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Laura F. Gibellini
Spain, 1978
Laura F. Gibellini’s artistic practice is process-based and diagrammatic, and it materializes primarily through drawing, site-specific installations, video, object-making, and writing. At the core of her work lies an expanded understanding of drawing — moving away from the traditional notion of frontally framed, two-dimensional representation in favor of immersive, “environmental” projects.
Her practice begins by considering the notion of place and questioning how we relate to the world, eventually moving toward an investigation of the conventions we use to represent it and to what end — a path that takes her from the intimacy of the domestic sphere to the landscape and the environment.
Her most recent work focuses on elements that lie at the edge of visibility, at the limits of what can be represented, and thus at the limits of what can be thought. Specifically, she is interested in phenomena that lack a stable form, yet are essential to life — such as air, water, light, atmospheric or meteorological conditions in specific places, or the vital energy of a child’s gesture. She explores how the challenges of representation affect our understanding of the world: what cannot be represented cannot be recognized — and therefore cannot be fully thought. Gibellini’s work explores the gaps in representation and the possibilities of imagining the unthinkable.
She has been an artist-in-residence at institutions such as the Royal Academy of Spain in Rome, the Banff Centre for Arts & Creativity (Canada), Matadero Madrid, the Centre de Cultura Contemporània de Barcelona (CCCB), Künstlerhaus Glogauer in Berlin, the Capella de Sant Roc in Tarragona, the Museo de Los Sures in New York, the Accademia di Belle Arti in Rome, the International Studio & Curatorial Program (ISCP) in New York, the AC Institute in New York, the Centro de Arte Joven in Madrid, the Boston Center for the Arts in Boston, The Gabarron Foundation in New York, Mass MoCA in North Adams, the Centre d’Art Santa Mònica in Barcelona, UCCA in Beijing, Artist Space in New York, the Center for Contemporary Arts in Santa Fe, and La Casa Encendida in Madrid, among others.
Her work is part of both private and public collections such as DKV, the Gregorio Prieto Foundation, and the collection of AECID – Spanish Ministry of Foreign Affairs.
Laura F. Gibellini
Luna de brillo
NF/NIEVES FERNÁNDEZ
2025
Luna de Brillo is a drawing made on carbon paper in which I transcribe the title of a painting by Maya, exactly as she wrote it on the canvas itself. This title gives its name to the exhibition and the book that accompanies the project framing this research, titled Mayáutica (a term coined by Ricardo Horcajada in a text that originated the project).
From the Greek μαιευτικός (maieutikós, maieutiké), maieutics refers to the art of the midwife, and was the method used by Socrates to help his students discover knowledge already latent within themselves through a process of questioning. Mayáutica is the title of a long-term artistic project, and Maya is the name of my daughter. It is also the name of one of the seven Pleiades, daughters of Atlas. Atlas was condemned by Zeus to eternally bear the weight of the world on his shoulders. So moved was Zeus by the daughters’ grief over their father’s fate that he transformed them into stars so they could remain close to him.
Mayáutica is, then, an exploration of the drawings made by my daughter Maya between the ages of two and five, but it is also an inquiry into the act of drawing itself and into the mechanisms of drawing as a process. The project unfolds in different series, each of which explores various aspects of drawing as a form of knowledge: from scribbling, to the relationship between drawing and writing, its gestural dimension, and its capacity to express a vital energy that expands almost three-dimensionally.
Luna de Brillo is an exhibition and a book. Luna de Brillo is a study of distance—or of its absence—between things.
– LFG
Laura F. Gibellini
Luna de brillo
2024
Carbon paper
61 x 45,5 cm
Laura F. Gibellini
Árbol con manzanas
2024
Carbon paper
61 x 45,5 cm
YMAA is a piece made with neon tubing that represents the letters of the name “Maya,” although arranged in a non-sequential order. This sequence corresponds to the transcription of the first time Maya wrote her name, recognizing herself in those four characters. At that moment — as is often the case with young children — she had not yet grasped the importance of letter order in constructing a legible message.
This notion of linear order — the idea that a specific sequence of signs produces a precise meaning — is particularly interesting to me when contrasted with a broader, more holistic conception of drawing. Unlike writing, which operates sequentially, drawing allows for multidimensional connections; it does not follow a linear logic, but opens up a field of relationships where elements may connect in ways that are neither explicit nor necessarily coherent from a grammatical or syntactic perspective.
