EN 
ES 
IT 
FR 
ZH 
PT Miren Doiz
Pamplona, Spain, 1980
Miren Doiz's position, with her gaze focused on the margins -or, if you will, on "the marginal" of painting-, connects with a trend within Spanish contemporary art that seeks to deconstruct the aesthetic operations of the solemn in favor of the real. It is not about an old-fashioned version of the Nouveau réalismeThe artist's work is the result of a palpable anxiety, shared by many Spanish artists, to deactivate the grandiloquence of the modern narrative and its apparent superiority over contemporary life. In this recent series of works, the artist from Pamplona approaches painting and sculpture equally, treating them as ductile and expandable languages. A Dadaist air, with a slight metaphysical tinge, pervades these baroque bodies, which constitute an absolutely personal bricolage - a la Lévi-Strauss.
After studying at the School of Arts and Crafts in Pamplona, he graduated in Fine Arts from the University of the Basque Country in 2003. Subsequently, he furthered his training at the Escola Massana d'Art i Disseny in Barcelona. Among the recognitions he has received are the Young Artists of Pamplona Award (2003), the Encuentros de Jóvenes Artistas de Navarra Award (2005), the Estampa DKV Award (2015), the Pollock-Krasner Foundation grant (2014-2015) and the scholarship of the Royal Academy of Spain in Rome (2018). For several years, he has been living and working in Madrid.
Among his numerous group exhibitions, the following stand out Wanting to look like nightat the CA2M in Móstoles (2018), curated by Beatriz Alonso and Carlos Fernández-Pello; Art Situacionspresented at Villa Croce (Genoa), MACRO (Rome) and Matadero (Madrid) in 2015, curated by Vicente Todolí, María de Corral, Lorena Martínez de Corral and Ilaria Gianni; 8 spatially extraordinary issuesat Tabacalera, Madrid (2014), curated by Virginia Torrente; Before you go. Ideas about paintingat the MAC Unión Fenosa in A Coruña (2013), curated by David Barro; Round and round with the damn paint!at the Museo ICO in Madrid (2011), curated by Juan Ugalde; A warning shotin Lalín (2011), curated by Ángel Calvo Ulloa; and On a tightropeat the Heinrich Ehrhardt Gallery, Madrid (2009), curated by Pablo Flórez.
He has had two solo exhibitions at the Moisés Pérez de Albéniz gallery and has participated in exhibitions at the Rita Urso Artopia gallery in Milan and the Carlos Carvalho gallery in Lisbon in recent years.
His work is part of important collections, including the Coca-Cola Foundation, the Contemporary Art Collection of the Community of Madrid, the Contemporary Art Collection of the City of Pamplona, the ICO Museum Collection, the DKV Collection, the Collection of the Centro de Arte Dos de Mayo (CA2M) and the Collection of the Museum of Navarra.
curriculum
Studies
Graduate in Fine Arts from the University of the Basque Country.
Personal exhibitions
ArcadiaEl Apartamento Gallery. Madrid. Spain.
Nowhere/Somewhere. Inon ez/Nonbait. Altxerri Gallery. Donostia-San Sebastian
2022
A personal (and guilty) landscape. Monteleón sideboard. Madrid
2021
De-velar Intervention in the Museum of Navarra. Pamplona
2020
16/10. Panorama 20. House of the Admiral. Tudela.
2017
7 shapes and a teaspoon. Intervention. Tabakalera. International Center of Contemporary Culture. Donostia/San Sebastián
2016
Stop painting as I used to doMoises Perez de Albéniz Gallery. Madrid
2012
Seen and unseen. Moisés Pérez de Albéniz Gallery, Pamplona.Assemble, disassemble. Oven of the Citadel. Pamplona.
2008
Installation in the Atrium of the Gustavo de Maeztu Museum. Estella
collective exhibitions
2023
Interstrata. Oteiza Museum. Navarre.
Nowhere, somewhere. Altxerri Gallery. San Sebastian.
2022
Meetings Pamplona. 72-22, Pamplona.
Atlas. Coordinates and identities in the Mariano Yera Collection. Palace of San Esteban. Murcia.
A History of Recent Art. Juan March Foundation. Museum of Abstract Art of Cuenca.
Room. Zazpi. Grants to the creation of the Government of Navarre. Huarte Center.
2021
14 more. Acquisitions of the Museum of Navarre. Pamplona.
Painting: permanent renovation. Curated by Mariano Navarro. Patio Herreriano Museum, Valladolid.
Aragon park. Intervention with Kai D.S. Madrid.
2020
The rest. University Museum of Navarra. Pamplona.
The question is to keep moving. Curated by Angel Calvo Ulloa. Cultural Center of Spain in Mexico, Mexico City.
