Momu & No Es

Artist selected by Democracia at 2010

By means of installations, videos, and performances our projects involves active dynamics based on a strong foundation of fantasy and obscure symbolism that reflect on human relationships, the (post)post modern human condition, the strange realms of the strings that hold them together and the gears that keep them going.

Doing a research on culture, art, economics and structures as prosthetic elements of contemporary communities We arrive to one reality that is merged in our works with our invented narratives and shared iconographies in order to questioning and visualise the fragile borders between the story and the understanding of the surrounding.


1. What made you choose art as a profession?
With time you gradually realise you’re able to understand what pieces of art can tell you – it’s a beautiful language. All the tiny gestures you see find a place where they can be reproduced. We chose to be artists because it’s where we can carry out our dynamic activity; art is a space where we can be free, creative and interactive. It’s a space where we can be aware of ourselves and our environment.


2. How would you define your work?
Our work is a process, a group of possible answers to all kinds of different questions posed about the practice of existence. We try to isolate questions, condense them, simplify them in order to understand them and offer an answer, an alternative, a way to resist pre-established conventionalisms. It’s a compendium that expands with everything around us; everything ends up under the cloak of benefit of the doubt. We like to think our work is a new possibility.


3. What subjects are you interested in?
We’re interested in all subjects we’ve had, have or would like to have a relationship with. In general, anything can be studied, although we’re particularly attracted by anything that hints that there’s something more than meets the eye, perhaps a change at our behaviour as a whole.


4. What resources – formal or otherwise – do you use in your work?
We use all resources that let us directly recreate what we’re telling, so we camouflage ourselves with the immediate reality as a model, we assimilate and reconstruct its shapes and resources. Objects, people, images, sounds, audiovisuals, videogames, java applications for phones, etc.


5. What relationship does your work have with reality? What are your raw materials?
Our work is based on reality to create another possible reality that then becomes real, whereupon the relationship with reality is total and constant, since we are always immersed in one or other reality.


6. What, according to you, is the point of art?
There are a lot of points to art and many points at the same time. There are many ways of relating to art. For some people, it can drive change; for others, it can help promote exchange or act as a therapy or a hobby. It all depends on the use made of it. For us, art helps create thought; art is a space where everything is yet to be done. It’s a land of rehearsal where the state of the present-day world is projected and where you can work on it free from rules and prejudices and then extrapolate possible readings, ideas or solutions. Creativity is the work tool. It’s been this way for a long time, so it gives us a very accurate vision of the world of our ancestors.


7. How do you hope the public will receive your work? What audience are you aiming at?
We’re aiming at any audience that wants to take a look. When we go and see work by other artists, we enjoy it. Sometimes we see terrible stuff; sometimes we think it’s good, but don’t really identify with what they’re saying; other times we’re blown away and quickly write down the artist’s name on the first writable thing that comes to hand, take home an exhibition pamphlet to frame and remember a name to google because we’re impatient to find out more, and we hope the artist is alive so we can meet them and tell them we liked their work and although we didn’t know it, we agree or disagree. That’s basically what we’d like to happen with our work – being able to create reasonable doubt in people.


8. What qualifications have you got? What do you value most from your time in education?
We both received art education, well with a half-finished thesis… and one of us, No Es (the smart one), is also a technical architect.


What we value most from our time in education first and foremost is meeting each other. We also positively value the intensity of the moment of trial and error that makes you suddenly go from one side to the other. The first discoveries and awareness of your own work and obviously all the relationships and ties with professionals and fellow students during the period. And you’re the attractive one. And who pulls most, then? So, the smart one is also the attractive one. Yeah!


9. How would you define your current professional situation? And in the future?
We’re at a good professional moment in time, happy with what we’ve done up to now and enthusiastic about present and future projects. It’s satisfying to see we’re setting bigger challenges in our art projects and we’re still growing and reinventing ourselves. It would be sad to simply fall into a rut of repeating ourselves. We hope to reach old age with a decent artistic career behind us, with a Momu & No Es family of seven that have travelled and worked all over the world. That would be complete happiness.


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?
Obviously it’s not easy to make a living from art work, at least in our case, what with the two of us and just starting out. But as it’s always the case, it doesn’t affect our work at all; creativity makes up for the lack of money to produce work and you can often get good results and good work you wouldn’t improve with more money simply by surrounding yourself with good people. We learnt very early on to work with the money we had at any given time without this being a handicap. Economic considerations have a greater bearing on personal issues, the rhythm of work and life, but then that’s what the lottery’s for.


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?
We look for a complementary role; we hope curators provide a critical view on the work and suggest something different to what we initially thought. We want them to link it to other people’s visions and create networks around the work, without any rush and seeing their job as a challenge. We know that’s very difficult, just as it’s not easy for an artist to be a good artist. We like doing work together so the work grows and becomes stronger. And like everything in life, relationships and bonds depend on people.


12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
If we understand difference as a quality or aspect that distinguishes one thing from another, we’ll find different qualities depending on what we compare the Madrid scene with. We’ve just arrived in Madrid and we ought to wait a while before we can give a reasoned, useful answer.