With this piece — and others in which writing also appears — I am interested in exploring this very tension between what it means to write and what it means to draw. The choice of neon stems from a research interest in the line in drawing, and its potential to extend beyond the two-dimensionality of paper to occupy three-dimensional space. Neon tubing, by its very nature, not only takes up volume, but also emits light, which intensifies its presence.
Light, in fact, plays a central role in other works in the project, such as Eclipse 1764 and Transit of Venus 1759, both made of glass, where illumination is essential for the pieces to be fully visible and appreciated. In the case of YMAA, although the letters are unordered, the structure remains linear, which brings to mind another piece, Perro de paseo, in which the letters that compose words are arranged in non-sequential spatial configurations.
This kind of arrangement is of particular interest to me because it evokes the early graphic gestures in childhood development, those initial moments in which writing does not yet adhere to a linear logic. There is, in this process, a transition from free gesture to a temporal and ordered conception of written language. This shift — from drawing to writing, and from the three-dimensional to the linear — is one of the central axes of my research.
Laura F. Gibellini
YMAA
2024
Neon tube
45 x 90 cm
Perro de paseo is a piece created in collaboration with the Royal Tapestry Factory of Madrid, combining two textile techniques that are rarely used together: traditional tapestry weaving and Turkish knotting, the latter commonly found in carpet-making. The work incorporates a drawing by Maya along with one of her earliest written expressions — a transcription of a note — in which writing appears for the first time as a form of expression.
However, this emergence of writing does not yet follow a conventional textual logic. The words are arranged non-sequentially in space, and their composition is closer to the language of drawing. This is evident in the placement of the letters, which do not follow a linear order but occupy the surface according to visual or intuitive criteria, aligned with what the child perceives as appropriate at each moment of the gesture. This kind of arrangement interests me especially, as it evokes the early graphic gestures in childhood development, those initial moments in which writing does not yet conform to a linear logic.
This piece also marks one of my first explorations into the physicality of the drawn line: how a pencil line can be transformed into thread, and how that thread can be woven, built, and shaped into a material that moves away from the wall’s surface to project into three-dimensional space. It is, therefore, a reflection on how drawing can acquire body, volume, and texture, shifting from the graphic to the sculptural, without losing its gestural and expressive quality.
Laura F. Gibellini
Perro de Paseo
2024
Turkish knot and wool tapestry
115 x 85,5 cm
Made in collaboration with the Royal Tapestry Factory of Madrid
Tránsito de Venus 1759 is a piece made of blown and acid-etched glass, featuring two diagrams that depict the transit of Venus observed that same year, based on the records of Captain James Cook and astronomer Charles Green during their expedition around the world. One of the main objectives of that journey was to travel to Haiti in order to observe this astronomical phenomenon.
The study of the transit of Venus was crucial, as it allowed for more precise calculations of the distances between the planets, as well as between the Earth and the Sun. These measurements were essential for understanding the structure of the Solar System and for advancing knowledge of the universe.
This transit, along with the phenomenon of the eclipse, serves as a starting point for reflecting on events that, although seemingly distant or unrelated to daily life, have a profound impact on the way we position ourselves in the world. These astronomical phenomena connect us to something beyond our immediate experience — a cosmic dimension that transcends the intimate and the familiar.
Through this work, I aim to explore the connection between scientific observation and the subjective experience of being in the world: how these astronomical events allow us to consider our existence not only from a particular or local perspective, but from a broader one — one in which we recognize ourselves as part of a larger whole, a cosmos to which we inevitably belong, which affects us, and which we, in turn, can also affect.
Laura F. Gibellini
Tránsito de Venus 1759
2024
Blown and etched glass
55 x 69 cm
Eclipse 1764 is a piece composed of two blown and acid-etched glass elements, depicting one of the earliest recorded total solar eclipses, rendered in a schematic and diagrammatic form. This work continues a line of inquiry in which I use glass as a medium to explore cosmological phenomena that, although not directly part of our earthly plane, have a profound impact on it.
The eclipse functions here as a metaphor for beginnings and endings, for concealment and revelation. It also allows me to draw an analogy between the movement of celestial bodies and Maya’s gestures when drawing — gestures that, like celestial displacements, leave traces, marks, and trajectories, and affect their surroundings.
We know that eclipses influence not only the tides, but also the behavior of animals, natural rhythms, and, by extension, ourselves. In this sense, we are essentially connected to these events: they are phenomena that traverse the biological, the symbolic, the cosmic, and the emotional.
