Rosell Meseguer

Artist selected by Barro, David at 2010
More artist content updated at 2016


Most of my work at the moment centres on integrating registers and archives from the past with related ones from the present day. I start with physical spaces linked to my own experiences and thoughts, and then open them up to collective use. Disused spaces, the ruins of bygone industries and places with an important strategic, defensive, military, industrial, political, social or spying purpose.

Questions

1. What made you choose art as a profession?
I’ve been doing things closely related to the plastic arts ever since I was a child. I used to make notebooks by hand, and build houses out of biscuit boxes; I coloured objects and never missed a painting workshop. Something that had a big impact on me was a visit to a mine – a maze of galleries. At the time I was living on the coast near Cartagena in Murcia and my father would take my brother and sister and me to see the ships in the harbour – a corvette, a submarine… - and at home we had a whole series of pictures of these ships. Those trips to the salt works or the shipyards whetted my appetite for other worlds underground and on the coast; I became a keen seeker of traces and documents from the past, which I record in most of my projects. At the age of twelve, I came to live in Madrid and at sixteen I enrolled at the Fine Art School in Madrid.

2. How would you define your work?
As soon as I started at the Fine Art School, I placed myself between the so-called traditional arts – painting – and new forms of creation called Image Arts – photography, video and infographics. I took part in the 1997 Beijing International Computer Show, which sparked my interest in digital tools and research into materials for creating plastic arts linking the past and present.

A trip to India in 2000-01 marked a turning point for me and I felt a need to compare, contrast and link different cultures in much the same way as I link past and present. I was struck by how public spaces there become private micro-spaces for many people: travelling kitchens, improvised toilets, rest areas… This appeals to me because I’ve always worked with worlds that are both private and public: cemeteries, industrial areas, military cities.

3. What subjects are you interested in?
Mainly changes in spaces, especially corners; new functions and uses of places turned into tourist centres, in stark contrast to their former use. If we look at our disused spaces, the ruins of bygone industries and places with important strategic, defensive, military, industrial, political and social purposes, we now find spaces developed for the good of tourism, leisure centres and even individual ‘amusement parks’.

I find myself drawn to these spaces, creating new functions and uses. The first phase of a project is always studying the documentation on the space or the subject to be tackled. Most of my work at the moment centres on integrating registers and archives from the past with related ones from the present day.

4. What resources – formal or otherwise – do you use in your work?
Going from the past to the present and vice versa. I often turn to the printed press for my work, although it’s not very obvious (Metáforas de la defensa). I start with texts, documents, archives and images from the past (many from the press) and see how these subjects are covered in today’s documentation, in contemporary history.

In terms of material, I compare numerical photographic processes with traditional analogue systems, using alternative 19th-century photography techniques, such as the cyanotype, Van Dyke brown, gum bichromate and silver gelatine (Liquid Light) as well as digital technology in pieces with direct printing onto nonconventional materials such as metal and canvas.

It’s important to create a coherent relationship between an idea and how this idea takes shape. When I started to work with direct printing onto metal I was carrying out a project on bunkers, cannons and military systems (Batería de cenizas. Metodología de la defensa) so that’s what led me to choose metal as a resource.

5. What relationship does your work have with reality? What are your raw materials?
I work with reality in order to reinvent it. I carry out far-reaching research and archaeological work on the places I visit and include in my projects. However, the vision of these places doesn’t limit itself to an objective reality; there’s a transformation of individual and subjective images. When I talk of espionage I’m looking for objective systems like submarines or cameras for spies that end up becoming other elements above and beyond their purest sense and use in the world of espionage.

6. What, according to you, is the point of art?
That’s not an easy question to answer. I think it has far more purposes and values than it’s usually given credit for. Firstly there’s its value as a way of finding out about events that have marked the development of history in terms of social, political, technological and psychological aspects. As an aside, in 1878 photography make it possible to decompose movement, which revealed many prevailing ideas of the time to be mistaken. Muybridge proved that all four hooves of a horse leave the ground at the same time, settling a long-standing dispute. These studies had an effect on the plastic arts (Degas, Puvis de Chavannes and Rodin) as well as on writers and scientists. Some painters of horses, such as Meissonier, initially refused to accept the results, but eventually had to acknowledge that the camera never lies.

