Un fatal descontento de lugar (A Fatal Discontent of Place) is Tamara Arroyo’s second solo show at NF/NIEVES FERNÁNDEZ. The show presents  unpublished but substantial pieces in the artist’s career, ideas that were left on the margins of previous projects and that needed to materialize. Some of them derive directly from other works commissioned for the public space.

The title of the exhibition takes a concept that Jane Jacobs describes in her book “Death and Life of Great Cities”, and in its awkward translation to Spanish becomes very appropriate here: A fatal discontent of a place. Jacobs reflects on the contradictions between monofunctional urban politics and the multiple uses of the city, and argues for a type of urban life that guarantees certain capacities and choices.

Tamara Arroyo’s practice is based on her own experiences as an inhabitant of the city: both in a literal and punctual way (rescuing elements found in her walks and decontextualizing them by introducing them in her works), and in a poetic and subjective way (with allusions to her experiences, her stay in Havana, or the passage of light through the furniture of her street, for example).

Recreating devices used for order and separation, Tamara Arroyo speaks of identity, of the individual, of freedom. Delving into the ornaments, tiling, manual works and grilles that are still present in popular neighborhoods and in the social housing of our cities, the artist fights to recover the diversity that capitalism erases.

This exhibition is a playground, a representation of the city. It is a scenario that demands efforts and adaptations from those who visit it, forcing them to value their own experience in a complex and dynamic environment such as cities. Ultimately, it is a strengthening of personal identity, a manifesto for diversity in times of uncertainty.




Materialismo de un descarte reúne una pequeña parte del Universo Landet en NF/NIEVES FERNANDEZ. José Luis vive de los descartes culturales y desarrolló una práctica que es la construcción constante y rítmica de un gran suelo     ATLAS     que se despliega en múltiples direcciones de forma sostenida.

Admite todo tipo de manifestaciones: Pintura, literatura, cartas, fotografías, enciclopedias, etc. El movimiento que genera en busca de material simbólico es el que mantiene su tierra oxigenada, el soporte sobre el cual él trabaja.

Los descartes son desmesurados de forma diaria y sistemática contribuyendo a la fragmentación y descomposición de la materia simbólica. Este comportamiento favorece la incorporación de nuevos atributos para su propio universo: La liberación de formas originales. 

(Extracto del texto de Lucila Gradin sobre Materialismo de un descarte | Percepción del universo Landet | Sección 11: Compostaje.)


Materialism of a Waste gathers a small part of the Landet Universe in NF/NIEVES FERNANDEZ. José Luis lives from cultural discards and has developed a practice that is the constant and rhythmic construction of a great      ATLAS     ground that unfolds in multiple directions in a sustained way.

It admits all kinds of manifestations: Painting, literature, letters, photographs, encyclopedias, etc. The movement he generates in search of symbolic material is what keeps his soil oxygenated, the support on which he works.

The discards are disproportionate on a daily and systematic basis, contributing to the fragmentation and decomposition of the symbolic material. This behavior favors the incorporation of new attributes for his own universe: the liberation of original forms. 

(Excerpt from Lucila Gradin’s text on Materialism of a Waste | Perception of the Landet universe | Section 11: Composting).


*Celebra la Navidad en las galerías de Arte Madrid. Jueves 15 de diciembre, 19 – 21h




Manifiesto Realista, primera exposición de Ângela Ferreira en NF/NIEVES FERNANDEZ, pone de relieve la idea del reciclaje en un complejo conjunto de formas entrelazadas. Reciclaje de máquinas, muebles y estructuras arquitectónicas que provienen de su vida cotidiana pero ya no están en buen estado. En segundo lugar, del estudio continuado del arte constructivista ruso y sus propuestas utópicas y vanguardistas para la creación de arte político a principios del siglo XX, concretamente Naum Gabo.

Los temas a los que alude: movimientos obreros, suministros de gas, líneas geográficas, revoluciones, cárceles y libertad, surgen durante una investigación sobre el legado de la circunnavegación, y nos plantean preguntas sobre la geopolítica europea actual.



Realistic Manifesto, the first exhibition by Ângela Ferreira at NF/NIEVES FERNANDEZ brings to the fore the idea of recycling in a complex intertwined set of ways. Reciclyng of machinery, furniture and architectural structures wich hail from her daily life but are no longer working. Secondly, of the continuing study of the Russian constructivist and its utopic, avant-garde proposals for political art making in the early 20th century, specifically Naum Gabo.

The issues pointed at: workers movements, gas supplies, geographic lines, revolutions, prisions and freedom, began during an investigation about the legacy of the circumnavigation and arouse questions about today’s European geopolitics.




Las cartas de una baraja solo son identificables por un lado. Los jugadores, por su parte, solo conocen sus propias cartas y no tienen acceso a todas las probabilidades. En la teoría de juegos se denominan juegos de “información imperfecta”, en oposición a los que no tienen ninguna información oculta y se basan en estrategias.

En la vida tomamos decisiones basándonos en esa misma información imperfecta. No podemos ver dentro de la cabeza de las personas, ni siquiera podemos entender claramente nuestro propio pensamiento. Nuestro camino está cambiando constantemente y debemos reaccionar frente a estos cambios.

Puede que no haya victoria al final, pero las pérdidas siempre pueden ser enormes. Así que algunos de nosotros irónica y ansiosamente nos apoyamos en cartas de todos tipos para revelar nuestro destino desconocido. Y aunque nunca podremos saber cuál será nuestro destino, y mucho menos influir en él, sí que podemos tomarlo a la ligera e intentar disfrutar del juego.


Cards are only identifiable from one side. The players only know their own cards and do not have access to all probabilities. In game theory they are characterized as games of “imperfect information” opposed to the ones which have no hidden information and are based on strategies.

In life we make all our decisions based on imperfect information. We cannot see inside peoples’ heads, we cannot even understand our own thinking clearly. Constantly our path is changing, and we must react to it.

There is no win in the end, but the losses can be huge. So some of us ironically and anxiously refer to cards of all things to reveal our unknown destiny to us. But we can never know what our fate will be, much less influence it. We can only take it lightly and try to enjoy the game.




INAUGURACIÓN 16/dic. | Más información aquí.

OPENING: 16/dec. Further information here.