2019
Play of Boundaries. Curated by Jaime and Manuela. Carlos Carvalho Gallery.
One thing is . Together with Irma Álvarez Laviada. Rita Urso Artopia gallery. Milan. During, after. Curated by Sema Dácosta at Sala Amárica. Gasteiz.
Processi 145. Exhibition of scholarship holders Academy of Spain in Rome. Royal Academy of San Fernando.
Nodes. Intervention in Lamosa lab. Cuenca.
2018
Scholarship Royal Academy of Spain in Rome. Rome. Wanting to look like night. CA2M. Madrid.
MPA on Paper. Moisés Pérez de Albéniz Gallery. Madrid.
Processi 145. Exhibition of scholarship holders Academy of Spain in Rome. Rome.
Consequences. DKV Collection. Curated by David Barro and Alicia Ventura. Santiago de Compostela.
2016
Art Education in the Age of Metrics. University of Canterbury. Curated by Emma Brasó.
2015
Art Situacions. Curated by Vicente Todolí, Maria de Corral, Lorena Mtez de Corral and Ilaria.
Gianni. Villa Croce. Genoa. MACRO.Rome Turn your eyes. Moisés Pérez de Albéniz Gallery. Madrid.
2014
Pollock-Krasner Fellowship. New York (April 2014-April 2015)
ARTE+PINTING Conference. Organized by the University of Pontevedra. Santiago de Compostela.
Hyperobjects. Curated by Alfredo Aracil. COAM. Madrid.
8 spatially extraordinary issues. Curated by Virginia Torrente.Tabacalera. Madrid.
Feedback. Curated by Francesco Giaveri and Tiago de Abreu Pinto, Sala de Arte Joven de la Comunidad de Madrid.
2013
2014 / Before you go. Ideas about painting. Curated by David Barro. Gas Natural-Unión Fenosa Museum of Contemporary Art. A Coruña.
2012
The IV Collection. CA2M. Madrid.
An empathetic environment for the artist. Curated by Emma Brasó. Sala de Arte Jóven.Madrid.
2011
A proposal from Juan Ugalde. MUICO. Madrid.
Impossible Melodies. SOS 8.4. Murcia. Curated by David Barro.
Ten years of contemporary Spanish photography. Instituto Cervantes de Sao Paulo, Rio de Janeiro, Brasilia and Salvador de Bahia. Curated by Lorena Corral.
2010
Welcome home. Moisés Pérez de Albéniz Gallery, Pamplona.
Purificación García Photography Biennial. Fine Arts Circle. Madrid. Bilbaoarte.Bilbao.
25th Anniversary of the Encuentros de Jóvenes Artistas de Navarra (Young Artists Meetings of Navarre). Curated by Juan Zapater. Pamplona. Tudela. Sangüesa.
2009
On a tightrope. Heinrich Ehrhardt Gallery. Madrid. Curated by Pablo Flórez.
Contemporary Art 09. Enclosure of the Citadel. Pamplona.
Injuve Visual Arts Exhibit 08. Fine Arts Circle. Madrid. Albéitar Hall of the University of León. Cultural Center of Spain in Mexico City. Cultural Center of Spain in Guatemala. Cultural Center of Spain in Sto. Domingo. Cultural Center of Spain in San Salvador. Young Art Fair of San Salvador.
Here. 4 photographers from Madrid. Curated by Lorena de Corral. Canal Isabel II. Madrid.
2008
Monster roast. Carlos III Hall of the U.P.N.A.
2007
FUTURE PLANS . Spanish art in the 2000s. Curated by María and Lorena de Corral.
Collections
Coca Cola Foundation Collection
Contemporary Art Collection of the Community of Madrid,
Collection of the Parliament of Navarra
Museum Collection ICO Collections,
DKV Collection,
Olor Visual Collection,
Mariano Yera Collection,
CA2M Collection,
Museum of Navarra Collection
Works
Miren Doiz
Sandra, Antoine and me, 2021
Wooden frame, wood, dashboard piece, acrylic and resin
200 x 130 cm (78.7 x 51.2 in)
Miren Doiz
Dokoupil, Sandra, Antoine and me, 2021
Wooden frame, wood, dry plastic paint, chipboard and resin strip, wood glue, resin and acrylics
200 x 130 cm (78.7 x 51.2 in)
Miren Doiz
Sandra, Antoine and me, 2021
Wooden frame, wood, dashboard piece, acrylic and resin
200 x 130 cm (78.7 x 51.2 in)
Miren Doiz
Dokoupil, Sandra, Antoine and me, 2021
Wooden frame, wood, dry plastic paint, chipboard and resin strip, wood glue, resin and acrylics
200 x 130 cm (78.7 x 51.2 in)
Miren Doiz
A personal (and guilty) landscape, Fallen Tree, 2024
Iron, wood, carpet, tinplate, hose, polystyrene, resin, acrylic paint
146 x 60 x 50 cm (57.5 x 23.6 x 19.7 in)
Miren Doiz
A Personal (and Guilty) Landscape, Aleta de shark, 2024
Iron, wood, carpet, tinplate, hose, polystyrene,
resin and acrylic paint
146 x 60 x 50 cm (57.5 x 23.6 x 19.7 in)
Miren Doiz
A personal (and guilty) landscape, Yellow Plant, 2022
Iron, ceramics, rubber, hose, resin and acrylic paint
54 x 20 x 15 cm (21.6 x 7.9 x 5.9 in.)
