Kristoffer Ardeña

Artist selected by Cabello / Carceller at 2010


My projects come from a very wide, fluid space – which means that, working with the public, I can shape and expand it in accordance with how we interact and how much we’re willing to give. I prefer people to see my work within the context of their own experience, outside historical conscience. It’s about seeking out meaning in experiences and allowing yourself to see what happens. There are no rules for how you should approach art.

Questions

1. What made you choose art as a profession? 
Shouldn’t it be, why did the art profession choose you? There is no defining answer. Certainly everyone who is dedicated to this profession can dig into their own life stories to justify where they are at a certain point in their careers, but it would not be enough to answer this question.

 

2. How would you define your work? 
Hmmm, in the first place, I think the word Obra (artwork) still connotes the presence of objects, usually handcrafted by the artist himself, something that does not necessarily apply to my practice. I would rather use the term Projects, because it goes beyond the specificity of genre. I create projects that can be explored in different formats: photographs, installations, objects, songs, archives, stories, paintings, stains, interventions, performances, videos, etc. 

 

3. What subjects are you interested in? 
For this activity, Archivo de Creadores, I have opted to show projects in relation to one theme: memory, to be more coherent, given the fact that we are limited to showing only a number of images. I don’t really believe in themes. Granting the plurality of today’s art practice, some artists prefer to explore themes and specialize in it. I am interested in investigating different strategies in relation to aesthetic practice. I want to explore alternatives to formalist structures. The theme under which I work with is just the plot by which this investigation occurs. At the present, there it clearly shows that the underlying themes in my projects deal with memory and identity because it is something that reflects my experience. 

 

4. What resources – formal or otherwise – do you use in your work? 
Sometimes it can be simple or it can be a complex multi-format project whose structure may depend on the reliability of the resources that are within reach at that instant. 

 

5. What relationship does your work have with reality? What are your raw materials? 
It is inevitable that art projects have a relationship with reality itself. Don’t you think so? Each artistic endeavor is acted out within a context, whatever that maybe, and this is always played out in according to a specific time frame. I think the raw material that is usually found in my projects is experience itself. 

 

6. What, according to you, is the point of art? 
A catalyst. 

 

7. How do you hope the public will receive your work? What audience are you aiming at? 
Hmmm, I think you don’t have to expect anything from the public. There is always a receptive action that each project generates in relation to the public. I also do not believe in having a specific public. Perhaps, some projects require the participation of a certain social group or an individual because the strategy demands it, but that is not the public that is referred to in this question. 

 

8. What qualifications have you got? What do you value most from your time in education? 
I am a classically trained painter. That what we are taught in art school is craft. 

 

9. How would you define your current professional situation? And in the future? 
At the present, I find myself lucky enough to exercise my profession. I am at a point wherein I am experimenting a lot and that keeps me going. I want to keep it that way. 

 

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?
I absolutely agree. I think that creating art is not a question of having more or less economic back up. My projects do not depend if I have funding or not. Money doesn’t make the quality of a project better, what it does is open up possibilities. 

 

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? 
Ah, that’s an easy question with an easy answer… feedback and collaboration. I don’t think I have enough experience with art administrators and curators to really give an ample answer to this question. It’s a mutual relationship where both parties need each other. 

 

12. What do you think sets the arts scene in Madrid apart from elsewhere? 
I think there is no art scene in Madrid. There are artists who work individually and group themselves according to affinity. I would define a so called “art scene” as a dynamic and vibrant community of artists. Madrid doesn’t have this. Maybe we can redefine the question as “What is the difference between the art situation in Madrid and other places?”

Interview

http://archivodecreadores.es/file/2/2619/2619.flv

Curriculum vitae

Kristoffer Ardeña
Dumaguete, Philippines, 1976.
Vive y trabaja entre/Lives and works among: Dumaguete, Philippines; Madrid; Oviedo.


Formación Académica/Education
1997–2002
Bachelor of Fine Arts (Major in Painting and Drawing), Academy of Art University, San Francisco.


Exposiciones Individuales (Selección) / Selected Solo Exhibitions
2010
Walk in My Shoes, Solo Projects, Arte Santander 2010, Santander.
Homage: Murcia, La Conservera Centro de Arte Contemporáneo, Ceuti, Murcia.
Homage: Terrassa, Sala Muncunill, Ajuntament de Terrassa, Barcelona.
In Place of Absence, Ulf Saupe Galerie, Berlin.

 

2008
Érase, Galería Oliva Arauna, Madrid.
Translating Soy Sauce, Centro de Arte Dos de Mayo, Móstoles, Madrid.
In Search of Lost Memory in Alicante, Centro 14, Ayuntamiento de Alicante.
Yo Nací en Una Isla…, Festival Explum, Puerto Lumbreras, Murcia.


Exposiciones Colectivas (Selección)/Selected Group Exhibitions
2008
3rd Guangzhou Triennale, China.
Dating, Casino Luxembourg Forum d’Art Contemporain, Luxembourg.
Navigating the Present, BildMuseet, Umea, Sverige.
Accidentes Controlados, Museo Ex Teresa Arte Actual, Mexico D.F.
3rd Bucharest Biennale, Bucuresti.
Espacio Inciarte, Sevilla.
Uno más una multitud, Doméstico’08, Madrid.
Óptica Festival Internacional de Vídeo Arte, Madrid; Gijón.
Partir para regresar, Circuitos´08, Madrid, (itinerante).
Centro de Arte Joven de la Comunidad de Madrid.
Fundación Colegio del Rey, Alcalá de Henares, Madrid.
Propuestas, Centro 14, Ayuntamiento de Alicante.
Product, Festival of Contemporary Art, Varna, Bulgaria.


Proyectos/Projects
2008
Yo nací en una isla (sound intervention), 103 FM ONDA3, Murcia.


Contacto/Contact
kristofferardena@gmail.com

 

Galería Oliva Arauna
C/ Barquillo 29, 28004, Madrid
(+34) 914351808
galeria@olivarauna.com
www.olivarauna.com