In this piece — as in previous works also made of blown glass — I am interested in introducing elements that do not strictly belong to the realm of the visible or the everyday, but that are nonetheless fundamental to understanding our existence and our place in the universe. The eclipse, with its symbolic power and tangible effect, offers a way of thinking about our connection to what transcends us — to the cycles that move through us, even if they are not always visible.
Laura F. Gibellini
Eclipse 1764
2024
Blown and etched glass
80 x 40 cm y 70 x 35 cm
The Post-it series is composed of drawings that deliberately emulate the familiar adhesive notes of the same name. These works are created using chiné collé, with 3 x 3 inch paper fragments adhered to the surface, replicating the characteristic format of post-its.
On these fragments, using a lithographic pencil, I have reproduced drawings, scribbles, and notes that Maya has left me over time. I often refer to these works as “false lithographs”, as they mimic both the process and appearance of lithographic printmaking, even though they are in fact hand-drawn.
This play between appearance and reality is particularly compelling to me, as it points to the idea of the reproducibility of images, and to the possibility of repeating — or reconstructing — something that is, in principle, unique.
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Laura F. Gibellini
Post it
2024
Lithographic pencil on chine collé
22 x 15 cm
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Almendrita is a series of large-format drawings in which I transcribe illustrations made by Maya for the story of the same name, Almendrita. These drawings, which represent different fragments of the tale, are then reinterpreted using the rules of linear (or one-point) perspective — the visual representation system typical of the Western pictorial tradition.
Through this process, I aim to emphasize how the gesture contained within a mark — in this case, a drawing — is not merely flat, but can be understood as a three-dimensional gesture. That is, the act of drawing can be conceived as a movement that unfolds in space, and not just across the surface of paper.
This idea of the gesture as a spatial phenomenon becomes central to the development of the works in this research, and allows me to draw an analogy between Maya’s gestures while drawing and the movements of celestial bodies in the universe. I am particularly interested in linking the vital energy expressed in Maya’s drawings with cosmic energy, as manifested in astronomical phenomena such as eclipses and transits. These events — in which the Sun is temporarily obscured by the Moon or Venus — have been crucial for our understanding of the planet and the solar system: enabling us to measure planetary distances, calculate dimensions, and even better comprehend the structure of galaxies.
From a metaphorical perspective, I propose a relationship between an apparently innocuous gesture, like a child’s mark, and another gesture equally subtle, such as the transit of Venus or an eclipse. Both, whether discreet or spectacular, possess a depth and significance that transcend their immediate appearance.
Laura F. Gibellini
Almendrita
2024
Crayon on Korean paper
22 x 15 cm
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Appearances of Venus by Captain Cook is a series of three pieces that both open and close the exhibition. These works are made on carbon paper, the very same sheets that were used in the creation of the pieces that form the core of the project, that is, the works presented in the exhibition.
These papers were later intervened, generating marks that refer to the transit of Venus as recorded by Captain Cook. They are thus not only reused working materials, but also surfaces where the image is constructed through subtraction: the drawings become visible through the removal of marks, revealing absence as a form of presence.
This gesture is of particular interest to me, as many of the works in this project explore precisely this tension: the effort to make visible what lies at the edge of perception, what is not immediately apparent, yet directly points to the act itself — whether it be the act of drawing or the trace it leaves behind on the surface.
Laura F. Gibellini
Appearances of Venus by cap. Cook (blue)
2025
Blue carbon paper
22 x 15 cm
Laura F. Gibellini
Appearances of Venus by cap. Cook (yellow)
2025
Yellow carbon paper
22 x 15 cm
Laura F. Gibellini
Appearances of Venus by cap. Cook (red)
2025
Red carbon paper
22 x 15 cm
Diagrama 4, Contorno 3D is a piece that originates from the rendering of a flat drawing, with the aim of imagining what it would look like if it had volume. This operation results in two outcomes: a digital print and a pressed charcoal object, in which the very material of drawing takes on physical form, becoming a three-dimensional object.
This shift from plane to space seeks to explore the possibility of drawing as a cognitive object — not just as a mark on a two-dimensional surface, but as an entity capable of occupying and activating three-dimensional space.
