Anna Morenoporfolio

Personal data

Anna Moreno(Barcelona, 1984)

a: c/ Margarit, 47 3r 1a 08004 Barcelona - SPAINt: +34 655 764 632

w: www.annamoreno.nete: contact@annamoreno.net

Curriculum Vitae

Academic

Studies

2010 – now. PhD Participatory Strategies and New Audiences in the University of Barcelona (Faculty of Fine Arts), inside the Programme: Advanced Studies in Artistic Production

2008-2010. MA in Artistic Production and Research in the University of Barcelona (Faculty of Fine Arts)

2002-2007. Graduate in Fine Arts by the University of Barcelona (Faculty of Fine Arts). Spe-cialised in Installation, Videoart and Digital Printing

Seminars and Workshops (selection)

2010. Horitzo.tv. Streaming and online-tv workshop. La Capella, Barcelona

2010. On Artistic Research. Tony Brown, Guadalupe Echevarría, Dora García, Dieter Lesage, Natascha Sadr and Jan Verwoert. MACBA, Barcelona

2010. Between production and facts. The Reinvention of Artistic Activism. Moderated by Mar-celo Expósito. MACBA, Barcelona

2009. QUAM, El Relat de l’Art. Directed by Andrés Hispano. Vic, Barcelona.

2009. Disruption. Workshop with Rirkrit Tiravanija, Josep-Maria Martín and Martí Peran. Can Xalant, Barcelona

2009. Preproducció i producció en els processos artístics: de la idea al producte. Workshop with Joan Morey. Hangar, Barcelona

2008. L’incompiuto siciliano. Workshop with Alterazioni Video. Hangar, Barcelona

2006. Ephemeral Architecture. Workshop with Tadashi Kawamata. Can Xalant, Barcelona

Professional

Solo exhibitions

2010. Hours in Fabra i Coats. Caixaforum, Barcelona (soon)2010. The Barnum Effect. Sala d’Art Jove, Barcelona (soon)2010. Hours in Fabra i Coats. Fabra & Coats creation factory, Barcelona

Group exhibitions (selection)

2010. Museum Cemento Rezola 10º Aniversario, San Sebastián (soon)2010. Unidee Open Studio 2010. Cittadellarte-Fondazione Pistoletto, Italy2010. KU·L videofestival in KrK, Croatia.2010. Closure Party. Fabra i Coats creation factory, Barcelona2010. Inund’art. Street Art Festival, Culture House, Girona2009. Mostra d’Art Jove de Mataró, Barcelona2008. Femart’08. Francesca Bonnemaison, Barcelona2008. I Biennale of Teheran (Iran). Itinerant show: Berlin, Amsterdam and Teheran2008. Giovanni Artisti’08, Sassari (Italy)2007. FIAV. Videoart festival. Nîmes (France)2007. Strip Film Festival. Videoart festival. Paris (France)2007. Loop’07. Videoart festival. Hotel Catalonia Rambles, Barcelona 2007. Patrim UB. Espai Volart, Fundación Vila-Casas, Barcelona 2007. Plantes, animals i altres companyies. Espai 292, Galeria Senda, Barcelona

Performances, interventions and Screenings

2010. Backstage, performance with Kosta Tonev. Cittadellarte-Fondazione Pistoletto, Italy2009. L’Alternativa. Screening in the Alternative Film Festival of Barcelona2009. Blocs & Docs. Screening in La Capella, Barcelona

Publications

2009. QUAM’09: El Relat de l’Art. Publication of a research article in QUAM 2009 book 2009. Collaboration with the research project Binary Prospections in the University of Barce-lona: Development of the online project Duetos (www.duetos.net)

Works in collections

2008. Sardinian Cultural Council.2007. PATRIM. Collection of the University of Barcelona.

Prizes, fellowships and grants

2010. Grant Museum Cemento Rezola (San Sebastián). Mention2010. Cittadellarte-Fondazione Pistoletto (Italy). Artist in Residence2009. Fabra i Coats creation factory (barcelona). Artist in residence2004/05. Accademia di Belle Arti di Bologna (Italy). Erasmus

Works(2009-2010)

April Rose, Dusky Lady of the Mountain

Performance/Installation25th September, 2010

This project aims to relate two black virgins: the Virgin of Montserrat in Catalonia and Madonna Nera of Oropa in Italy; through a strongly identitarian Catalan canticle dedicated to the Virgin, El Virolai. In collaboration with a local Gospel choir, the song is transformed into a gospel and sung in the Madonna Nera’s church, in Oropa.

