is suddenly part of your everyday life.


2. How would you define your work?
In my work, the very elements of art (its tools, styles and ways of working) become the subject, image or idea around which the artwork takes shape. I like to blur and mix up supposedly well-defined terms such as process-result, author-spectator or studio-exhibition space.


3. What subjects are you interested in?
All those linked in some way to the world of art and artistic practice – how a piece is conceived, takes shape and is exhibited in front of an audience.


4. What resources – formal or otherwise – do you use in your work?
Every idea needs a way to take shape, and sometimes a form becomes an idea. I can use drawing, video, installation or any other resource. I also like entangling myself with language, double meanings and wordplay.


5. What relationship does your work have with reality? What are your raw materials?
It’s very closely linked to my reality. Not to any others; I’m not really interested in them.
For some years I’ve been surrounded by easels, oils, canvases, papers, artist friends, openings, art contests… so this is the material from which ideas and interests are fashioned.


6. What, according to you, is the point of art?
From my point of view, it’s an interesting, complex way of looking at our surroundings and trying to understand them.


7. How do you hope the public will receive your work? What audience are you aiming at?
I hope they get involved in my work – actively involved in the case of some pieces. Interacting with the audience forms part of the discourse running through my work.


Given the nature of my work and its subject matter, I suppose it’s aimed at a specialist public, although I’m not entirely sure…


8. What qualifications have you got?  What do you value most from your time in education?
I did a bachelor’s, doctorate and master’s in fine art in Madrid, plus a series of specialist courses and I spent some time at Camberwell College of Arts in London. Obviously, the most useful education takes place outside these institutions – shut away in the studio or chatting in the bar. The best thing about my time in education was definitely the contact with other students.


9. How would you define your current professional situation? And in the future?
If ‘professional activity’ means exhibiting my work, I can’t complain; but if it means being able to support myself economically, I don’t think I have a professional activity… or I’m being duped.
The future is far from clear, although amazingly I’m still fired up to carry on and keep improving!


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?
It has an indirect effect. It’s hard to get finance (not to mention get paid) for your work.


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 expect a professional relationship. That’s been the case so far, as well as welcoming and friendly. It’s tough at first when they are getting to know your work, but initiatives like the Creators Archive help solve the problem.


12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I can’t honestly compare the Madrid scene with other cities. I’m not even sure I can define it here. What I do see is lots of eager people and good work despite all the hurdles you have to overcome.



Curriculum vitae

Julio Adán
Madrid, 1977
Vive y trabaja en/Lives and works in: Madrid.


Formación Académica/Education
Máster en Arte, Creación e Investigación (MACi), UCM, Madrid.


Electricidad y cosas animadas, Arteleku, Donostia-San Sebastián.


Cursos de Doctorado Departamento de Dibujo I, Facultad BBAA de UCM, Madrid.
Cátedra Juan Gris con Juliao Sarmento y Gloria Moure, Facultad BBAA, Madrid.
Licenciado en Bellas Artes, UCM, Madrid.


BA Drawing Degree, Camberwell College of Art, London, UK.


Exposiciones Individuales (Selección)/Selected Solo Exhibitions
Despues de ahora (con Ignacio Chávarri), Galería Raquel Ponce, Madrid.


Esto es un dibujo, Capa, Madrid; Julio Adán se vende, Casa del Estudiante de la UCM, Madrid.


Dibujo in verso, Espacio Menosuno, Madrid.


Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Circuitos, Sala de Arte Joven, Madrid.


Curators’ Network Showroom, Centro de Creación Contemporánea Matadero, Madrid.*
Estación experimental, LABoral Centro de Arte y Creación Industrial, Gijón; CA2M Centro de Arte Dos de Mayo, Madrid*.
News 11, Capa, Madrid.
Estampa (Feria Internacional de Arte Múltiple Contemporáneo), Capa, Madrid.*
Premio Internazionale Giovane Scultura, Materima, Novara, Italia.*
En blanco y negro, Capa, Madrid.*
Campo magnético, Centre D’Art La Panera, Lleida, España.
SON, Auditorio Nacional de Música, Madrid.
Dibujando escultura, Capa, Madrid.


Selección 10, Capa, Madrid.
Estampa (Feria Internacional de Arte Múltiple Contemporáneo), Capa, Madrid.*
Gauza Bizidunak, Arteleku, Donostia-San Sebastián, España.
Intransit, c arte c, Madrid.*
ARTe SONoro OFF, La Casa Encendida-El Carromato, Madrid.*
MAIL ARTistas Complutenses, galería Estampa, Madrid.
MAC+i, Centro Cultural Mira, Madrid.*
Delicatessen, Fundación Antonio Perez, Guadalajara, España.


In-Sonora V, Facultad de BBAA, Madrid.*
El muro al revés, Instituto Francés, Madrid.
Postitución, La Maison de la Lanterne Rouge, Madrid.
Delicatessen, Galería Estampa, Madrid.
Kill Your Idolls, Mediodía Chica, Madrid.
Coordenadas preparadas, Centro Experimental de Arte y Pensamiento, Madrid.*
MAC+i, Facultad de BBAA, Madrid.*


Picnic, Facultad de BBAA, Madrid.*


Mírame, Museo de América, Madrid*


Handling it well, Pearlfisher gallery, London, UK..
Summer Show 05, Centenary gallery, London, UK.*

* Cat. Exp.


Programas de Vídeo/Film Festivals and Screenings
2ª Bienal de Fotografía y Artes Audiovisuales Fotojaén11, Biblioteca Pública Provincial, Jaén.


Camberwell Arts Festival Showreel, Camberwell College of Art, London, UK.*


Becas y Premios/Awards and Grants
Curators’ Network, Centro de Creación Contemporánea Matadero, Madrid. Selección/Selection.
XXII Edición Circuitos de Artes Plásticas Comunidad de Madrid, Sala de Arte Joven Avenida de América, Madrid. Selección/Selection.
Premio Casa Falconieri, Sardegna, Italia. Premio/Award.
III Certamen de Dibujo Contemporáneo Pilar y Andrés Centenera Jaraba, Fundación FMCJ, Villa de Alovera. Premio/Award.


XX Certamen de Dibujo Gregorio Prieto, Fundación Gregorio Prieto, Valdepeñas. Selección/Selection.
Archivo de Creadores Intransit, UCM, Madrid. Selección/Selection.


XIX Certamen de Dibujo Gregorio Prieto, Fundación Gregorio Prieto, Valdepeñas. Premio/Award.


Obra en Museus y Colecciones/Works in Museums and Collections
Gabinete de Dibujo de la Facultad de Bellas Artes, Madrid
Fondazione Francesco Messina, Novara, Italia
Colaboraciones para La Más Bella
Museo de Los Ángeles de Arte Contemporáneo, Turégano
Museo Fundación Antonio Pérez, Guadalajara.


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