Teo Navarro

Artist selected by Fernández, Horacio at 2010

A large part of my artistic work is made up of a wide-ranging collection of photographs. Perhaps the most striking is the somewhat eclectic set of images that try to show how beautiful things often hide a strange element of uncertainty. I try to create a certain feeling of unease that spectators find it difficult to shake off. I think that this element of surprise, this rarity, is often found in the most insignificant things.


1. What made you choose art as a profession?
I was never bold enough to choose art as a profession – at the start, when I finished university, because I wasn’t interested in the world of contests, grants and commercial art relationships. Later I realised it wasn’t that I wasn’t interested in these things; the fact was I wasn’t able to organise myself or tackle them. So I resigned myself to and consoled myself with showing my things to friends and family.

2. How would you define your work?
A wide-ranging set of photographs, drawings and some paintings.

3. What subjects are you interested in?
Beauty wherever it appears: the imperfect, strange and surprising side to something beautiful.

4. What resources – formal or otherwise – do you use in your work?
A digital camera plus Photoshop. I try to take each image out of context and get it to ask questions and give spectators a strange feeling of unease that they won’t necessarily be able to shake off. I like people to take the time to reflect, aesthetically or otherwise. I try not to use any artificial resources, nothing that’s not already there.

5. What relationship does your work have with reality? What are your raw materials?
Since they’re photographs, they’re directly related to reality, but it’s not a documentary or staged relationship; I don’t take prepared shots or change their essence when I retouch them. It’s a personal, subjective relationship – as you might expect. In the photos, my raw materials are what I find in nature in everyday public or private places. I wouldn’t want to be dogmatic about any of these aspects, though.

6. What, according to you, is the point of art?
In a broad sense, I’d say that art serves to analyse the aesthetic relationships that arise from the meeting of man with nature and himself. It’s a way of trying to understand the world and oneself through aesthetics – a way of trying to fit nature in a box. I also think that humans create infinite parallel universes alongside the real world as they try to evade things, play, let off steam and represent their fantasies and frustrations.

7. How do you hope the public will receive your work? What audience are you aiming at?
I hope for surprise, strangeness, approval, wild applause and a standing ovation. My work is aimed at everyone.

8. What qualifications have you got? What do you value most from your time in education?
I had a traditional university education in fine art. I spent the last two years of my degree on a grant in Kassel in Germany, where I enjoyed an open and contemporary art education. What I value most from this time are the friendships I still have, and this could well be what has enriched me most as an artist. In general, university life is very formative in terms of personal relationships. Regardless of where you end up studying, if you find the right people you can learn and undertake many things. I should add that I in no way think my education ended when I left university.

9. How would you define your current professional situation? And in the future?
As a professional, I run a company for setting up exhibitions in spaces and museums. As a professional artist, though, my professional situation is nonexistent. My expectations for the future are a bit hazy at this point.

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 do have a bearing on my work and although I’d like to be able to make a living from my artistic work, I don’t use it to live on.

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?
I don’t look for anything in particular, but I’d expect a cordial and fair relationship based on genuine interest. I’ve never found any advantages or difficulties in this relationship because I’ve never really got to know it in any depth, although I understand that promoters and curators offer a good communication channel between artists, galleries and museums and the public. I have experienced confrontations in tastes and intentions between what someone who selects artists’ work for an exhibition chooses and what artists would select themselves. I see that as the curator’s exhibition. It’s also clear that all too often promoters and curators get their information from the same official world where they live and this can be somewhat counterproductive when it comes to discovering new things.

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I suppose what sets Madrid apart from other smaller cities is the wider range of culture on offer. And what might set it apart from other major European and world cities is a certain conservatism and lack of imagination when it comes to offering ideas to people and the artists themselves. I also see that what works in Madrid are powerful institutions, in stark contrast to movements and small collectives, which aren’t given many opportunities.



Curriculum vitae

Teodomiro Navarro Abati
Madrid, 1973.
Vive y trabaja en/Lives and works in: Madrid.

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

Exposiciones Individuales (Selección)/Selected Solo Exhibitions
109 fotografías en la Costa da Morte, Casa de la Cultura de Camariñas, A Coruña.

Karten des Korpes und Tv, Galerie Stellwerk, Kassel, Deutschland.
Mehrere mehrere, Galerie Stellwerk Kassel, Deutschland.

Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Durmientes y otras 25 fotografías, Photoespaña en la calle, Festival Photoespaña.

Familia y amigos, Certamen Situaciones, Universidad de Castilla la Mancha, Facultad de Bellas Artes de Cuenca.

Wunderschönes Object; Doku das Maskotchen, Freie Kunst Universität, Kassel, Deutschland; Rundgang, Deutschland.

Mapas del cuerpo, antebrazo; 26 días en el baño, Freie Kunst Universität, Kassel, Deutschland; Rundgang, Deutschland.

Becas y Premios/Awards and Grants
Beca GesamtHochschulle Universität, Kassel, Deutschland, Dep. Visuelle Komunikation; Freie Kunst.


Beca Erasmus, Universität Kassel, Deutschland.


Concurso de murales, Metro Madrid, Estación de Metro Príncipe Pío. (1er premio)

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