Religion, race and nationalism are three strong concepts constantly present in my own context. Relating both virgins with a gospel song sung by a group of white Italians that sing in Catalan appeared an ironic way of neglecting the usual discourse and correctness that surrounds these concepts. Especially when the Catalan virgin is not really black, but blackened by candle smoke.

www.annamoreno.net/index.php?/projects/april-rose/

installation view: Unidee Open Studio 2010

Cittadellarte - Fondazione Pistoletto

The Barnum Effect

Intervention July 2010

P. T. Barnum was an American businessman considered the first “show business” millionaire. He wrote several books, including The Art of Money-Getting (1880), in which he revelals 20 tips or “Golden Rules for making money”. I sent those tips anonymously during 20 days to the rest of the artists in residence through various channels. For all of them, I maintained the aesthetics of a link, i.e. blue underlined words. Barnum’s tips, when applied to art, gain a completely and coherent different meaning, but this effect is even bigger when those who read the sentences are artists themselves.

The Barnum Effect is the observation that individuals will give high accuracy ratings to descriptions of their personality that supposedly are tailored specifically for them, but are in fact vague and general enough to apply to a wide range of people.

www.annamoreno.net/index.php?/selected-works/the-barnum-effect/

Installation view, Unidee Open Studio 2010Cittadellarte - Fondazione Pistoletto

Those Who Shoot for Nothing

Video4’ 44’’

Someone walks into an old building at the end of a path. The place is a shooting gallery built by Italian revolutionary Garibaldi 150 years ago. Inside, an old man is giving shooting lessons without being paid for it. He’s been going to that same place since he was 20 years old. This time, his pupil is the author of the video.

It is an attempt to explore the logic of that activity, decadence and boredom that surrounds the place today, as well as the virtual violence that an air compressed gun implies. The reason for the old man to go back there has something to do with this virtuality.

www.annamoreno.net/index.php?/projects/those-who-shoot-for-nothing/

My Way

Video4’44’’

In the Philippines several people have been killed after singing Frank Sinatra’s popular song “My Way” in a karaoke. The situation has reached a point in which the song is being banned in most of the karaoke bars of the country.

In this video, Philippino artist Jobelle Tayawa performs this song in a local karaoke. The performance becomes a memorial to the victims of what is named “My Way Killings” and, at the same time, a ques-tioning of the meaning and the purpose of a memorial itself.

www.annamoreno.net/index.php?/projects/my-way/

Backstage

Performance with Kosta TonevSeptember/October 2010

We were provided with a forklift and decided to work with it, considering its connotations. The forklift is usually in the storage areas of supermarkets and factories, hidden from the customers. Similarly, the thinking process of an art project is behind what the viewer eventually sees. We decided to record our conversation around creating a work with the forklift and transcribed it.

During the performance we turned the forklift into a stage and renacted the process using transcripts of our previous thoughts.

Sanson - Rezola

ProjectJune 2010 (in process)

This project is developed for the Museum Cemento Rezola, a museum about concrete that belongs to a concrete factory in The Basque Country. It aims to relate this factory with the one in my hometown, which belongs to antoher multinational company, a direct competitor of the Basque one.

The proposal consists on a video work resulting of an exchange of conrete between both factories. To do this, we will design a route between the two cities by determining the midpoint in which to perform the exchange. Two truckloads of the same type of concrete will leave the respective factories, meeting in the exact middle point of the route and exchange their loads. The spot chosen is a service area of the motorway A-2.This type of “no man’s land” gives the exchange a sense of equality and universality while helping to keep the industrial aesthetic of the video.

Concrete is a bland commodity, invisible and controversial yet present in latent form in the urban land-scape, housing and work. Exchange concrete (and of the same type) may refer to a symbolic gesture to share fluids. In turn, belonging to enterprises directly competing, this sharing becomes a kind of twinning in the cultural and artistic sense of the two multinationals.

Hours in Fabra & Coats

Event without audienceJanuary 2010

Fabra & Coats was a textile factory in Barcelona that produced threads. It recently turned into a cre-ation space. During an ordinary working day, residents are asked to wear a work coat that belonged to a former worker of the factory. They are also asked to continue with their usual activity.The resulting documentation consists of a series of photographs and two videos. The videos show how, through wearing an uniform, groups of people are inmediately identified as workers, even if the final product of their work has to do with the spectacle (and, of course, with beauty).

In the first case, during the rehearsal of a theater company, three components are asked to wear a work coat. The singer is constantly interrupted by the director’s instructions, and the rehearsal starts over and over again. In the second case, the members of a dance company are asked to wear a work coat. They are an integrated dance company –in which disabled and non-disabled perform together. The improvisation consists on tying a thread around their fingertips, and the other end around their part-ner’s.

www.annamoreno.net/index.php?/project/hours-in-fabra-i-coats/

Gratis

InstallationJuly 2009Project selected for the Young Art Exhibition’09 of Mataró (Barcelona)

The installation consisted of a telephone cabin from which was possible to call to the whole world for free.

The telephone is usable during the room’s opening hours, but the user must accept his/her conversa-tion to be heard, through speakers, in the entrance of the room. He/She is informed as well that the conversation will be recorded and stored in a database property of the artist, and is advised that while using the installation, he/she is automatically accepting those conditions.