Miren Doiz
A Personal (and Guilty) Landscape, Aleta de shark, 2024
Iron, wood, carpet, tinplate, hose, polystyrene,
resin and acrylic paint
146 x 60 x 50 cm (57.5 x 23.6 x 19.7 in)
Miren Doiz
A personal (and guilty) landscape, Yellow Plant, 2022
Iron, ceramics, rubber, hose, resin and acrylic paint
54 x 20 x 15 cm (21.6 x 7.9 x 5.9 in.)
Miren Doiz
Interestratos (Galán), 2023
Stainless steel, linoleum, resin, adhesive cloth
adhesive tape and paint
103 x 33 x 41 cm (40,5 x 13 x 16,1 in)
Miren Doiz
A personal (and guilty) landscape, 2024
Installation / Iron, wood, glass, plastic, rubber, tile, rope, fabric, adhesive tape, slippers, clothes, empty paint cans, glue, wood glue, dry paint, linoleum, resin and acrylic paint, among others.
Variable dimensions
This is the second part of a project that emerged in 2022 from personal reflections directly related to the situation caused by the pandemic. It is an installation made from things, mostly personal and others found, that had accompanied me and that I had accumulated over the years. The result was an installation that formally adopted the appearance of a natural environment, almost a forest.
I reflect among other issues on the fact that our current consumption model is devastating our planet or is happening as a result of the massive use of plastic. The latter, a hyperobject, as defined by Anthony Morton, is massively distributed in time and space in relation to humans. And that not only surrounds us but through water and food has already begun to form part of our organisms and interact with our DNA. It is curious that geologists have begun to study it as a new dominant mineral in our time: the Anthropocene.
PROJECT CARRIED OUT WITH THE AID FOR THE CREATION OF NAVARRA AND AID FOR CREATION 2023 OF THE COMMUNITY OF MADRID
Miren Doiz
A personal (and guilty) landscape, Carnivora, 2024
Wood, glass, plastic, metal, rubber, slippers, clothing, face masks, rubber, cloth tape, wood glue, glue, resin and acrylic paint
95 x 65 x 52 cm (37.4 x 25.6 x 20.5 in)
Miren Doiz
A personal (and guilty) landscape, Carthusian monastery, 2024
Iron, glass, plastic, resin, rubber, tile, rope, cloth tape, slippers, clothing, face masks, glue, wood glue, resin and acrylic paint
188 x 70 x 35 cm (74 x 27.6 x 13.8 in)
Miren Doiz
A personal (and guilty) landscape, Glass Jar, 2024
Empty paint cans, clothing, slippers, plastic, dry paint, linoleum, resin and acrylic paint
42 x 45 x 50 cm (16.5 x 17.7 x 19.7 in)
Miren Doiz
A personal (and guilty) landscape, Carnivora, 2024
Wood, glass, plastic, metal, rubber, slippers, clothing, face masks, rubber, cloth tape, wood glue, glue, resin and acrylic paint
95 x 65 x 52 cm (37.4 x 25.6 x 20.5 in)
Miren Doiz
A personal (and guilty) landscape, Carthusian monastery, 2024
Iron, glass, plastic, resin, rubber, tile, rope, cloth tape, slippers, clothing, face masks, glue, wood glue, resin and acrylic paint
188 x 70 x 35 cm (74 x 27.6 x 13.8 in)
Miren Doiz
A personal (and guilty) landscape, Glass Jar, 2024
Empty paint cans, clothing, slippers, plastic, dry paint, linoleum, resin and acrylic paint
42 x 45 x 50 cm (16.5 x 17.7 x 19.7 in)
Miren Doiz
A personal (and guilty) landscape, Fireplace, 2024
Wood, aluminum, ceramics, clothing, iron, empty paint cans, slippers, plastic, dry paint, linoleum, resin and acrylic paint
142 x 56 x 55 cm (50.9 x 22 x 21.7 in)
Miren Doiz
A personal (and guilty) landscape, Flamenco, 2024
