Edición 2017

Rosell Meseguer

Rosell Meseguer

Orihuela-Alicante, 1976

She lives and works in Madrid. She is a visual artist and holds a PhD in Fine Arts from the Complutense University of Madrid, where she currently teaches undergraduate and master’s degree students. She uses different mediums in her work -photography, installation, archive, publications, drawings, painting and video- always focusing on the exploration of historical processes and the sociopolitical and economic impacts. She analyses the composition of history and the creation of documentation methodologies.


Fascinated by the cold war and propaganda, she devised the OVNI Archiveproject, an atypical archive composed of multiple installations and photography series, exhibited for the first time at Matadero Madrid in 2010-2011 and from that point until 2016 at Galerie im Taxispalais of Innsbruck, MAC of Santiago de Chile, Carrillo Gil Art Museum of Mexico City and ArtCenter/South Florida of Miami.


She has delivered presentations of her work in various spaces, such as the Reina Sofía National Museum and Art Centre; Manifesta 8, Cartagena-Murcia; Plat(t)form and Fotomuseum Winthertur, Zurich. Moreover, her work can be found among important collections in spaces such as the CA2M in Madrid, IVAM in Valencia, Alcobendas Art Centre in Madrid, ENAIRE Foundation, Unicaja Foundation, Spanish Royal Academy in Rome, Whitney Museum of American Art in New York and DKV Collection.


She is currently working on her Quadra Minerale project with the Botín Foundation grant of 2017, as well as the Lo Invisibleproject, based on an invisible layer discovered by a group of German scientists, a project that has been exhibited at the Tabacalera cultural centre in Madrid and at the Centro Párraga of Murcia.

Rosell Meseguer_Documenta web
Rosell Meseguer_Instalacion Matadero web
Rosell Meseguer_Materia oscura web

Her project in Cáceres Abierto 2019

The Vostell Malpartida Museum is situated on the quarries of porphyritic granite used for its construction, where the natural areas surrounding the slabs of rocks “cut” and “broken” for architectural use have been recognised as a metaphor for artificial nature. In El Molino hall of the museum itself, a research project on the petrography and texture of the rock is presented, which makes it possible to correlate the samples of the quarry with the museum, as well as other structures of the province of Cáceres constructed with the rock from this area. This intervention is complemented by a collection of samples at the Cáceres Museum.


Guía de mano, 2019


Guía de mano, 2019


Guía de mano, 2019

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