In a similar vein, La medida entre — also made of pressed charcoal and composite material — is a piece conceived using Maya’s height at the time of its creation. Once again, charcoal — a drawing material — is transformed into a body, a volume, a presence that exists in space.
Laura F. Gibellini
Diagrama 4. Contorno 3D
2022/2025
Pressed charcoal (15,5 x 15,5 x 5 cm)
Digital print (25 x 17,6 cm)
Laura F. Gibellini
La medida entre
2022/2025
Pressed charcoal
104 x 3 cm
Diagrama 1, Contorno 3D follows the same process: another diagram, another drawing, is subjected to a visualization and three-dimensional modeling operation. The result is a kind of monolithic, cryptic, and dense object, whose shape may be difficult to decipher, yet it directly refers back to the original drawing from which it was derived.
Laura F. Gibellini
Diagrama 1. Contorno 3D
2022/2025
Digital print
17,6 x 25 cm
Rojo 190521, Azul 190521, and Negro 050621 are three works made on carbon paper over Japanese paper, each accompanied by a digital print. Though independent, these pieces mark the starting point of the Mayáutica project.
Each piece originates from a scribble made by Maya when she was very young. From those original marks, I extracted and graphically highlighted everything that surrounded her strokes, creating a new composition that brings attention to the peripheral — what is usually outside the frame of focus.
Once defined, the composition was scaled to the size Maya was at the time she made the drawing, and then manually transcribed using carbon paper on Japanese paper. The result is an image in which what becomes visible is not the mark itself, but the space around it — a way of making absence visible.
Each of these pieces is accompanied by a color pantone, taken directly from Maya’s original drawings. In this way, the childlike and spontaneous gesture reappears not only in its indirect trace, but also through the color of the original mark, revealing an emotional and visual imprint.
Although deeply intimate and rooted in a domestic gesture, these works also evoke cosmic imagery: nebulae, star maps, formations of the universe. This duality between the intimate and the cosmic, the near and the distant, is central to this body of work.
In fact, this exploration gave rise to the graphic series Mayáutica en azul, produced at the invitation of the Fundación Banco Santander as part of its Derivada program. One of the works in that series, Mayáutica en azul (dibujo), is also included in this exhibition.
In this group of works, I am especially interested in the possibility of linking an intimate, primal, and innocent gesture, made in a space of trust and care, with the representation of something as vast as the cosmos — as if a small mark could contain an entire constellation.
Laura F. Gibellini
Rojo 190521
2022/2025
Papel carbón rojo sobre papel japonés
78 x 54 cm
Laura F. Gibellini
Azul 190521
2025
Papel carbón rojo sobre papel japonés
53,5 x 64,5 cm
Laura F. Gibellini
Negro 050621
2022/2025
Papel carbón negro sobre papel japonés
78 x 54 cm
Laura F. Gibellini
Mayáutica en Azul (dibujo)
2022
Carbon paper and ink on Japanese paper
65 x 53 cm
The YMAA series consists of five drawings based on scribbles and early letters made by Maya. Although these letters do not follow conventional orientation — for example, she writes the letter “M” horizontally — they do so in a consistent and structured way within her own internal logic.
My interest lies in applying the rules of linear perspective to these forms in order to emulate three-dimensionality. I aim to represent the graphic gesture not as a flat or two-dimensional trace, but as an action unfolding in three-dimensional space.
In each of the pieces, I connect the scribbles with the letters, establishing relationships between these two kinds of gestures. The connection between them is determined by the moment they were created: in many cases, the scribble precedes the appearance of the letter, marking a transition from the expressive to the linguistic.