Wood, aluminum, ceramics, clothing, iron, empty paint cans, slippers, plastic, dry paint, linoleum, resin and acrylic paint
142 x 56 x 55 cm (50.9 x 22 x 21.7 in)
Miren Doiz
A personal (and guilty) landscape, Fluorescent, 2024
Wood, iron, glass, plastic, rubber, clothing, face masks, reflective fabric, dry paint, wood glue, aluminum, rubber, resin and acrylic paint
53 x 81 x 95 cm (20.9 x 31.9 x 37.4 in)
Miren Doiz
A personal (and guilty) landscape, Fireplace, 2024
Wood, aluminum, ceramics, clothing, iron, empty paint cans, slippers, plastic, dry paint, linoleum, resin and acrylic paint
142 x 56 x 55 cm (50.9 x 22 x 21.7 in)
Miren Doiz
A personal (and guilty) landscape, Flamenco, 2024
Wood, aluminum, ceramics, clothing, iron, empty paint cans, slippers, plastic, dry paint, linoleum, resin and acrylic paint
142 x 56 x 55 cm (50.9 x 22 x 21.7 in)
Miren Doiz
A personal (and guilty) landscape, Fluorescent, 2024
Wood, iron, glass, plastic, rubber, clothing, face masks, reflective fabric, dry paint, wood glue, aluminum, rubber, resin and acrylic paint
53 x 81 x 95 cm (20.9 x 31.9 x 37.4 in)
Miren Doiz
A personal (and guilty) landscape, Exhaust pipe, 2024
Iron, exhaust pipe, plastic, clothing, dry paint, linoleum, resin and acrylic paint
227 x 85 x 70 cm (89.4 x 33.5 x 27.6 in)
Miren Doiz
A personal (and guilty) landscape, Cube Tree, 2024
Iron, clothing, plastic bucket, fabric, rope, dry paint, glass, resin and acrylic paint
227 x 87 x 38 cm (89,4 x 34,3 x 15 in)
Miren Doiz
A personal (and guilty) landscape, Guitar Tree, 2024
Iron, wood, clothing, guitar, guitar, brass, dry paint, polystyrene, resin and acrylic paint
208 x 58 x 58 cm (81.9 x 22.8 x 22.8 in)
Miren Doiz
A personal (and guilty) landscape, Exhaust pipe, 2024
Iron, exhaust pipe, plastic, clothing, dry paint, linoleum, resin and acrylic paint
227 x 85 x 70 cm (89.4 x 33.5 x 27.6 in)
Miren Doiz
A personal (and guilty) landscape, Cube Tree, 2024
Iron, clothing, plastic bucket, fabric, rope, dry paint, glass, resin and acrylic paint
227 x 87 x 38 cm (89,4 x 34,3 x 15 in)
Miren Doiz
A personal (and guilty) landscape, Guitar Tree, 2024
Iron, wood, clothing, guitar, guitar, brass, dry paint, polystyrene, resin and acrylic paint
208 x 58 x 58 cm (81.9 x 22.8 x 22.8 in)
Miren Doiz
A personal (and guilty) landscape, Yogurtera, 2024
Plastic, methacrylate, wood, ceramics, clothing,
toaster, dry paint, linoleum, resin and acrylic paints
31 x 58 x 42 cm (12.2 x 22.8 x 16.5 in)
Miren Doiz
A personal (and guilty) landscape, Hose, 2024
Iron, wood, carpet, tinplate, hose, polystyrene,
resin and acrylic paint
146 x 60 x 50 cm (57.5 x 23.6 x 19.7 in)
Miren Doiz
A personal (and guilty) landscape, Extraterrestrial Flower, 2024
Iron, wood, clothing, rubber, dry paint, dry paint
aluminum, linoleum, resin and acrylic paint
131 x 38 x 44 cm (51,6 x 15 x 17,3 in)
Miren Doiz
A personal (and guilty) landscape, Yogurtera, 2024
Plastic, methacrylate, wood, ceramics, clothing,
toaster, dry paint, linoleum, resin and acrylic paints
31 x 58 x 42 cm (12.2 x 22.8 x 16.5 in)
Miren Doiz
A personal (and guilty) landscape, Hose, 2024
Iron, wood, carpet, tinplate, hose, polystyrene,
resin and acrylic paint
146 x 60 x 50 cm (57.5 x 23.6 x 19.7 in)
Miren Doiz
A personal (and guilty) landscape, Extraterrestrial Flower, 2024
Iron, wood, clothing, rubber, dry paint, dry paint
aluminum, linoleum, resin and acrylic paint
131 x 38 x 44 cm (51,6 x 15 x 17,3 in)