Marina Núñez

Marina Núñez portrays in her work a metamorphic, hybrid, and multiple identity. She recreates a destabilized and impure subjectivity, where otherness is not something foreign but an essential component of the human condition.

She has held solo exhibitions in numerous public institutions such as the Museo Nacional Centro de Arte Reina Sofía (1997, Madrid), La Gallera (1998, Valencia), Fundación Pilar y Joan Miró (2000, Palma de Mallorca), Iglesia de Verónicas (2001, Murcia), DA2 (2002, Salamanca), Casa de América (2004, Madrid), Instituto Cervantes (2006, Paris), La Panera (2008, Lleida), MUSAC (2009, León), Centre del Carme (2010, Valencia), Sala Rekalde (2011, Bilbao), Museo Patio Herreriano (2012, Valladolid), Sala Alcalá 31 (2015, Madrid), Artium (2016, Vitoria), Cortes de Castilla y León (2016, Valladolid), Palacio de la Madraza (2016, Granada), Es Baluard (2017, Palma de Mallorca), Capilla del Museo Barjola (2017, Gijón), Centro Puertas de Castilla (2019, Murcia), TEA (2019, Tenerife), Sala Atín Aya (2019, Seville), Sala Kubo Kutxa (2021, San Sebastián), Museo Nacional Thyssen-Bornemisza (2021, Madrid), and Museo Lázaro Galdiano (2023, Madrid).

Her group exhibitions include Transgenéric@s (1998, Koldo Mitxelena Kulturnea, San Sebastián), La realidad y el deseo (1999, Fundación Miró, Barcelona), Zona F (2000, Espai d’Art Contemporani de Castelló), I Bienal Internacional de Arte (2000, Museo Nacional de Bellas Artes, Buenos Aires), Ofelias y Ulises. En torno al arte español contemporáneo (2001, Antichi Granei della Giudecca, Venice), Big Sur. Neue Spanische Kunst (2002, Hamburger Bahnhof, Berlin), Pain; Passion, Compassion, Sensibility (2004, Science Museum, London), Posthumous choreographies (2005, White Box, New York), Identidades críticas (2006, Museo Patio Herreriano, Valladolid), Pintura mutante (2007, MARCO, Vigo), Banquete (nodos y redes) (2009, LABoral, Gijón, and 2010, ZKM, Karlsruhe, Germany), Skin (2010, Wellcome Collection, London), Genealogías feministas en el arte español: 1960–2010 (2012, MUSAC, León), Monstruo. Historias, promesas y derivas (2013, Fundación Chirivella Soriano, Valencia), La imagen fantástica (2014, Sala Kubo Kutxa, San Sebastián), Gender in art (2015, MOCAK, Museum of Contemporary Art, Krakow, Poland), Modelli Immaginari (2017, Palazzo Riso, Palermo, Italy), Naturel pas naturel (2018, Palais Fesch, Musée des Beaux-Arts, Ajaccio, Corsica, France), Mind Temple (2018, MoCA Museum of Contemporary Art, Shanghai), The Time of the Chimeras (2022, 59th Venice Biennale Arte, Official Selection, Cameroon Pavilion, Palazzo Ca’ Bernardo, Venice), Crypto Art: A New Possibility (2023, CAFA Art Museum, Beijing).

Her work is included in the collections of several institutions, such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), Artium (Vitoria), MUSAC (León), Museo Patio Herreriano (Valladolid), La Panera (Lleida), TEA (Tenerife), CAAM (Las Palmas), Es Baluard (Palma de Mallorca), CA2M (Madrid region), DA2 (Salamanca), Fundación La Caixa, Fundación Botín (Santander), MAC (A Coruña), CAB (Burgos), CAFA Art Museum (Beijing), FRAC – Fonds régional d’art contemporain (Corsica, France), and American University (Washington D.C.).

She is currently a professor at the Faculty of Fine Arts at the University of Vigo.

“Vanitas”

2021

“Imagos”

2021