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Laura F. Gibellini
Mayáutica YMAA 1
2023
Carbon paper on Japanese paper
65 x 54 cm
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Laura F. Gibellini
Casa
2024
Tracing paper and crayon on rice paper
68,5 x 91 cm
Laura F. Gibellini
Cosmos
2024
Tracing paper and crayon on rice paper
68,5 x 91 cm
Laura F. Gibellini
Serie en papel arcoiris Mayáutica 190122
2022
Carbon paper on paper
21 x 29,7 cm
Laura F. Gibellini
Serie en papel arcoiris Mayáutica 041121
2022
Carbon paper on paper
21 x 29,7 cm
Laura F. Gibellini
Serie en papel arcoiris Mayáutica 4
2022
Carbon paper on paper
21 x 29,7 cm
Laura F. Gibellini
Notas 29
2023
Carbon paper
27 x 21 cm
Laura F. Gibellini
Notas 13
2023
Carbon paper
27 x 21 cm
Laura F. Gibellini
Mayáutica en Azul
2022
Etching, silkscreen, and gold leaf print on paper
44 x 33 cm
Laura F. Gibellini
Mayáutica 041121
2022
Neon tube, carbon paper on paper, carbon paper on Japanese paper
Laura F. Gibellini
Herbario 1
2020
Tracing on paper
21 x 14 cm
Laura F. Gibellini
Herbario 2
2020
Tracing on paper
21 x 14 cm
Laura F. Gibellini
Herbario 3
2020
Tracing on paper
14 x 21 cm
Laura F. Gibellini
Herbario 5
2020
Tracing on paper
13 x 17,7 cm
Laura F. Gibellini
Herbario 6
2020
Tracing on paper
13 x 17,7 cm
Laura F. Gibellini
Herbario
2013
Work on paper
17,7 x 12,8 cm
Laura F. Gibellini
Magic Mountain 1
2020
Oil stick and tracing on paper
23 x 30,5 cm
Laura F. Gibellini
Herbario Flúor 1
2020
Ink and fluorescent ink on vellum paper
32,7 x 25,3 cm
Laura F. Gibellini
Herbario Flúor 2
2020
Ink and fluorescent ink on vellum paper
32,7 x 25,3 cm
Laura F. Gibellini
Herbario Flúor 3
2020
Ink and fluorescent ink on vellum paper
32,7 x 25,3 cm
Laura F. Gibellini
Herbario Fluor 4
2013
Work on paper
21,5 x 14 cm
Laura F. Gibellini
View 1
2020
Oil stick and tracing on paper
18 x 13 cm
Laura F. Gibellini
View 2
2020
Oil stick and tracing on paper
18 x 13 cm
Laura F. Gibellini
View 3
2020
Oil stick and tracing on paper
18 x 13 cm
Laura F. Gibellini
Montaña Magenta
2020
Oil stick on paper
38 x 18 cm
Laura F. Gibellini
Repositorio DR 05/10/20
2020
Blown glass, metal shelving, and wood
150 x 50 x 60 cm
Laura F. Gibellini
Repositorio 1
2020
Blown glass
32 x 16 x 14 cm
Laura F. Gibellini
Repositorio 2
2020
Blown glass
37 x 16 x 22 cm
Laura F. Gibellini
Repositorio 7
2020
Blown glass
30 x 19 x 21 cm
Laura F. Gibellini
Repositorio 10
2020
Blown glass
33 x 16 x 16 cm
Laura F. Gibellini
Drawing a Mountain
2020-21
Oil stick on foam board
200 x 420 cm
Laura F. Gibellini
2017
Graphite and gouache on paper
36 x 24 cm
Laura F. Gibellini
Tránsito
2017
Blown and acid-etched glass
50 x 80 cm each [diptych]
DKV Collection
Laura F. Gibellini
Colores del mundo
2016
Graphite and gouache on paper
21 x 13 cm each [series of 6 drawings]
1. grey
2. green
3. blue
4. orange
5. pink
6. yellow
Laura F. Gibellini
Estudio. Panteón
2017
Tracing on paper
35 x 50 cm
Laura F. Gibellini
Boundary of (In)visible Ice 1-23
2017
Graphite and gouache on paper
36 x 24 cm [Series of 23 drawings]
Laura F. Gibellini
Key to the Invisible Ice
2017
Extruded polymer
Variable dimensions
Laura F. Gibellini
Boundary of (In)visible Ice
2017
Extruded polymer
11 x 11 x 2,5 cm
Laura F. Gibellini
Estudio en azul y flúor
2020
Drawing on paper with fluorescent paint
21 x 29,7 cm
Laura F. Gibellini
Maqueta para Drawing a Mountain
2020-21
Oil stick on cardboard
20 x 42 cm
Laura F. Gibellini
Dibujo: una montaña
2020
Oil stick and tracing on paper and adhesive tape
42 x 42 cm
Laura F. Gibellini
Estudio 1
2017
Drawing on paper and wall
Variable dimensions
Laura F. Gibellini
Maqueta para Atmósferas e Interrupciones 1
2017
Paper, graphite and tempera
23 x 45 cm
Sold. Private collection
Laura F. Gibellini
Maqueta para Atmósferas e Interrupciones 2
2017
Paper, graphite and tempera
23 x 45 cm
Laura F. Gibellini
Maqueta para Atmósferas e Interrupciones 3
2017
Paper, graphite and tempera
23 x 45 cm
Laura F. Gibellini
Cumulus
2013
Graphite on paper
21 x 29,7 cm
Laura F. Gibellini
DOM (Variations)
2013
Installation view
Permanent installation. Located at Seneca Avenue, Forest Avenue, and Fresh Pond Road stations of the M line subway.
