Junio 2017



Madrid, 1978

He applies his expertise in design and advertising to independently create art interventions that depict global issues and conflicts, images for demonstrations and protests, and huge counter-campaigns in public spaces.

With a background in graphic design, Noaz develops his artistic projects in the form of huge counter-campaigns, using the same tools that are used for advertising and propaganda, creating scope for new imaginations for the audience. To this end, Noaz applies his expertise in design, advertising and marketing to independently create images that he presents on the streets. He uses graphics that could easily be confused with a campaign, although with very clear and simple contents that a brand or a political party would never use.

Using materials such as posters, vinyl or stickers, as well as wall paintings on the walls of urban spaces, he independently presents interventions, adding images that portray our country and political or social events and that we receive through the media in fragments. Noaz, in his interventions, has depicted global issues and conflicts, has configured images for demonstrations and placed large banners in public spaces featuring various current events that need to be reviewed.

(Text by Ana García Alarcón – PhD in Art History)


The artist’s project for Cáceres Abierto 2017, “Recuerdo de Cáceres”, focuses on recovering the recent memory of this city through the testimonies of its residents and through the display of three commemorative stamps or medallions of some of the most important events that occurred in Cáceres in the 20th century and, to a large extent, have been forgotten by the ruling class, although are very much present in the lives of its citizens. Some such events are: the shutting down of the Aldea Moret phosphorite mines in the late 70s; the subsequent reallocation of the residents to the old mining town of Aldea Moret in 1996; and the severe repression imposed on women during and after the Civil War.

Posters of the medallions were also printed and several copies were pasted in different parts of the city, including the facade of the Palacio de Ovando palace, adjacent to the Provincial Historical Archive, in the interior of the monumental city.


For the development of the project, Noaz worked in collaboration with the members of the Asociación Sociocultural Aldea Moret (Sociocultural Association), the Centro de Mayores Plaza Mayor (Senior Citizens’ Association) and the Asociación de Vecinas y Vecinos 1º de Mayo (Aldea Moret Residents’ Association). Several of these people participated in the public presentation of “Recuerdo de Cáceres” (memories of Cáceres) that took place at the A. Rodríguez-Moñino/M. Brey Public Library on June 3, 2017 during the kick-off of the Cáceres Abierto set of programmes.


Noaz’s artwork was also displayed from June 1 to June 25, 2017 at the El Brocense Art Gallery.

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