María García-Ibáñez

Artist selected by Hontoria, Javier at 2010

I currently live between Mexico and Madrid; both places offer me different possibilities that add to and enrich my work. Recently, I’ve looked at subjects like immobility and growth, slowness, inertia and sleepwalking, using rooms, nature, anatomy and bones as symbolic common threads.


1. What made you choose art as a profession?
I was lucky. Ever since I was a girl, I’ve had a pencil in my hand to stop me getting bored. Fortunately, there have always been people to give me more pencils… My choice had more to do with paths I took, rather than a clear decision to make this my profession. Art acts as a source of questions that help me understand what’s happening around me, as well as giving me a format to adapt to. If it weren’t like this, I don't know how I’d channel my curiosity.

2. How would you define your work?
I think there’ll always be a bilateral, and somewhat uncomfortable, reply to this question. You define your work, and the result says something about you. Like it or not (and at times I don't), my work runs parallel to my own personal discoveries, so I think it changes and mutates over time, which makes it difficult for me to give a permanent definition. Who knows if in years to come I’ll be able to fit all my interests into a single explanation

3. What subjects are you interested in?
I’m really interested in stories, tales, how individuals face life, psychology, daily drama. Recently I’ve been working with concepts like immobility and growth, slowness, inertia and sleepwalking, using rooms, nature, anatomy and bones as symbolic common threads.

4. What resources – formal or otherwise – do you use in your work?
I use different resources; I’ve worked with painting, video, installation and photography; it obviously depends on the project and discourse in question. My recent work is closely related to manual work, almost craftwork, in some cases linked to design; now I’m working on a series in clay.

5. What relationship does your work have with reality? What are your raw materials?
It’s closely related – although not necessarily directly. I couldn’t work from a different reality to my own. For me it’s about indicating and marking what’s interesting, intriguing to me, to my eyes – that’s where the material comes from.

6. What, according to you, is the point of art?
Mainly to think, to find channels of discussion to stimulate new possibilities, new solutions, new visions on any scale. And on a more personal level, it helps me structure my head.

7. How do you hope the public will receive your work? What audience are you aiming at?
I don’t really think too much about the public when I’m working; most of the time this doesn’t influence my work. In terms of how my work will be received, I think we look for threads of communication with other people and in this sense I like and get excited by the idea that works can ‘move’ as many different people as possible.

8. What qualifications have you got? What do you value most from your time in education?
I’ve got a classical education: I graduated in Fine Art from the Universidad Complutense in Madrid, spent some time in Italy, did a Doctorate and then a Master’s degree in digital technologies, and also attended workshops and art cycles.

If I look back at what I value most, I can’t think of any specific names. It’s more the knowledge and wisdom shared by others, fellow students and teachers, who unconsciously guide you, open doors to things you didn’t even know you were interested in.

9. How would you define your current professional situation? And in the future?
Thanks to several grants, at the moment I can spend almost all my time on producing art. This isn’t a permanent situation, but I try to enjoy learning and I learn a lot from the process.

Afterwards, who knows? My projects might have to fit into a tighter timetable, but as far as my hopes for the future are concerned, you always have to aim high. I’d like to have time to research and work as calmly as possible.

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 obviously affect my work, but more than that I think what really has a bearing on my work is a lack of time. If you have to deal with lots of other things to survive, it’s difficult to centre on production and for someone like me who’s slow and needs a routine, having time is key.

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? My experience with curators has always been positive. It’s very enriching and valuable to have the chance to obtain a vision of your work from outside. I think the curator-artist relationship should be based on mutual respect. You have to know each other’s work.

I like to think it’s about collaborative work, dialogues, and learning, although that’s not always possible. On several occasions, I’ve done promotional and curating work as co-director of a cultural association, Mirador, and I felt really at home, getting involved in the project and the artists’ work.

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 compare it with other European cities, expect from what colleagues have said. My own direct experience is from Mexico, where there’s lots of cultural activity on all levels, institutional, private and, let’s say, independent. The situation there is very different: the value given to artists as professionals, the chance to access spaces or workshops for creators, the acceptance of cultural ideas, more active training given at university, etc.

I think there’s no real arts scene in Madrid; people work individually. I think it’s a city that could create movements, cultural platforms, and there are good artists, but it doesn’t happen – there’s a strange mistrust.

Curriculum vitae

María García-Ibáñez
Madrid, 1978.
Vive y trabaja entre/Lives and works between: México, Madrid.

Formación Académica/Education
Máster Tecnologías digitales interactivas/Master Digital Interactive Technologies, CEV, Escuela Superior de Comunicación, Imagen y Sonido, Madrid.


Curso de doctorado/PhD course, Departamento de Pintura, Programa “Plástica, técnica y concepto”, Facultad de Bellas Artes, Universidad Complutense de Madrid.


Licenciatura en Bellas Artes/Bachelor of Fine Arts, Universidad Complutense de Madrid.