Commissioned by MTA Arts For Transit & Urban Design, New York
Laura F. Gibellini
The Extended Contours of the Horizon
2013
Gold leaf and graphite on paper. Series of 195 drawings corresponding to the number of independent states recognized by the U.S. Department of State.
14 x 21,6 cm each
Laura F. Gibellini. Meditaciones atmosféricas. Antes del presente (603-7465 U). Slowtrack, Madrid. 2017
Laura F. Gibellini. Drawing mountains. Espositivo, Madrid. 2019
Laura F. Gibellini. Processi 144_M, entrelazarse con Roma. Matadero, Madrid. 2018
Laura F. Gibellini. Residencia en la Real Academia de España en ROMA (RAER). 2018
Laura F. Gibellini
Solo Exhibitions
2024/2025
- XV Certamen Fundación Unicaja de Artes Plásticas. Traveling exhibition, Spain.
2021
- INTERLUDIO 2: NUNCA NADA PARECIDO, Angela Cuadra and Laura F. Gibellini. NF/ NIEVES FERNÁNDEZ, Madrid.
2019
- DRAWING MOUNTAINS., espositivo, Madrid.
2017
- The Banff Centre for Arts & Creativity, Alberta, Canada.
- MEDITACIONES ATMOSFÉRICAS. ANTES DEL PRESENTE (603-7465 U). Slowtrack, Madrid.
2016
- ESCAPES: ANOTACIONES ATMOSFÉRICAS. Saint Roc’s Chapel, Tarragona.
2015
- Pantalla CCCB. Un mes un artista. CCCB / Centre de Cultura Contemporània, Barcelona.
- NOTES ON A WORKING SPACE. Museo de Los Sures, New York.
- Carpe Diem. Arte e Pesquisa, Lisbon.
2014
- DE RERUM NATURA. Slowtrack, Madrid.
2013
- STUDY FOR (A) LANDSCAPE. Enclave Pronillo, Santander.
2011
- VARIATIONS ON A LANDSCAPE. asm28 gallery, Madrid.
- SALON. International Studio Curatorial Program (ISCP), New York.
2008
- 341 WEST 24TH STREET. AC Institute, New York.
- DISCULPEN LAS MOLESTIAS (ARTISTA TRABAJANDO). Círculo de Bellas Artes, Madrid.
- MUNDOS PORTÁTILES. Festival Off, PHotoEspaña, Madrid.
- CELDA Nº 18. AFTER SOLARIS. Okuparte, Huesca.
2007
- CAHIERS D´ARTISTE. WOHNZIMMER. Künstlerhaus Glogauer, Berlin.
- EN TIERRA DE NADIE. Centro de Arte Joven, Madrid.
2005
- WHERE DO THOSE WHO LIVE ON EARTH LIVE? Vacío 9, Madrid.
2004
- AND I WAS FRANCIS MATTHEWS. Antonio de Barnola, Barcelona.
Group Exhibitions
2024
- NO PLACE World Tour, Mexico. Arróniz Gallery, Mexico City.
2023
- Indexar el paisaje. Fundación Cerezales.
- Roma, siempre Roma. Infinitas Romas. Women of the Spanish Academy in Rome in the Visual Arts. Fundación Enire, Santander.
- Roma, Siempre Roma. Ministry of Foreign Affairs, Madrid.
2022
- Painting at Night. Collar Works, New York.
- Synthetic Zero, The Bronx Art Space, NYC.
2021
- REACTIVANDO VIDEOGRAFÍAS (Online Project). Spanish Cultural Centers Network and Spanish Academy in Rome.
2019
- INTERNATIONAL ART AWARD. Fundación Maria Jose Jové, A Coruña.
2018
- Processi 144_M, Interweaving with Rome. Matadero, Madrid.
- OBRA ABIERTA. Fundación Caja de Extremadura, Plasencia and Mérida.
2017
- PROCESSI 144. Spanish Academy in Rome.