Curriculum vitae

Momu & No Es
Lucía Moreno (Basel 1982) and Eva Noguera (Barcelona 1979)
(+31)06 489 83 377// (+34)656 356 247
Beukelsdijk 34-B, 3021 AH Rotterdam (NL)



(MFA) DAI-Dutch Art Institute/ ArtEZ, Arnhem (NL)

(PhD program) Bellas Artes, Universidad de Barcelona UB, Barcelona (ES)

(BA) Bellas Artes, Universidad de Barcelona UB, Barcelona (ES)

(BA) Arquitectura Técnica, Universidad Politécnica de Catalunya, UPC, Barcelona (ES)



Artist's residency programme at the Center for Contemporary Arts in Celje, Slovenia (SL)

Institutional research program TWS- Tokyo Wonder Site Aoyama, Tokyo (JP)

Duende, Rotterdam residency program / Beca para jovenes artístas de la Comunidad de Madrid (ES/NL)

HANGAR programa de residencia, Barcelona (ES)



Highway, 1646 Den Haag (NL)

Incoming Video Call…CUAC Contemporary Art, Salt Lake City (USA)

Apocalyptic Visions, Ellen de Bruijne Projects, Amsterdam (NL)

Our progresive thinkers, Likovni salon, Celje, Slovenia (SL)

I’m sick of thinking that my dead friends have gone to the Canary Island, (performace) Teatre Nau Estruch, Sabadell (ES)


Aldi Chapel, Galeria Sis, Sabadell (ES)

Tales of Wonder Site, Suburban video lounge, Rotterdam (NL)

Los Logrados, Espacio MeBas, MAS Museo de Arte de Cantabria, Santander (ES)

CRANIDO, Ocemex, México DF (MX)

MOHAI, ArteSantander solo Project, Demolden Video Project (ES)

Tales Of Wonder Site, Museo Carrillo Gil, México DF (MX)

Elf Wars (1979 - 1982), EspaiMoncada - Caixafòrum, Barcelona (ES)

Reina de las fiestas, solo Project LOOP FAIR’08 – Galería Senda, Barcelona (ES)

Mi dispiace signor mininistro di sicurezza, CASM-Centre d’Art Santa Mònica, Barcelona (ES)




The Other Side of the Mountain: Mystic Mountains and Cosmic Wanderings, Neutral Ground Contemporary Art Forum, Regina (CA)

IX Strobe Festival, Lo Pati, Amposta (ES)

Unstable Causes - Live event for ART Rotterdam, De Palyer, Rotterdam (NL)

The air os songs, Gallery of Contemporary Art, Celje, Slovenia (SL)

Dutch Art Institute Istanbul, Galata Fotoğrafhanesi Fotoğraf Akademisi, Istanbul (TR)

Pop Politics, CA2M, Centro de Arte Dos de Mayo, Móstoles, Madrid (ES)

Three Artists Walk into a Bar…Curated by The Black Swan – participants of de Appel Curatorial Programme 2011/2012 (NL)

Creación Injuve - CCE - Centro Cultural de España Montevideo, Montevideo (UR)

You and You. Cartografias existenciales en la era de la comunicación virtual, Biennal de La Habana (CB)

My Character is a Battleground, Espacio Trapézio, Madrid

Budget 6 euros, Supermarket Art Fair, Kulturhuset, Stockholm (SE)

Panta Rei, Galería Rina Bouwen, Madrid

Close up, Puerto Vallarta, Mexico (MX)

Videos(s)torias, Artium, Vitoria (ES)

La Cuestión del Paradigma. Genealogías de la emergencia en el arte contemporáneo en Cataluña. Centre d’Art La Panera, Lleida/La Capella, Barcelona (ES)

NEXT - Tokyo Wonder Site Shibuya, Tokyo (JP)

Biennal de Valls, Valls (ES)

Muestra de Artes Visuales Creación Injuve’11, Tabacalera, Madrid (ES)

Gilfriends Forever, TWS Hongo, Tokyo (JP)

Region O. Centro de Arte Juan Carlos I, New York (US)

Is this Spain? Instituto Cervantes, Milan (IT) / Instituto Cervantes, Sao Paulo (BR)

Daily truths, Duende, Rotterdam (NL)

A Library Project, Midway Contemporary Art, Minneapolis (US)

Before Everything, CA2M, Madrid (ES)

La gesta imposible, Matadero-Noche en Blanco, Madrid (ES)

ENTES, Àngels Barcelona Gallery (ES)

XXI Edición Circutos 2010, Sala de Arte Joven Comunidad de Madrid (ES)

FIAV -Festival d'Images Artistiques Video, Centro Zo, Catania (IT)

ENTES, Carrer Lluis Vives 4, Barcelona (ES)

Is this Spain? Crypt Gallery, London (UK)

BcnProducció’09, La Capella, Barcelona (ES)

Muestra de Artes Visuales Creación Injuve’07, Círculo de Bellas Artes, Madrid (ES)

