Andrea Lería was born in 1980 in Barcelona. While in school-age, Andrea Lería moved along with her family and settled in Santiago, Chile.
Between 2000 and 2006, Lería lived and followed university studies in London, earning a Bachelor of Arts degree in Painting from the Chelsea College of Art and Design, before joining the postgraduate course from the same institution. During that period, the artist participated in group exhibitions in London and in an artist-in-residence programme in Budapest (Hungary).
Lería returned to Barcelona in 2014, where she currently lives and works. In the past five years, the artist has had solo exhibitions both in Santiago and in Barcelona, being recognized in 2017 with the Premio Tapiró de Pintura prize at the Museo de Arte Moderno de la Diputació de Tarragona in Tarragona, Spain.
2001-2004 Chelsea College of Art and Design, BA Painting. Upper second class degree.
2006 Chelsea College of Art and Design, Postgraduate diploma Fine Art Londres-Inglaterra
2019 Boira, Museu d’art Modern Tarragonas Tarragona, Spain
Curator, Luz Muñoz
2018 Silent as glass, Madhaus Gallery, Santiago Chile
2016 Ash garden, Spai M, La Escocesa, Barcelona
2016 Family circus –strangement of the self- La Place, Barcelona
2015 Childhood Worries, Madhaus Gallery, Santiago, Chile
2019 Witnessing possibilities, Duo show LOOP Barcelona
Curator: Luz Muñoz
2018 Pinta Miami, duo show at Pinta Countries selection with Isabel Croxatto Gallery
Curator, Matías Allende
2014 Monday afternoonCentro 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.
2017 Winner, XL Premi Tapiró de Pintura. Biennal d’art 2017, Museo de Arte Moderno de la Diputació de Tarragona. Tarragona, Spain.
2016 Artist in residence at La Escocesa, Barcelona
2009 Runner-up, Premio Cabeza de Ratón. Museo de Artes Visuales. Santiago.
Alan Gureli, (TR)
MAMT Museum, (SP)
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.