Què és l'art? (2025)
I present an installation of ceramics, video and poetry. It was born in February 2021 where the artists had all the galleries closed and very little contact with people. I wonder if it is necessary to continue working as an artist. Looking for an answer I decide to start an action of mail art, sending a letter to 120 friends to ask them to answer the question: What is art?
From 120 letters sent I receive 96 answers. I have the answers beating on the table that tell me I have to do something with them.
So I decided to make 96 brains in ceramics that metaphorically represent each of the people who thought about the answer and sent me the letter.
I think then that people will want to read what they wrote and I make a video piece where all the answers appear in a single paragraph. No different from who they are. As a single collective response that is rising up to heaven, to infinity. The answers to this question are endless.
From all the answers I create an exquisite corpse, a poetry inspired by surrealist poetry. Taking the combination of Zipf's and Pareto's law, they say that only 20% of what we say is of interest. I randomly take 2 words out of 10. And I write them in a mirror. With the idea that you either read the text or look at yourself. Either you give yourself what others say or you stay listening to yourself.
Finally, I pay tribute to Duchamp, and his urinary. To emulate the idea that any everyday object can become a work of art from the conceptualization of the artist. I present a postcarder, and I design a postcard, where I write the question What is art? Closing the creative process that I started sending a letter and ended four years later creating an artistic postcard.
Síptic Vilafranquí (2025)
Installation: six mirrors as pages of a book: take the mirror as an object for artistic creation, where to inscribe a series of literary artefacts that are their own lyrical elucubations.
The piece is articulated around six mirrors, mounted on a wooden base and arranged as if they were the pages of an open book, installed in the center of the exhibition space. The spectators will be able to stroll around, experiencing an intimate and at the same time collective reading. The configuration allows each mirror to become a meeting point between the reader-viewer, the text and the reflection itself, generating a dual experience of presence and absence.
The texts inscribed in the mirrors are textual elucubrations, speculations, which represent 6 scenarios and/or events in the city of Vilafranca: The Basilica of Santa Maria, the Mercat de la Carn, Cal Figarot (trial day), the Viniseum (a visit), the Fair of the Rooster and the Fiesta Mayor (moments before the thunderstorm). Through these narratives, I explore a poetics focused on the sounds and atmospheres of these spaces, creating a sound awareness of each stage.
Sound beyond hearing
These literary creations are inscribed in the idea of non-cochlear sound art, proposed by Seth Kim-Cohen, where sound is not a physical reproduction but a reproduction and mental representation, a parallel displacement to the non-retinal art that Marcel Duchamp works in the field of visual arts and that I transfer to the field of sound art. An expanded reading of sound, a conceptual and contextual construction, based on the use of sound descriptions that triggers the subjective experience itself.
An experimental poetic
From simplicity and everyday life, from listening and writing, from the search for a voice and an introspective reflection I impose a premise, a pseudo oulipian contrainte, where I frame a prioritization for the use of sound and musical descriptions, which occur in these scenarios. Investigating the distinction of biological, geological or anthropomorphic sounds that allow us to understand the uniqueness of each scene and invite us to awaken a sound awareness.
Literary artefacts pending the musicality of words, far from unnecessary grandiloquences, with the presence of a dubitative self, worked to create a resonance of words and speculations so that they resonate in others. A shared soliloquium. Where I take narration as an artisanal form of communication. A space for reverberation and mirroring.
The narrative about the mirror provides a space for individual play but at the same time shared. The paradoxes of reading texts about mirrors keep the gaze awake and cause a rhythmic alternation of presence and absence. The presence of the self and the other, of appearance and disappearance, while reading the text on the mirror, you do not look at your own reflection, or you read or observe. What you read makes you present, making the voice of the other that resonates in the same interior present. The representation of the image of each viewer in front of the foreign text, which when reading it inevitably makes it its own, to continue it through its own elucubrations derived from reading.
These installation invites a paused contemplation, a distance from the immediate perception, so that it matures slowly in the imagination, and enable an active silence to seek correspondences, and stimulate a free dialogue between the spectator and the artistic artefact.