P_O_4 Oficina, Sala Moncunill, Terrassa (ES)



Ayudas BBVA a la Creación en videoarte.(ES)

O&O Research grant from Centrum Beeldende Kunst Rotterdam (NL)

CoNCA beca de investigación y de estudios, Generalitat de Catalunya (ES)

CoNCA, beca de investigación y de estudios, Generalitat de Catalunya (ES)

Seguimon Serrallonga beca para la ampliación de estudios en el extrangero, Vic University (ES)

CoNCA, beca de investigación y creación, Generalitat de Catalunya (ES)

Beca de producción, Matadero, Madrid (ES)

Beca Guasch Coranty, Fundació Guasch Coranty, Barcelona (ES)

Beca a la producción de proyectos artísticos para artistas visuales, Generalitat de Catalunya (ES)



Del Plano al Cubo, Injuve, Madrid (ES)

Mención de Honor ABC, Spain (ES)

Circuitos’10, Madrid (ES)

Institut de Cultura de Barcelona, 'BCN Producció'09' (ES)

Beca Injuve para la joven creación, Madrid (ES)



De Grote Rotterdamse Kunstkalender 2015, Rotterdam 2015
Out of the screen by Eva Noguera (academic paper) UFV, Universidad Francisco de Vitoria, Madrid 2014
Cranido® challenging spirit (poster). México 2011
Miedos de muchos. Los Mundos posibles (CD) Ed. Save As…Barcelona 2009
Práctica de vuelo 11 (poster) diseñado por ferran_ElOtro. Ajuntament de Terrassa, Terrassa 2007



Out of the screen, Presentation at a Seminar “Explorando los Nuevos Territorios Visuales. Hacia la Expansión de los Espacios Creativos” UFV, Madrid.

CURTAINS GO ON! Sobre Presentar/Performar tu arte en Público.
Programa Co Operaciones, Vicedecananto de Extensión Universitaria, Universidad Complutense de Madrid (ES)


TALK SHOW n.2 de Machines Désirantes Buró con Momu & No Es, La Fábrica, Madrid (ES)

HACERLO EN VERDE, taller de vídeo chroma-cam con Momu & No Es, CA2M Centro de Arte dos de mayo, Mostoles-Madrid (ES)



AA.VV. La Cuestión del Paradigma. Genealogías de la Emergencia en el Arte Contemporáneo en Cataluña, Centra d’Art la Panera, 2011(catalogue)

AA.VV.,VideoStorias. Artium, Centro-Museo Vasco de Arte Contemporáneo, 2011(catalogue)
AA.VV.,-Antes que todo-Before Everything. CA2M, Comunidad de Madrid, 2010. Pp.156-157(catalogue)
AA.VV., This Is Spain? pp32-36 (catalogue)
AA.VV., Muestra de Artes Visuales 2007. Instituto de la Juventud, Madrid, pp. 112-123 (catalogue)
AA.VV., BCN Producció’09. Institut de Cultura de Barcelona-ICUB, Barcelona, 2009, pp. 39-50 (catalogue)
AA.VV., SELECTED #3 A source for videoarte lovers, LOOP, 2008 pp72-73 (catalogue)
BADIA, M. “Sobre guerras y McGuffins” [online], <>.
BLANCH, T. (ed.), Patrim 2004-2007. Universitat de Barcelona, 2008, pp. 14-15 (catalogue)
CANTALOZELLA, J. (2010). ¡Queremos un mundo mejor! Una cita con Momu & No Es. Revista :Estudio. Centro de investigação e estudos em Belas-Artes. Universidade de Lisboa, Lisboa.
CUESTA, A. (ed.), Paisatge després del Parricidi, Entitat Autònoma de Gestió Cultural de la Generalitat de Catalunya, Barcelona, pp.38-41 (catalogue)
G. TORRES, D., “10 años de Hangar”, Butlletí CASM, Barcelona, n.º 39 (Octubre 2007) p. 9
G. TORRES, D. (ed.), CASM Vol. 3, Centre d’Art Santa Mònica, 2008, pp. 62-63
L. MUNUERA I. (2010) Circuitos MXX, Comunidad de Madrid, Madrid (cataloge)
MITJÀ, J., “Exponer proyectos sonoros (cuenta atrás)”, Butlletí CASM, Barcelona, n.º 36 (Junio 2007) pp. 7-10
Momu & No Es, Las Guerras Élficas (1979 - 1982). Fundació “la Caixa”, Barcelona, 2008 (catalogue)
PALAU, M., “Una història d’elfs creïble”, El Punt, Barcelona, 29 Junio 2008
PUIG, A., “Ficticia Realidad”, ABC Cultural, Barcelona, p. 36
VIDAL, J., “Momu & No Es, disfrazadas de arte (pop)”, Barcelona Metropolis, Barcelona, 2008, p. 104



MACBA, Museu d’art Contemporani de Barcelona (ES)
MAS, Museo de Arte Moderno y Contemporáneo de Santander (ES)
The Rich Collection (ES)
Patrimonio de la Universidad de Barcelona, UB (ES)