Art also has the value of asking questions, provoking change, sparking thought and driving evolution. Sometimes, though, we find the belief that art is purely decorative or just for entertainment, in detriment to other basic aspects designed to find out what art means in depth.

7. How do you hope the public will receive your work? What audience are you aiming at?
I’m not aiming at a specific audience. I try to create individual spaces for thought and open them up to collective use. It’s about creating ties between different ideas that have been developed over the course of history – today’s meaning of a place that meant something different in the past. What comes into play here is your way of representing and presenting ideas, which spectators inevitably see through their own eyes based on their own experience.

8. What qualifications have you got? What do you value most from your time in education?
I have a doctorate in Fine Art from the Universidad Complutense in Madrid (2004), where I specialised in Painting and Image Arts: photography, video and infographics. I also carried out teaching and research collaborations from 1997 to 2004 in the subjects of Painting Techniques and Procedures and New Materials in the Arts.

At the moment I’m an associate lecturer of photography at the Fine Art Department at the University of Castilla-La Mancha and I’ve worked as a visiting lecturer at the Fine Art Department at the University of Chile since 2006. I’ve also held workshops and given talks as part of the Inmersión en el arte project organised by the Círculo de Bellas Artes in Madrid in 2007.

I’d stress the tremendous experience I gained from the research residencies at different art centres such as the Centre Georges Pompidou and the Société Française de Photographie in Paris (2003), the Tate Gallery and the Victoria & Albert Museum in London (2002), MoMA and Columbia University in New York (2001) and my time at the Academia de España in Rome (2005).

9. How would you define your current professional situation? And in the future?
I currently juggle my work as a plastic artist with my teaching work at the Fine Art Department in Cuenca and visiting lecturer at other universities and art centres. My own research as an artist is vital to honing my teaching skills and my work experience at the university has enriched my work as an artist.

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?
Sales of art work vary depending on many different factors, so there are good times and not-so-good times. It’s important not to be totally dependent on art sales or reliant on plastic-art projects; you should have a source of regular income, linked if possible to the art world to avoid a vicious circle between art production and the need to sell it to continue producing art.

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?
It’s important to have a professional relationship at the same level – I’ve had fairly positive experiences in this respect.

At the moment there’s a much wider range of curators and promoters than a few decades ago and I think this has been key for opening up varied discourses.

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
The Madrid scene has changed and improved, although there is still plenty of room for improvement. In terms of what sets it apart, that depends on where you’re comparing it with.

I’d mention the influence political parties still have over appointments to management positions in museums and art spaces. I think this is a serious mistake and has had a negative effect, not only on Madrid as a capital, but also on the country as a whole. You don’t really find this situation elsewhere in Europe.

Madrid also needs to define and separate its artistic activity as the capital of Spain and its cultural activity as an autonomous region within Spain.

Interview

http://archivodecreadores.es/file/2/2822/2822.flv

Curriculum vitae

Rosell Meseguer Mayoral
Orihuela, Alicante, 1976.
Vive y trabaja entre/Lives and works between: Madrid, Santiago de Chile.

 

Formación Académica/Education

2004

Doctora en Bellas Artes. Premio Extraordinario de Doctorado, Universidad Complutense de Madrid / P.H.D. in Fine Arts-Doctoral Award, Universidad Complutense de Madrid

 

2000-2004

Beca FPI, Formación de Personal Investigador, Comunidad de Madrid / Grant FPI Research, Goverment of Madrid.


2003

Estancia investigadora, Centre Georges Pompidou; Société Française de Photographie, Paris / Research Stay at Centre Georges Pompidou; Société Française de Photographie, Paris.


2002

Estancia investigadora, Tate Gallery; Victoria & Albert Museum, Londres / Research Stay at the Tate Gallery & Victoria & Albert Museum, London.


2001

Estancia investigadora, M.O.M.A; Columbia University, Nueva York / Research Stay at the M.O.M.A; Columbia University, New York. 


2000

Master Nuevas Tecnologías: infografía, vídeo y sonido, M.S.L. Madrid / M.A. New Technologies: video & sound, M.S.L. Madrid.

