2006   Chelsea College of Art and Design, Postgraduate diploma  Fine Art Londres, Inglaterra
2004   Chelsea College of Art and Design, BA Painting. Upper second class degree, (2.1)      
2001   BTEC Diploma,distinction, Chelsea College of Art and Design. Distinction.

Solo shows
2021  Jardines de resistencia, Patricia Ready gallery, Santiago-Chile. Curator, Luz Muñoz
2021  Narrativas tácitas, Fundación Arranz Bravo, Barcelona- Spain. Curator, Albert Mercadé
2019  Boira, MAMT Museum, Tarragona- Spain. Curator, Luz Muñoz
2018  Paisaje de Cristal, Madhaus gallery, Santiago-Chile
2016  Jardín ceniza, Spai M, La Escocesa Fabrica de Creación, Barcelona- Spain
2016  Circo familiar -extrañamientos de lo propio-  La Place Gallery, Barcelona- Spain
2015  Penas Precoces, Madhaus Gallery, Santiago- Chile

Group shows
2021  The garden needs its flowers, Museo Tecla sala, Barcelona, España.
       Curador, David Armengol y Albert Mercadé
2019  Duo show, Witnessing possibilities, Loop festival City screen, Barcelona- Spain.
       Curador, Luz Munoz
2018  Duo show Pinta Miami, Crossing cultures, Countries section, Miami- EEUU. Curator, Matías
2014  Exposición colectiva, Lunes por la Tarde, Centro Cultural de las Condes, Santiago, Chile

Awards and residencies
2018  Runner-up, Premi de Pintura Internacional Guasch Coranty. Centre Metropolità d’Art Tecla
       Sala.Barcelona- Spain
2017  Winner, XL Premi Tapiró de Pintura. Biennal d’art 2017, Museo de Arte Moderno de la
       Diputació de Tarragona- Spain
2016  Artist in residence at La Escocesa, Barcelona
2009  Runner-up, Premio Cabeza de Ratón. Museo de Artes Visuales. Santiago.
2004  TIPP- Hungary. International Postgraduate Program. Hungarian university of fine arts
       and the Runner-up, Premio Cabeza de Ratón. Museo de Artes Visuales. Santiago.

2019  Art Central Hong Kong, Isabel Croxatto galería (HKG)
       Contemporary Istanbul, Isabel Croxatto galería (TR)
2018  Pinta Miami, countries selection, Isabel Croxatto galería (EEUU)
       Contemporary Istanbul, Isabel Croxatto galería (TR)
       CHACO,  Isabel Croxatto galería (CH)

Private collections
Museo Mamt, Tarragona 

*Andrea Lería is the founder of ASSAIG 7, a not-for-profit organization created in 2019. Our headquarters are in an industrial building in Hospitalet (Barcelona).
ASSAIG 7 aims to promote socially engaged art that involves the people and communities in debate, collaboration and social interaction. We are aware that it will take years to develop relationships with the community, to grasp all the complexities of a place in a short time it’s not possible. We run small projects to work in this direction.
ASSAIG 7 is also a centre for research and production, offering support and spaces to artists and creatives.
ASSAIG 7  houses ESPAI 10, art laboratory curated by Luz Muñoz. ESPAI 10 runs its own activities programe, which includes, among others, art laboratories, exhibitions, presentations, workshops, and other learning activities for artists.


Five years ago I returned to Barcelona, the town where I was born in 1980. The encounter with this city, my grandmother and her home gave new meaning and introduced new nuances to the ongoing exploration of my personal archives and their relationship with memories and the construction of identity. I unearth remains, looking for remnants of a genealogical trace—that of a childhood lived in a geography that got lost somewhere between migrations and movements.
I conceive my art practice as a “biographic way of seeing the world”, my hands are my “thinking tool”. Drawing, painting, writing, video, sound and archive material reach their fullest sense, testing them through art, both on a daily basis and across the broad time of biography. Today painting and drawing are key to my creative process, but there are things that the paintings do not say.
The interest lies in the family archive, making visible the everyday acts of archiving, unveiling the affective intimacy between the subject and the meaning I give to the object, the handwritten texts and what is recorded and preserved as an image. Finding ways of archiving, writing, recording, photographing, holding on to those things that could disappear without leaving a trace: these processes are all represented in the devices I incorporate into the exhibition projects.
Between word and image, the work revolves around mnemonic records and systems, developing as one would develop a photograph; Through a practice that redefines both media and materials, I build the family tree, write my diary, draw an album and arrange my archive. What is significant is neither the story nor the particular and individual accuracy of the facts, but rather the recognizable Memory that we share; that Memory whose invention is swayed by affections, bringing us back to a future that will be everything we have not yet experienced.