Miguel Ángel Tornero

Artist selected by Pardo, Tania at 2010

By documenting my everyday life, I gather images for an extensive personal archive, which then serves as the basis for my work, in which I try to recreate my environment: situations that aim to spark spectators’ curiosity and make them think; scenes containing their own time, a parallel reality, generally loaded with psychological and/or emotionally unnerving atmospheres.


1. What made you choose art as a profession?
I don’t remember the moment I decided to spend my life doing this, but ever since I was young I’ve been propelled by a certain momentum to pay attention to artistic experiences in my life. I suppose I’ve gradually become a professional without realising it.

2. How would you define your work?
It’s difficult for an artist to define themself or their work. I’d go as far as saying that it’s instinctive and sincere.

3. What subjects are you interested in?
Subjects that let me talk about things that can transcend and interest society. Universal subjects from the history of art and man – the key lies in how you tackle these subjects…

4. What resources – formal or otherwise – do you use in your work?
I usually use photographic collage, both digital and analogue. I work in the field of photography understood in a wide-ranging sense and try to stretch its limits from a multidisciplinary perspective. I like creating situations that lead to reactions and I therefore use the most suitable tools, which so far have been related to photography.

5. What relationship does your work have with reality? What are your raw materials?
My work is based on a personal archive of images I’ve been using for years. I photograph my everyday life and then alter or simply use these images in accordance with the needs of the work in question. I usually create parallel realities that in some way reveal more to things that are familiar to us.

6. What, according to you, is the point of art?
I wouldn’t go as far as trying to say what the point of art is, but I do believe it has a purpose. It has a purpose for me and for many other people as well. I suppose sometimes it shapes and gives meaning to the world. Things can be less positive when art isn’t used for its real purpose.

7. How do you hope the public will receive your work?
What audience are you aiming at? I don’t know whom I’m aiming at. I hope there’s a good vibe between the public and me (or my work), so we can communicate through the language of art, without the need for other filters.

8. What qualifications have you got?
What do you value most from your time in education? I graduated in Fine Art from the University of Granada and spent a year with an Erasmus grant at Brera Art School in Milan, where I learnt to be a bit more of an artist and a bit less of a student and how to remain both.

9. How would you define your current professional situation? And in the future?
Unpredictable (this is almost an epithet when referring to a plastic artist’s professional situation), but optimistic. I’m not able to think long term or on a bigger scale. I’d like to be able to live on what I do all my life.

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?
The most serious thing is that sometimes you spend more energy trying to make a living and dealing with things outside art than on your own work, which is what you’re supposed to be really good at. Economically speaking, it’s increasingly clear that artists have to feed off the crumbs and have neither job stability nor a suitably regulated work situation. This can be a bit demoralising and get you down, but you have to keep your wits about you and try to adapt. In any case, in this situation artists tend to be much better at complaining than getting themselves organised…

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? Between us all we need to create a productive, interesting and useful relationship. I personally expect them to promote and raise the profile of my work, so I can get to as many people as possible and have the chance to work on interesting projects.

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 it’s an active, heterogeneous and somewhat chaotic scene. The museums and institutions appear to be fairly healthy and act as the flagship of the city’s cultural life, but there’s a need for a really alternative space, with suitable resources and infrastructure, efficiently and sustainably run. We ought to pay more attention to where tomorrow’s artists will come from.



Curriculum vitae

Miguel Ángel Tornero
Baeza, Jaén, 1978.
Vive y trabaja en/Lives and works in: Madrid.


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


Exposiciones Individuales (Selección)/Selected Solo Exhibitions
Por Ahora (todo va bien), Galería Luis Adelantado, Valencia.
Triálogos I, Galería SCQ, Santiago De Compostela.
XLIII Certamen de Artes Plásticas Caja San Fernando, Casa Pemán, Cádiz.


Pretérito Imperfecto Compuesto, Galería Luis Adelantado, Valencia.
Conspiración, Palacio de los Condes de Gabia; Centro José Guerrero Diputación Provincial de Granada.
Galeria Llucià Homs, Barcelona. Galería Nara Roesler, Sâo Paulo.