 

1999
Licenciada en Bellas Artes, Universidad Complutense de Madrid / Bachelor of Fine Arts.

 

Exposiciones Individuales (Selección)/Selected Solo Exhibitions

2012

Symphonie, La Naval, Cartagena.

 

2011

Ovni Archive, ArteSantander, Santander.

2010
Manifiesta 8 European Bienial of Contemporary Art, MOCHA Project-ACAF, Espacio AV, Murcia.
Ovni Archive, Festival Off PHotoespaña, Galería Magda Bellotti (Madrid), Madrid; Intermediae, Madrid.


2009
Demande de Consultation, Galería Magda Belloti, Madrid.

Roma versus Carthagonova, ARQUA, Museo Nacional Arqueología Subacuática, Cartagena


2008
Tránsitos, Del Mediterráneo al Pacífico, Espacio AV, Murcia.
Demande de Consultation, Festival La Mar de Músicas, XIV Edición/Especial Francia, Cartagena.


2007
Una película de piel XIII, Galería Marisa Marimón, Ourense.
Batería de Cenizas. Metodología de la defensa II, Corporación Cultural Matucana 100, Santiago de Chile; Centro Cultural de España, Santiago de Chile.


2006
Roma versus Carthagonova. Imágenes propias y apropiadas de la costa mediterránea, Palacio de los Serrano, Obra Social Caja de Ávila.
Batería de Cenizas. Metodología de la defensa, Galleria Change & Partner, Roma.


2005
Batería de Cenizas. Metodología de la defensa, Sala de la Muralla Bizantina, Cartagena.


2004
Batería de Cenizas. Metodología de la defensa, Sala de Exposiciones del Centro de Arte Joven, Comunidad de Madrid, Madrid.


2003
Batería de Cenizas. Metodología de la defensa II, Fundación Antonio Pérez, Cuenca.

 

Exposiciones Colectivas (Selección)/Selected Group Exhibitions

2011

Past Desire/Vergangenes Begehren, Galerie im Taxispalais, Innsbruck, Austria.
Disco Duro, Fudación Antonio Saura, Cuenca.
ARTBo Feria Internacional de Arte Contemporáneo de Bogotá, galería Magda Bellotti, Colombia.
Paralelo 40/41, Galería Magda Bellotti-Real Academia de España, Roma, Italia.

 

2010

Fundación Museo del Grabado Español Contemporáneo, Marbella, Málaga.
Legal Art Artists Residence, Open Day Studios. Actividades OFF, Feria Art Basel Miami, Florida.

 

2009

El Arte del Mar/L´Art de la Mer, Fundació Forum, Tarragona.
Ingráfica. Festival Internacional de Grabado Contemporáneo, En Movimiento, Cuenca.

2008-2010
Nuevas Historias. A New Perspective of Spanish Photography and Video Art, Stenersen Museum, Oslo; Kulturhuset, Stockholm; Kuntsi Museum Of Modern Art, Vaasa, Finland; National Museum of Photography. Den Sorte Diamant- The Royal Library, Copenhagen.


2006-2009
Neologismo encarnado, Museo de Arte Moderno de Medellín, MAMM, Medellín; Centro Cultural Metropolitano, Quito; Centro Cultural Borges, Buenos Aires.


2008
X Mostra Internacional Unión Fenosa, Museo de Arte Contemporáneo Unión Fenosa, MACUF, A Coruña.


2007
Mediterráneos, Centre d'Art La Panera, Lleida.

Variaciones Cartográficas, Centro Cultural Montehermoso, Vitoria-Gasteiz.


2006
Nuevas Adquisiciones, Patio Herreriano, Museo de Arte Contemporáneo Español, Valladolid.

Feria de la Luz, Arcimboldo Galería de Arte, Buenos Aires

 

2005
Generaciones 2005, La Casa Encendida, Madrid.
Bienal de Jóvenes artistas del Mediterráneo, Nápoles; Valencia.
Madrid-Procesos-Redes, El Águila, Comunidad de Madrid, Madrid.


