Bio
Usa/Spain dual national
Lives and works in Paris.
Co-founder of PortfolioWorks and oneATELIER.
info@maggiecardelus.com
enrique@f2galeria.com
nilufar@nilufargallery.com
- Solo shows
- Group shows
- Studies & Awards
- Teaching
- Residencies
| 2022 | Meshes | Galeria F2 | Madrid |
| 2022 | Origines e Anatomies | Nilufar Gallery | Milano |
| 2019 | Spilt Sun | Quogue Gallery | Quogue, NY |
| 2014 | Tending to Black | Galeria F2 | Madrid |
| Total Environment | Mid career retrospective, Museo del Patio Herreriano | Valladolid | |
| Total Environment | Mid career retrospective, Moscow Museum of Modern Art | Moscow | |
| 2012 | Doing life | Galleria Kaufmann Repetto | Milano |
| 2011 | Laura, almost 12 | Galeria Vanguardia | Bilbao |
| Bright flashes | Galeria Fucares | Madrid | |
| 2007 | Looking for time | galleria francesca kaufmann | Milano |
| Looking for time | Galeria Fucares | Madrid | |
| 2006 | Birthday flowers (A Sculpture for a former Church) (video) | Chiesa di San Zenone, curated by Silvana Turzio | Brescia |
| 2004 | Bird people | Galerie Thaddaeus Ropac | Paris |
| Hearth pieces | Galeria Fucares | Madrid | |
| 2002 | Laura's Inheritance | galleria francesca kaufmann | Milano |
| 2001 | Vanishing points | Galerie Thaddaeus Ropac | Paris |
| Zoo's Days | Galeria Fucares | Madrid | |
| Circus | Deitch Projects | New York | |
| 2000 | White pieces | galleria francesca kaufmann | Milano |
| 1997 | Matrix | Galeria Fucares | Almagro |
| Galeria Fucares | Madrid | ||
| Colegio de Arquitectos | Malaga | ||
| 1995 | Galeria Fucares | Malaga | |
| 1994 | The Temple Gallery | Rome | |
| 1993 | Associazione Viafarini | Milano |
Texts
| Emergence Phenomena | Maggie Cardelús | English |
| Fenomeni Emergenti | Maggie Cardelús | Italiano |
| Doing Life: A conversation with Maggie Cardelus | Viktor Misiano | English |
| Doing Life: Una Conversación con Maggie Cardelus | Viktor Misiano | Español |
| МАСТЕРИТЬ ЖИЗНЬ | Виктор Мизиано | Русский язык |
| To make a World | Vladimir Levashov | English |
| Haciendo un Mundo | Vladimir Levashov | Español |
| Мэгги Карделус: сделать мир | Владимир Левашов | Русский язык |
| Something has to stay | Maggie Cardelús | English |
| Qualcosa deve rimanere | Maggie Cardelús | Italiano |
| Anime di carta | Filippo Fimiani | Italiano |
| Sabi | Silvana Turzio | Italiano |
| Balloons | Sarah Cardelús | English |
| Between Asserting and Denying | Gianfranco Maraniello | English |
| Tra affermazione e negazione | Gianfranco Maraniello | Italiano |
| On Maggie Cardelús’ L’Origine du monde | Roee Rosen | English |
| Su l’Origine du monde di Maggie Cardelús | Roee Rosen | Italiano |
| Artforum summer 2007 | Giorgio Verzotti | English |
| Memory | Emiko Yoshioka | English |
Memory
Much of Cardelús’s work is concerned with “memory”. She takes photographs from her large collection of family albums and cuts them up to create compelling new images. The work is bold in conception and meticulous in execution. Sometimes whith the aid of a template, at other times led by intuition and cutting freehand, she transforms photographic paper into something magically different. Through the objective act of “cutting” the intimate family snapshots she confronts and revisits, she releases memories trapped in the past and gives them new shape.
The present exhibition takes the form of an installation entitled View from My Mother’s House. It incorporates a large-scale relief work in which a flock of geese fly across three of the walls of the exhibition space. The geese have been carefully cut out from enlarged prints made from sections of the photograph – a landscape view taken in the area where the artist’s mother lives – used in The Creek. Hanging in the middle room is Almost White Willow. Measuring almost three meters in diameter, it consists of large sheets of undeveloped white photographic paper that Cardelús has cut repeatedly to create an image of a willow tree. This is reflected, as if on water, in an acrylic panel fixed to a nearby wall. On the opposite side of the room two further works are hung. One is Zoo When it Rains, an image of her son made up of a cut photograph and narrow strips of whiteadhesive tape. The other is Zoo Scattering, which shows her son floating upwards as if reflected against a background of bubbles, each consisting of a finely cut array of radiating lines. Sarah Pushes out the Placenta uses a photograph taken when her sister was giving birth. The dramatic coloring and its shades of red together with the horizontally elongated format imbue the scene of the arrival of a new member of the family bloodline with a powerful sense of sanctity. The “life” and “heat”emanating from this almost religious image fill the exhibition space, tingeing red some of the branches of the willow tree hanging in the center of the gallery. Viewers entering the exhibition space find themselves wandering through a forest of interlinked images born out of photographic paper.
Cardelús speaks of universal themes such as “family”, “bloodline” and “relatedness” with a highly personal language that makes use of intimate landscapes and family snapshots. She is the keeper and interpreter of her family’s memories, which she presents to her viewers through the exercising of supreme technical skills, highly developed perceptions and a profound sensibility.
Pubblicato in: Alaternative Paradise , catalogo / catalogue 21st Century Museum of Contemporary Art, Kanazawa, Japan 2006