Exposiciones Individuales/Solo Exhibitions
Windgällen. Galeria Distrito 14, Monterrey, México.
Micrographia. Puerta Roja & Cat Street Gallery, Hong Kong.

Apuntes para una madriguera, Miscelánea, México DF

Debajo del último estrato, Galería Begoña Malone, Madrid.


Cuentos polacos, Sala de Exposiciones del Centro de Arte Joven, Comunidad de Madrid.


The Waiters, Sala de Exposiciones del Centro de Arte Joven, Comunidad de Madrid.

Exposiciones Colectivas (Selección)/Selected Group Exhibitions
La Ruta Mística, Museo MARCO, Monterrey, México.
Espejismos, AJG Gallery, Sevilla, España.
Paleontología fantástica, Apuntes para una madriguera, Edición II, México DF.
Human Topography, Puerta Roja Gallery, Hong Kong.

Happy Together, Galeria Distrito 14, México DF.
El sueño de Elpis, Oaxaca, México.
En mi ser eterno, Galeria 77, México DF.
Primavera, Puerta Roja Gallery, Hong Kong.

Conciencia urbana, Galeria Andrés Siegel, México D.F.
Puntos de tensión, Museo Felguerez, Zacatecas, México.
Do not disturb. Mi alma en otra parte, Centro Cultural Galilei, Madrid.
Arte iberoamericano, Instituto Cultural de México, Costa Rica.
Expanding drawing, Espacio Atlántico, Feria de arte contemporáneo, Vigo.
Arte Visual Iberoamericano, Sala Nacional de Exposiciones, San Salvador, El Salvador; Instituto Cultural Mexicano, San José de Costa Rica, Costa Rica; Centro Cultura Banco do Brasil, Brasilia; Centro Cultural Correos, Rio de Janeiro; Galería Marta Traba, San Pablo, Brasil.


Salirse del surco. La Naturaleza delirante, Galeria Begoña Malone, Madrid.
NOW, México D.F.
Love Song/Canción de amor, Colegio Jesuita de Pátzcuaro, Michoacán, México.
Muestra de arte de creadores de Iberoamérica, Centro Cultural de España, México D.F.
Mamaz, Mexicano-American Cultural Center, Austin, Texas.


Muestra de arte de creadores de Iberoamérica, Centro Nacional de las Artes, México D.F.
Emergencias, Galeria Cuarto Contemporáneo, Oaxaca, México.
El cuaderno de morel, Ca Valencia, Valencia.


Arte y Diseño, Galería Emilia Cohen, México D.F.
Elefante Negro, Museo Anahuacalli Diego Rivera, México D.F.


XVIII Circuitos de Artes Plásticas y Fotografía de la Comunidad de Madrid, Sala de Exposiciones del Centro Arte Joven, Comunidad de Madrid, Madrid; Girona; León; Pontevedra; Alcalá de Henares, Madrid.


Premios a la creación audiovisual InJuve, Sala Amadís, Madrid.


Interiores, Galería Oliva Arauna, Madrid. Premio Joven, Universidad Complutense de Madrid.


La Gran Mentira del Arte, Galería Fúcares, Almagro, Ciudad Real.
Fondo Talens de Arte Joven, Sala de Exposiciones ACEA´S, Barcelona.

Programas de Vídeo/Film Festivals and Screenings
Universidad Politécnica de Valencia.


Prima Kunst, Kiel, Deutschland. Centro On Caixa Galicia, A Coruña.


Visual-ma 03, IV Festival de Creación Audiovisual, Madrid.

Otros Proyectos/Other Projects
Políticas del espacio. La Calera, Oaxaca. México.
Apuntes para una madriguera, Edición III, Matria, Oaxaca, México
Feria CASA/ARTE, AJG Gallery, Madrid
Feria Swab, AJG Gallery, Barcelona.
Feria Art Taipei, Puerta Roja Gallery, Taiwan.
Affordable Art Fair con el Proyecto Changarrito, México DF.
“1000 Drawings Amsterdam”.

Muestra de los Proyectos del seminario Matrices para Obra Gráfica, Centro de las Artes de San Agustín, Oaxaca, México DF.
Affordable Art Fair con el Proyecto Changarrito,  México DF.
3ª edición de Allá afuera de Jerónimo Hagerman, Curaduría de Guillermo Santamaría (Director Muca Roma).

Mesa gráfica, intervención en el Instituto Artes Gráficas (IAGO) Oaxaca.
El tiempo en el paisaje, en colaboración con la artista Gabriela León Intervención en el Campus de la Universidad Autónoma de México (UAM)
Paisajes territoriales. Territories habitados, en colaboración con la artista Laura F. Gibellini, encuentro Internacional Traslocaciones. Mérida, México.
Biblioteca intervenida, proyecto de la Asociación Hablar en Arte,  Museo de Arte Moderno y Contemporáneo de Santander y Cantabria, MAS; Festival de Cultura Contemporània de L’Empordà Ingràvid de Figueras.


