Marina Núñez | |
|---|---|
%22,_2006.jpg) | |
| Born | 1966 (age 57–58)
Palencia, Spain |
| Nationality | Spanish |
| Alma mater |
University of Salamanca University of Castilla-La Mancha |
| Known for | Artist, professor and writer |
| Website |
marinanunez |
Marina Núñez (born 1966) is a Spanish artist, and a professor at the University of Vigo. [1] Her work is included in the collections of Museo Nacional Centro de Arte Reina Sofía in Madrid, Artium in Vitoria, MUSAC in Leon, Patio Herreriano in Valladolid, TEA in Tenerife, Fundación La Caixa, Fundación Botín, Corcoran Gallery of Art in Washington, DC, National Museum of Women in the Arts in Washington DC, Mint Museum of Art in Charlotte, North Carolina, Katzen Arts Center, American University Museum, in Washington DC, Fonds régional d'art contemporain in Corsica, France. [2]
Education
Núñez has a bachelor of fine arts degree from the University of Salamanca, and a PhD in fine arts from the University of Castilla-La Mancha. [3]
Career and work
Her work was first exhibited in the early 1990s. Her depictions of madwomen. [4] and female monsters revealed an interest in gender discourses -in deconstructions and propositions about women's identities, in the wake of what was one of the great discursive achievements of feminism of the 60th-70th and later.
Her oil painting, narrative and conceptual, progressively combined, from the first decade of 2000, with digital techniques in 2D and 3D, both still image and video. Simultaneously, new iconographies, related to the territory of science fiction and horror -without leaving behind references of the clinical imaginary and influences of certain moments in Art History as the Baroque or Surrealism- were consolidated in her images [5]
Marina Núñez represents posthuman identities through images of mutant, mestizo, multiple bodies. In philosopher José Jimenez's words, "the question of identity opens to the experience of metamorphosis: I am myself and my other. Body and image. Male and female. Rational and insane. Normal and monster. Native and foreign. Human being and machine. Earthling and alien." [6]
References
- ^ "Marina Núñez Jiménez". University of Vigo. Retrieved 1 October 2017.
- ^ "Marina Núñez pone el foco en los artistas del futuro". ABC (newspaper) (in European Spanish). 7 November 2016. Retrieved 19 September 2017.
- ^ "La artista palentina Marina Núñez prepara una obra para la capilla del Barjola". La Nueva España. 12 September 2017. Retrieved 19 September 2017.
- ^ Mayayo, Patricia (11 May 2007). "Charcot reinterpretado" (PDF). Jano Medicina y Humanidades. 1 (651): 52–54. Archived from the original (PDF) on 9 April 2015. Retrieved 19 September 2017.
- ^ Tejeda, Isabel (2011). "Marina Núñez o la construcción del cíborg. Un discurso multimedia entre la utopía y la distopía". Icono 14. Nº 18, año 9, Vol. 1-Mujeres y tecnología: 1–19.
- ^ Jiménez, José (8 April 2000). "Alien". El Mundo.
External links
| International | |
|---|---|
| National | |
| Other | |
Marina Núñez | |
|---|---|
|
| |
| Born | 1966 (age 57–58)
Palencia, Spain |
| Nationality | Spanish |
| Alma mater |
University of Salamanca University of Castilla-La Mancha |
| Known for | Artist, professor and writer |
| Website |
marinanunez |
Marina Núñez (born 1966) is a Spanish artist, and a professor at the University of Vigo. [1] Her work is included in the collections of Museo Nacional Centro de Arte Reina Sofía in Madrid, Artium in Vitoria, MUSAC in Leon, Patio Herreriano in Valladolid, TEA in Tenerife, Fundación La Caixa, Fundación Botín, Corcoran Gallery of Art in Washington, DC, National Museum of Women in the Arts in Washington DC, Mint Museum of Art in Charlotte, North Carolina, Katzen Arts Center, American University Museum, in Washington DC, Fonds régional d'art contemporain in Corsica, France. [2]
Education
Núñez has a bachelor of fine arts degree from the University of Salamanca, and a PhD in fine arts from the University of Castilla-La Mancha. [3]
Career and work
Her work was first exhibited in the early 1990s. Her depictions of madwomen. [4] and female monsters revealed an interest in gender discourses -in deconstructions and propositions about women's identities, in the wake of what was one of the great discursive achievements of feminism of the 60th-70th and later.
Her oil painting, narrative and conceptual, progressively combined, from the first decade of 2000, with digital techniques in 2D and 3D, both still image and video. Simultaneously, new iconographies, related to the territory of science fiction and horror -without leaving behind references of the clinical imaginary and influences of certain moments in Art History as the Baroque or Surrealism- were consolidated in her images [5]
Marina Núñez represents posthuman identities through images of mutant, mestizo, multiple bodies. In philosopher José Jimenez's words, "the question of identity opens to the experience of metamorphosis: I am myself and my other. Body and image. Male and female. Rational and insane. Normal and monster. Native and foreign. Human being and machine. Earthling and alien." [6]
References
- ^ "Marina Núñez Jiménez". University of Vigo. Retrieved 1 October 2017.
- ^ "Marina Núñez pone el foco en los artistas del futuro". ABC (newspaper) (in European Spanish). 7 November 2016. Retrieved 19 September 2017.
- ^ "La artista palentina Marina Núñez prepara una obra para la capilla del Barjola". La Nueva España. 12 September 2017. Retrieved 19 September 2017.
- ^ Mayayo, Patricia (11 May 2007). "Charcot reinterpretado" (PDF). Jano Medicina y Humanidades. 1 (651): 52–54. Archived from the original (PDF) on 9 April 2015. Retrieved 19 September 2017.
- ^ Tejeda, Isabel (2011). "Marina Núñez o la construcción del cíborg. Un discurso multimedia entre la utopía y la distopía". Icono 14. Nº 18, año 9, Vol. 1-Mujeres y tecnología: 1–19.
- ^ Jiménez, José (8 April 2000). "Alien". El Mundo.
External links
| International | |
|---|---|
| National | |
| Other | |