Edición 2017

Carme Nogueira

Carme Nogueira

Vigo, 1970

She has a degree in Fine Arts from the University of Salamanca and a PhD from the University of Vigo. She was once a visiting lecturer and researcher at the University of Vigo and a scholarship holder at the Hochschule der Künste in Berlin. She has also completed internships at the Het Wilde Weten in Rotterdam (2009), the SecondRoom in Brussels (2009) and the Berlin Program (2010) with the support of a Grant from the Marcelino Botín Foundation.

 

She has worked on the subjectivising processes and the normalising role of spaces through photography and installation art. In her latest works, this has materialised into a series of objects and performances for public spaces.

 

Some of her latest projects are Vida Gallega(Galician Life) at CentroCentro cultural centre in Madrid, 2018; Noticias Ordinarias del Norte(Ordinary News from the North), 2018; A propósito de Alvão(About Alvão) in Porto, 2017; Citoyenneté in Paris and at the Montehermoso Cultural Centre of Vitoria, 2012-2014; Castillete, retablo mineroat the Laboratorio 987 of MUSAC in León, 2012; Porteños(people of Valparaíso) at VÄLPARAÍSO INterVENCIONES in Valparaíso/Chile, 2010; Rotterdamwegin Rotterdam, 2009; and Nos Camiñosat the CGAC of Santiago de Compostela, 2007.

 

She is also the author of La representación como puesta en escena: hacia una teoría de la mirada(Representation as staging: Towards a theory of the perspective), Alfons el Magnanim, Valencia, 2001 and has co-directed La trama rururbana (The rural-urban plot), CGAC Santiago de Compostela, 2006-2007, with the collaboration of The Center For Urban Pedagogy (CUP), Sophie Hope, María Lois and Iria Sobrino, among others.

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Vida Gallega. Madrid, 2018

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Yo os he comprendido (Cltoyenneté). París, 2012

Imagen 1 Carme Nogueira web

Noticias Ordinarias del Norte. Nuevo Baztán – Madrid, 2018

Her project in Cáceres Abierto 2019

It is based on her previous project, Vida Hurdana (Life in Las Hurdes), in which the artist proposed an imaginary dialogue between Buñuel and a group of children from Las Hurdes, through their homework assignments, contrasting the filmmaker’s well-known story with the lesser-known reality of the children, from the same time when Buñuel’s film was shot, who used the innovative Freinet method as an educational model. This time, the idea is to take the same dialogue back to this place to collect more voices and contextualise it, further incorporating other voices, guided by the artist who adapts, intervenes and exhibits the end results of these new workshops conducted with children from Las Hurdes at the Cáceres Museum.

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Vida Hurdana. Cáceres, 2019

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Vida Hurdana. Cáceres, 2019

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Vida Hurdana. Cáceres, 2019