2004
Psicobúnkers, Centre d’Art Santa Mònica, CASM, Barcelona.
Between Utopia and Reality, The Photographer’s Gallery, London.

PHE-Descubrimientos, Festival PHotoEspaña, Madrid.


Actividades Académicas/Academic Related Activities

2011-2012

Docente, Facultad de Bellas Artes, Universidad Complutense de Madrid / Professor at Facultad de Bellas Artes, Universidad Complutense de Madrid.

Docente, Curso de fotografía avanzado, Escuela Lens, Madrid / Professor at Photo School Lens.

 

2005-2011
Profesora asociada, Facultad de Bellas Artes de Cuenca, Universidad de Castilla La Mancha / Professor at Facultad de Bellas Artes de Cuenca, Universidad de Castilla La Mancha, Spain.

 

2010

Taller Defining Methods & Building Ideas; Florida Art Center, Miami, EE.UU / Workshop Defining Methods & Building Ideas; Florida Art Center, Miami, U.S.A

Exposición y conferencia, II Congreso Iberoamericano Teoría del Hábitat, Museo Arquitectura Leopoldo Rother y Universidad Nacional de Colombia, Bogotá / Show and conference II Iberoamerican Congress Habitat Theory, Architecture Museum Leopoldo Rother & Universidad Nacional de Colombia, Bogotá.

 

2009-2010

Profesora invitada, Universidad Nacional de Colombia, sedes Medellín y Bogotá / Invited professor at Universidad Nacional de Colombia, Medellín & Bogotá.


2006-2009
Profesora invitada, Magíster en Artes, Facultad de Bellas Artes, Universidad de Chile / Master Degree and invited professor at Facultad de Artes, Universidad de Chile.

 

2007
Taller Inmersión en el Arte, Círculo de Bellas Artes, Madrid / Workshop Inmersión en el Arte, Círculo de Bellas Artes, Madrid.


2006
Conferencia, Magíster en Artes, Universidad de Chile, Santiago de Chile.


2005
Colaboración Primer Congreso Internacional sobre Nuevos Materiales para el Arte, Facultad de Bellas Artes, Universidad Complutense de Madrid / Colaboration I International Congress New Art Materials, Fine Arts Faculty, Universidad Complutense de Madrid.

 

 

Proyectos/Projects

2010-2011

Lugares de Tránsito, Centro Cultural Español, CCEMIAMI, Miami.


2010

Cicatriz: carbón nº 00085, edición de grabado.


2008-2011

Nuevas Historias.

 

2003-2008

Tránsitos. Del Mediterráneo al Pacífico

Demande de Consultation, Festival La Mar de Músicas Francia, Cartagena.

 

2006
Feria de la Luz Buenos Aires, Arcimboldo Galería de Arte, Buenos Aires.

 

2005

Roma versus Carthagonova, Beca Real Academia de España en Roma.


2004
PHE-Descubrimientos, Festival PHotoEspaña, Plaza de Santa Ana, Madrid; Centro Cultural Conde Duque, Madrid.


2003
Investigarte. Andamios para una construcción de la investigación en Bellas Artes, La Casa Encendida, Madrid. Presentación del libro.

Batería de Cenizas…, beca Generaciones Obra Social Caja Madrid.

 

1991-2001

Paisajes industriales

 

Becas y Premios/Awards and Grants (selección)

2010

Premio Artes Plásticas Gobierno de Cantabria. (Adquisición/Acquisition)
Ayudas a la producción artística, Matadero Madrid. (Beca/Grant)
Premio Destacada en Arte, Ayuntamiento de Orihuela. (Premio/Award)


2009
Premio de Artes Plásticas, Universidad de Castilla la Mancha, Ciudad Real. (1er Premio/1st Award)


2007
Premio de Fotografía, Fundación Aena, Madrid. (1er Premio/1st Award)

Beca Intermediae-Matadero, Ayuntamiento de Madrid, Madrid. (Beca/Grant)

 

2006
Beca Ángel de Fotografía, BAF, Córdoba. (Finalista/Finalist)
Bienal Internacional de Arte Contemporáneo Parque Natural Cabo de Gata-Níjar, ALBIAC, Almería. (Adquisición/Acquisition)


2005
Beca Casa Velázquez, Madrid. (Beca/Grant)

Generación 2005, Premios y Becas de Arte Caja Madrid. (Mención de honor, Adquisición/Honourable Mention, Acquisition)


2004
Certamen Jóvenes Creadores, Artes Plásticas, Ayuntamiento de Madrid. (1er premio/1st Award)


2003
Generación 2003, Premios y Becas de Arte Caja Madrid. (Beca/Grant)


Obra en Museos y Colecciones/Works in Museum and Collection

Colección de Fotografía, Ayuntamiento de Alcobendas, Madrid.