Dancers Geomètrics
Tapís Sonor d'Urús (2024)
A performance to weave the soundscape that happens around. A practice that derives from the conceptualization of sound art that addresses conceptual and textual construction. A conceptualization of the sound world that represents an expanded situation of sound and its uncontainable textuality, and which is made concrete by weaving the score with the textual descriptions of the soundscape that takes place around it. Spectators encounter the performance as in the encounter with a landscape painter with his easel set up to portray the landscape live, and who wants to invite them to practice the deep listening (Deep Listening) that the artist Pauline talks about Oliveros. Listening that allows us to become aware of the sound world that surrounds us and invites us to reflect on it. The score includes sounds of all kinds, geophysical, which derive from climatic and geographical elements, biological, which derive from living beings, and anthropological, which derive from different mechanical artifacts. A sound practice that is a complement to the conceptualism developed by Duchamp in the visual arts where he questioned the retinal conception, thus he proposes a non-cochlear sound art, the material with which he works is sound, but with a different concreteness.
Jingles Eivissencs 2023
A multidisciplinar work developed after a deep research on Ibiza's sound identity. A work that includes Photography, Videoart, Sound Art and Experimental Writing.
#WomenArtists 2022
#womenartists is born from the idea that the gender gap also exists in the art world. The intention is that the names of the artists become public domain and arouse interest in their work. This is how I wanted to combine the portrait of each artist with a visual reference of their work in the form of a collage.
CryptoRoses, 2021
Dancers, 2020
My Place, Your Place, 2019
When considering the remodeling of my studio, I took in consideration the ideas developed by Richard Sennet in his book "The public space". A studio on the street, with a large window,, inserted into the city, like a porous membrane that allows communication, integrate the neighborhood, rescue people from indifference, a space that is not a closed box but seeks the balance between intimacy and exposure, between public and private, where it turns out that the exchange and the presence of others acts as a stimulus, as a creative force. Because cosmopolitanism results from the positive presence of others.
McChurros, 2018
The artists of the Collective Nottwins eat some churros in fort of the camera, as part of the project to portrait “Any day in Madrid” for the Hybrid Art Fair. Taking the idea from the video of Andy Warhol eating a Burger as part of the set of postcards that he recorded to portrait the USA for Jörgen Leth’s Documentary (66 scenes from America)
With Isabel García-Munté.
Mar i Cel, 2016
This exhibition took place in the summer of 2015 in Sitges at the Agora Gallery. The work presented was about the sky and the sea, inspired for her love in the swimming races on open waters... Photos, paintings, sculptures ... trying to take the audience to the pleasure to enjoy the water .
Luxury Audience, 2015
This exhibition took place in Barcelona is collection of pieces that have scenes where viewers are either collectively or individually in different areas looking images. To highlight the role of the viewer because it si well known that the work in not finished until they are been watch. art lives at the time suggests argument about what is seen. Allowing to build ones unique strory.
The collection of 100 sculptures of dogs watching the paintings are used as a metaphor of the different possible audience.
Any Day in Formentera, 2014
This exhibition took place in the summer of 2014, at Sant Francesc, in Formentera. The main idea behind these pieces was to show what can happen any day in Formentera. It included a several amount of drawings, a video, and an instalation. See for yourselves the scenes on the beach, the people having fun or just enjoying the moment, some birds, djs, nature and hammocks...
A Lovestory, 2011
This exhibition took place in the Hartmann Gallery in Barcelona, in 2011. All the paintings, photos and sculptures were about couples. She wanted to pursue the idea of always having someone by your side. Multiple couples are represented, walking around, sitting... it did not even matter what they were doing as long as they were together.
Readers, 2009
This exhibition was to conmemorate the Year of the Book, that took place in Barcelona in 2009. It was a one day exhibition at Hotel La Florida in Barcelona. The thing here was to always apply a book in any of the situations that were represented in each of the many paintings and sculptures that Vives-Fierro made.