Carece de Importancia, Sala de Estar, Sevilla.


Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Un No por Respuesta, Laboratorio 987, Museo de Arte Contemporáneo de Castilla y León, MUSAC, León.
AQUÍ, Sala de exposiciones del Canal de Isabel II, Madrid.


X Muestra Internacional Unión FENOSA, Museo de Arte Contemporáneo Unión Fenosa, MACUF, A Coruña.


Planes Futuros, Baluarte, Pamplona.
Recorrido fotográfico ARCO, Madrid. Departures, Galería Luis Adelantado, Miami.


XLIII Certamen de Artes Plásticas Caja San Fernando, Sala Imagen; Sala Chicarreros, Sevilla.
The sock strategy, La estrategia del calcetín, Sala Villacís del Centro Cultural El Monte, Sevilla.
Muestra de Arte, Sala Amadís, InJuve, Madrid.


5 años, Galería T20, Murcia.


Nunca supe si lo que me contabas era cierto o producto de tu fantasía, Galería Estrany-de la Mota, Barcelona.


Becas y Premios/Awards and Grants
Generación, Premios y Becas de Arte Caja Madrid, Madrid.


V Concurso de fotografía Purificación García. (1er Premio)
Ayuda a la creación artística Iniciarte, Junta de Andalucía.


Certamen Andaluz de Artes Plásticas. (Adquisición)


X Bienal de Artes Plásticas Ciudad de Pamplona. (Adquisición) Certamen Andaluz de Artes Plásticas. (Adquisición)
Certamen Explum-Puerto Lumbreras, Murcia. (Adquisición)


Beca Casa de Velásquez, Madrid.


IV Concurso ABC de Fotografía. (1er Premio)


Beca Erasmus, Academia di Belle Arti di Brera, Milano.


Obra en Museos y Colecciones/Works in Museum and Collections
Colección ABC.
Obra social Caja Madrid.
Colección Purificación García.
Recorridos Fotográficos, ARCO.
Instituto Andaluz de la Juventud.
Comunidad de Madrid.
Colección de Arte Contemporáneo del Ayuntamiento de Pamplona.
Colección Pública de fotografía, Ayuntamiento de Alcobendas.
Colección de Arte Emergente, Junta de Andalucía. Explum-Puerto Lumbreras, Murcia.


Mayer, Mariano, AQUÍ, Madrid, Comunidad de Madrid, 2009, Cat. Exp.
Rodríguez, Juan Ramón, Arte desde Andalucía para el siglo XXI, Junta de Andalucía, 2008.
Clemente, José Luis, “Estética del extrañamiento”, Madrid, El Cultural, 3/V/07, p.35.
Tornero, Miguel Ángel, “Templado”, Planes Futuros, Pamplona, Gobierno de Navarra, 2007, Cat. Exp.
Villa, Manuela, Arte Emergente en España/Emerging ART in Spain, Madrid, Ed. Vaivén, 2007, Cat. Exp.
Álvarez Reyes, Juan Antonio, XLIII Certamen de Artes Plásticas, Sevilla, Obra Social Caja San Fernando, 2006, Cat. Exp.
Espejo, Beatriz, “Esa cosa de cantar canciones así en abstracto”, Muestra de Arte, Madrid, InJuve, Ministerio de Trabajo y Asuntos Sociales, 2006, Cat. Exp.
Olivares, Rosa, “100 Fotógrafos Españoles/100 Spanish Photographers”, Madrid, Exit Publicaciones, 2005, p. 374-377.
VV.AA., “Espagne”, L’INSENSÉ Photo, nº 4, Paris, p. 135-139.
De Los Ángeles, Álvaro, “Secuencias, escenas y conspiraciones. La interpretación de las imágenes en la obra fotográfica de Miguel Ángel Tornero”, Conspiración, Granda, Diputación de Granada, 2004, Cat. Exp.


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