El banquete de Salomé, proyecto colectivo La Perrera, Biblioteca Henestrosa, Oaxaca, México.


El changarrito, Proyecto del artista Máximo González, Österreich. La invención de Morel, Sala de Exposiciones Ca Revolta, Valencia.


Mirador 05, Berzosa del Lozoya, Madrid.


Mirador 03, Facultad de Bellas Artes de Madrid. Mirador 03, Berzosa del Lozoya, Madrid. MAD parásito, Art Palace, Madrid.

Proyectos Curatoriales/Curatorial Projects
Codirectora de “Mirador”, Plataforma cultural dirigida a la difusión de prácticas artísticas emergentes.


"Do not disturb. Mi alma en otra parte", página de la exposición,


Becas y Premios/Awards and Grants
Ayuda a la producción de exhibiciones C12. Oaxaca. México. (Production Grant)
Ayuda a creadores. Embajada de España en México.

Ayuda a la promoción y difusión cultural, Ministerio de Cultura. España. (Grant)
Ayuda a la producción de exhibiciones C11, Oaxaca, México. (Production Grant)
Proyectos Jóvenes 967, Abril. (Premio Jurado y público/Jury and audience award)
Puntos de tensión. Residencia para producción gráfica en el Museograbado, Zacatecas, México. (Grant)


Residencias para creadores de Iberoamérica en México, AECID, Centro Cultural de España en México, CONACULTA, Fonca y CNA. (Artist in residence)


Ayudas a la movilidad internacional de creadores Matadero Madrid. (Grant)


XVIII Circuitos de Artes Plásticas y Fotografía de la Comunidad de Madrid.
Beca del Gobierno de México en Madrid para Estancias de Creación Artística en México. (Grant)


Premio Circuitos de Artes plásticas y Fotografía, Programa de Arte Joven y Dirección General de Juventud, Comunidad de Madrid. Premio Certamen de Audiovisual InJuve a Proyectos Audiovisuales, Instituto de la Juventud, Ministerio de Trabajo y Asuntos Sociales.


Beca de enseñanzas de Magíster, Especialista y Experto para la realización de master.
Certamen de Arte Joven, Programa de Arte Joven y Dirección General de Juventud, Comunidad de Madrid. (Grant)


Obra en Museos y Colecciones/Works in Museums and Collections
Fondo Talens de Arte Joven, Barcelona.
Centro Cultural Príncipe de Asturias, Majadahonda, Madrid.
Premio Miradas, Fundación Jorge Alió, Alicante.

 Aguerri, María, "Espejismos", Texto para la exposición, AJG Gallery. Sevilla, España.
Kee Magazine. Hermind´s Eye. Coco Marett. Hong Kong. 
Martínez, Viviana, "Un recorrido por el Windgällen de Maria García-Ibañez", Revista Fantástico cotidiano, 2013.
Villagrán Galindo, Plinio, "María García-Ibáñez: Geología Autorreferencial",2013.
Obeid, Leticia, "Apuntes para una madriguera", Texto para la exposición. Miscelánea. México DF, 2012.
 Aroeste, Sara, "Conciencia urbana", Texto para la exposición. Galeria Andrés Siegel, México DF, 2012. 
"Ruta Mística". Museo Marco de Monterrey. Textos de Gonzalo Ortega y Orlando Hernández, 2013.
"Do not disturb. Mi alma en otra parte", Centro Cultural Galilei, Madrid, Cat. Exp.
Alonso Molina, Óscar; Buenader, Iván, "Debajo del último estrato", Galería Begoña Malone, 2011, Cat. Exp.
"Animated landscapes. María García-Ibáñez", Infoenpunto,, Madrid, 23/II/2011.
Giménez, Natalia, "Salirse del surco. La Naturaleza delirante", Galería Begoña Malone, Madrid, 2010.
Residencias para creadores de Iberoamérica en México, AECID, Centro Cultural de España en México, CONACULTA, Fonca y CNA, 2009, Cat. Exp.
mArt. Selección de artistas emergentes para nuevos coleccionistas, México, Fábrica de Arte de Fundación Murrieta, 2009, Cat. Exp.
Martínez del Corral, Lorena, Circuitos XVIII Edición Circuitos, Artes plásticas y Fotografía, Madrid, Comunidad de Madrid, 2007, Cat. Exp.
Premios a la creación audiovisual InJuve, Madrid, Instituto de la Juventud, Ministerio de Trabajo y Asuntos Sociales, 2006, Cat. Exp.
Alonso Molina, Óscar, “Gorgona espera en silencio”, The Waiters, Sala de Exposiciones del Centro de Arte Joven, Comunidad de Madrid, Madrid, 2004, Cat. Exp.
Alonso Molina, Óscar, “Centro de Arte joven. The Waiters”, Revista Arte y Parte, Madrid, 2004.
Alonso Molina, Óscar, "La gran mentira del arte", Galería Fúcares, Almagro, Ciudad Real, 2004.