Six questions for
Almudena Lobera

Tique asks six questions to an artist about their work and inspiration.
This week: Almudena Lobera.

Artist Almudena Lobera
Lives in Madrid, Spain

How do you describe your own art practice?

In my artistic practice, I work in different media: from drawings to sculptures, installations, paintings, site-specific projects, documented fictitious situations… to reflect on the construction of ways of accessing to vision. I seek to propose other ways of seeing what remains hidden or in a state far removed from the visual, considering space and the spectator as activating elements and altering the established logic of perception, representation and reading. In my work there has always been a constant interest in visual studies, reflecting on the invisible, the hidden, the unseen or the intangible and its materialisation. In recent years I have focused more on proposing experiences in space that connect the traditional analogue world with the contemporary virtual one; bringing digital languages to the artisanal world and screen dynamics to the exhibition space. I consider the artwork as a conscious object realization, and I am interested in highlighting the contradictory non-functional object that the artwork is in the current period of dematerialization or digitalization, as well as connecting the legacy of the past and the influence of history and classical authors with the ephemeral and virtual image qualities in our time.

Which question or theme is central in your work?

In my work, the search for new languages and dialogues between artwork, space and spectator is always present in order to talk about our relationship with the world of the visible and the invisible, the presence and the absence, the material and the intangible, the existent and the hypothetical, the reality and the post-produced image.

What was your first experience with art?

My first experiences with art were when I was a child. My aunt was studying Fine Arts in Madrid when I was 5 years old. She took me to the University of Fine Arts and I was fascinated by the water installations and the magical universes I found there among the students’ experiments. I also remember being amazed at the same time by Goya’s Black Paintings in the Prado Museum. Since then, I developed an attraction and sensitivity towards art history, design, drawing and artistic techniques. On a professional level, during the third year of my degree I started to participate in exhibitions and competitions for emerging artists with drawings, prints and installations, but what I consider key was my time at the UdK Universität der Künste Berlin, where I did my last year of Fine Arts and where, for the first time, I saw myself as an artist, with my own workspace, freedom and autonomy to develop my personal and research projects. It was there where I began to mature my first relevant works.

What is your greatest source of inspiration?

Reading, film and lectures are my main interests, although in everything I experience there can be a spark of inspiration or the awakening of an idea. I also find flea markets, abandoned places, trips to new places and contact and conversations with other artists very stimulating. That’s why I often go on residencies and trips, so that I don’t stop surprising myself and learning all the time.

What do you need in order to create your work?

To be in motivating contexts, without stress, and to combine periods of solitude with company time and teamwork. To conceive projects, read, write, sketch, test… I need quiet and isolation, but when I start production, I like to work with collaborators or in workshops with other artists, where there is a working atmosphere and we create routines. Sometimes I need to rely on professionals or specific technicians to do parts of the work in media I don’t control. However, for drawing and designing I like to be alone in my studio listening to music.

What work or artist has most recently surprised you?

I was surprised by Marco Fusinato’s work in the Australian Pavilion at the Venice Biennale 2022. With his project DESASTRES he presented an experimental proposal that synchronised sound with image and with an evolving performance over 200 days, making each spectator witness a unique experience. I like the idea of the exhibition as a unique and unrepeatable experience.

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