curriculum vitae

Carme Nogueira (Vigo, 1970) is a multidisciplinary artist and researcher. He has worked on the processes of subjectivization and the normalizing function of spaces through photography, video and installation. In recent works, this problematic materializes in a series of research processes and actions for the public space. Based on these actions and investigations, and with the help of objects created specifically for each project, she tries to promote situations that activate the viewer or collaborators in the project. In this way, other narratives can be generated and archives and places activated.

Graduated in Fine Arts from the University of Salamanca and PhD from the University of Vigo, she has been an associate professor and researcher at that university, and a scholarship holder at the Hochschule del Künst, Berlin. He was a founding member of the magazine "Fe" (1995-1999). He has carried out various stays and residences: in Het Wilde Weten (Rotterdam, 2009), together with Dieuwertje Komen in Second room (Brussels, 2009); Program (Berlin, 2010) with the support of the Marcelino Botín Foundation Scholarship, at Bulegoa z/b (Bilbao, 2017) and in León Guanajuato (Mexico, 2021) within the CHARCO program with the support of the REGA residency program 2021.

She is the author of the study Representation as staging: for a theory of the gaze (Alfons el Magnanim Ed., Valencia, 2001), on the confluence between art and the spectator in contemporary art. Along this investigation line, she is the author of conferences and articles such as Los otros spectadores. Multicultural identities (Univ. Vigo 1998), The representation staged: contexts (Desacuerdos. Mutaciones del feminismo: genealogías y prácticas artísticas, Arteleku, San Sebastián, April 2005), the blog Places of Transition, for zehar 62 (Arteleku), 2008, his participation in the workshop “Capital and territory. the construction of a dream?!” UNIA, Seville, October 2009 or Revisiting Tenerife, within the cycle Las Formas del hacer, el hacer de las formas (MNCARS curated by Tamara Díaz Bringas, 2021), among others.

In this line, some of his specific projects have dialogued with the forms of audiovisual construction, especially with the idea of document and documentary. Examples of this are the projects: Porteños, Museo Naval, Valparaíso, Chile 2010 (as part of Valparaiso: in(ter)ventions, organized by Seacex and curated by José Roca, Jorge Díez and Paulina Varas); Citoyenneté I and II (Montehermoso, Vitoria-Gasteiz, 2012 thanks to a grant from Montehermoso and Pavillon Vendôme, Paris, 2014, curated by Manuel Segade); Leith Walk (Interview room 11, Edinburgh, 2017); Pinofranqueado by children (within Cáceres Abierto, Pinofranqueado and Cáceres, 2019); Vida Hurdana (2015-2016, different presentations), Voguing, Audiovisual project within the collective film Visións for the Pontevedra County Council, 2017 and Tenerife within the exhibition El sauce ve la imagen de la garza de cabeza curated by Catalina Lozano ( TEA, Tenerife, 2020) among others.

Some of her exhibition projects are Vida Gallega, curated by Tamara Díaz Bringas (CentroCentro, Madrid, 2018); Ordinary News from the North, curated by Lola Hinojosa (Nuevo Baztán, Madrid, 2018); About Alvão in collaboration with Kubik Gallery (Porto, 2017); "Wunderkammer Ebensee" for the Festival der Regionen, (Ebensee, Austria, 2015); Motion /Labour /Machinery.” curated by Manuel Segade in collaboration with Mariette Dölle and Jesse van Oosten, (TENT, Rotterdam, 2015–2016); The Contract, curated by Bulegoa z/b (Alhóndiga Bilbao 2014-2015); A machine wants instructions like a garden wants discipline, curated by Catalina Lozano (Alhóndiga Bilbao and MARCO Vigo 2014); The City after the applause, curated by Manuel Segade (Pavillon Vendôme, Center dárt Contemporain de la Ville de Clichy, Paris 2014); Shrinking Cities, curated by Ana González Chouciño (Edinburgh, 2013); Castillete, mining altarpiece, curated by Leire Vergara (Laboratory 987 MUSAC, León 2012); Itineraries, Botín Foundation, Santander 2012; Specific intervention in the transit synagogue, organized by AC/E and curated by Jorge Díez (Sephardic Museum, Toledo 2011-2012); The moment is now, Moriarty Gallery, Madrid 2011; Rotterdamweg Het Wilde Weten, Rotterdam 2009; RAIR, Antiguo Fotomuseum, Rotterdam 2009 and Próspera, curated by Iñaki Martínez (Cervantes Institute of Beijing and Marco de Vigo, 2007_2008), among others.

Among his “exhibition devices” —specific spatial and museographic conceptions for exhibitions— we can highlight those made for the exhibitions Espacio doble together with Apolonija Sustersic (CGAC, Santiago de Compostela, 2007); Here and now! by Erreakzioa-Reacción (Rekalde Hall, Bilbao, 2008); Archivation (Pontevedra Biennial, 2010); Anarchivo sida (Tabakalera, Donosti, 2016 and Centro Conde Duque, Madrid 2017) and Voices that walk curated by Gabriel Villota and Leyre Goikoetxea (Cerezales Foundation, León, 2022). Likewise, in addition to the device, she has made document-actions as part of the Contenedor de Feminismos, a mobile archive for public space collective (Emilia Bazán House-Museum, Coruña and Villagarcía, Alhóndiga Bilbao, Musac León and MNCARS Madrid between 2009-2014) and has developed the Brieven uit Spanje project (Stedelijk Museum Breda, Breda, 2020) together with Elena Prado, in which she worked on the memory of Spanish migration preserved, or not, in the Breda archives.

She has worked with the Adhoc (Vigo, 1995-2015) and Kubik (Porto, 2013-2022) galleries.

Her work is in the following collections: Museo Nacional Centro de Arte Reina Sofía, Fundación Botín, Centro Galego de Arte Contemporáneo, Museo de Arte Contemporáneo Gas Natural Fenosa Coruña, DKV Collection, MUSAC, Colección Instituto de la Juventud, Madrid, Cocacola Collection, Photographic Collection of the City Council of Vigo and Caja Extremadura Collection.