Gobierno de Cantabria.

HOLCIM-Albiac-Almería.

Talens, S.A., España.

Universidad de Castilla La Mancha.

Biblioteca Nacional, Madrid.

ST Libro Objeto: Museo Nacional Centro de Arte Reina Sofía, MNCARS, Madrid.

Obra Social Caja Madrid.
Colección de Arte, Fundación Aena. Real Academia de España en Roma.
Patio Herreriano, Museo de Arte Contemporáneo Español, Valladolid.
Ayuntamiento de Cartagena.
Caja Ávila.
Fundación Antonio Pérez, Cuenca. HOLCIM-Albiac-Almería. Talens, S.A., España.

Colecciones privadas, entre ellas Colección DKV.

 

Bibliografía/Bibliography

Meseguer Mayoral, Rosell, Atlas OVNI Archive, Madrid, 2012

VV.AA.: Past Desire/Vergangenes Begehren. Galerie im Taxispalais, Kerbert Art-Beate Ermacora & Jürgen Tabor ed., Innsbruck, Austria, 2011, Cat. Exp.

Borhan, Pierre: L´Art de la Mer, Flammarion, Paris, 2009; Blume, Barcelona, 2009

Meseguer Mayoral, Rosell: Luna Cornata. Recetario analógico digital de los procesos fotosensibles y sus combinaciones pictóricas. XIX-XXI, C.E.H.I.F.O.R.M., Murcia, 2009

Kouwenhoven, Bill; Castellote, Alejandro; af Malmborg, Estelle y Persons, Timothy: Nuevas Historias. A New Perspective of Spanish Photography and Video Art, Hatje Cantz, Berlin, 2008

Meseguer Mayoral, Rosell. Demande de Consultation. Concesiones poéticas sobre París, Ayuntamiento de Cartagena; Fundación Cajamurcia; La Mar de Músicas, Madrid, 2008

Carpio, Francisco; Hontoria, Javier; Meseguer Mayoral, Rosell: Tránsitos del Mediterráneo al Pacífico (II). Universidad Complutense de Madrid, Madrid, 2008, Cat. Exp.

Carpio, Francisco y Meseguer Mayoral, Rosell: Tránsitos del Mediterráneo al Pacífico. Espacio AV, Murcia, 2008, Cat. Exp.

Hontoria, Javier y Meseguer Mayoral, Rosell: Una película de piel XIII, Galería Marisa Marimón, Orense, 2007, Cat. Exp.

Meseguer Mayoral, Rosell: Batería de Cenizas. Metodología de la defensa II, Matucana 100; Centro Cultural de España, Santiago de Chile, 2007, Cat. Exp.

Navarro, Wendy y Meseguer Mayoral, Rosell: Roma versus Carthagonova. Imágenes propias y apropiadas de la costa mediterránea, Obra Social de Caja de Ávila; Palacio Los Serrano, Ávila, 2006, Cat. Exp.

Castro Flórez, Fernando y Meseguer Mayoral, Rosell: Batería de Cenizas. Metodología de la defensa II, Ayuntamiento de Cartagena; Muralla Bizantina, Cartagena, 2005, Cat. Exp.

Rubio Ahumada, Fernando y Meseguer Mayoral, Rosell: Batería de Cenizas. Metodología de la defensa, Diputación de Cuenca; Fundación Antonio Pérez, Cuenca, 2003, Cat. Exp.
VV.AA.: Investigarte. Andamios para una construcción de la investigación en Bellas Artes, ed. Complutense, Madrid, 2003.

 

Contacto/Contact

www.rosellmeseguer.com