- HIGH NOON. Academy of Fine Arts, Rome.
- OPEN STUDIO. Banff Centre for Arts and Creativity, Alberta.
- OPEN STUDIO. Spanish Academy in Rome.
2016
- A ROOM OF ONE’S OWN. AN EXHIBITION. Clemente Soto Vélez Cultural & Educational Center, New York.
2014
- Espacio Liso. 1er Escalón, Murcia.
- BIAM 2014, Amposta.
- 13th INTERNATIONAL EXHIBITION GAS NATURAL FENOSA, A Coruña.
- A Place of Which we Know no Certainty. ISCP, New York.
- Ocupaciones, Arte Lateral. Miradas de Mujeres Festival, Madrid.
2013
- DRAWING CONNECTIONS. Boston Center for the Arts, Boston.
- Traduction-Tradition-Trahison. Le Cube, Rabat.
2012
- SYNTHETIC ZERO. Bronx Art Space, New York.
- TWO HEMISPHERES. The Gabarron Foundation | Carriage House Center for the Arts, New York.
- Approaches to a Poetics of Space. 12th International Contemporary Art Festival, Instituto Cultural de León.
- 12th INTERNATIONAL EXHIBITION GAS NATURAL FENOSA, A Coruña.
- UNDER THE SUBWAY. Local Project Art Space, New York.
- NIGHT OF FESTIVALS 2012, Nottingham.
- THE FOOL’S JOURNEY. Curious Matter, Jersey City.
- WORKS ON PAPER. McNeese State University, Lake Charles.
2011
- YANS and RETO. Anthology Film Archives, New York.
- VIDEO GUERRILHA, São Paulo.
- TRANSLOCACIONES/SABERES HÍBRIDOS, Mérida.
- THE CHICAGO BILLBOARD ART PROJECT. I 90, Chicago.
- Expanding Drawing. Espacio Atlántico 2011, Vigo.
- REGION O, The Latino Video Art Festival of New York. King Juan Carlos I of Spain Center at NYU, New York.
- IMAGE SHARE NIGHT. NURTUREart, Brooklyn.
- An Exchange with Sol LeWitt, collaborative project by Regine Basha. Mass MoCA and Cabinet, North Adams.
2010
- BAC. FESTIVAL 11. Centro de Arte Santa Mónica, Barcelona.
- Gateway: An Artistic Response to the Immigration Crisis. Art For Change, New York.
- Hacia Afuera, Public Arts and Music Festival. El Barrio, New York.
- THE LAST BOOK, collaborative project by Luis Camnitzer. Zentral Bibliothek, Zurich.
2009
- VIDEO ART FROM SPAIN: HYBRID GENERATIONS: 2000-2009. Ullens Center for Contemporary Art (UCCA), Beijing.
- VIDEOAKT. LOOP Video Festival, Barcelona.
- ONE WOMAN. Marmara University, Istanbul.
- ARCO’09, Madrid. Artistic Creation Awards.
2008
- NIGHT OF A THOUSAND DRAWINGS. Artist Space, New York.
- I PUBLIC ART BIENNIAL. Navacerrada, Madrid.
- YOU KNOW HOW I FEEL. Center for Contemporary Arts, Santa Fe.
- VIDEOAKT. Künstlerhaus Glogauer, Berlin.
- 19TH CIRCUITS EDITION: LEAVING TO RETURN, Centro de Arte Joven, Madrid.
- Linguistic of the Image. Spanish Video Art. CIGE, Beijing.
- VIDET’08, Vilafranca del Penedés.
2007
- RELÁMPAGO. CONTEMPORARY DRAWING AND DERIVATIVES. KBB, Barcelona.
- TAKING ACTION. Courier International Video Organization, Istanbul.
- OPEN CHANNEL 2007, Canal de Isabel II, Madrid.
Public Art
2016
- MAKHONJWA MOUNTAINS (Mural). Saint Mary Grand, New York.
2013
- DOM (Variations). Permanent installation. Located at Seneca Avenue, Forest Avenue, and Fresh Pond Road Avenue Stations on the M subway line. Commissioned by MTA Arts For Transit & Urban Design, New York.
Grants and Awards
2022
- DKV Collection Award. Acquisition at Estampa Art Fair, Madrid.
- Derivada Program. Fundación Banco Santander.
2020
- Visual Arts Creation Grants. Regional Ministry of Culture and Tourism, Community of Madrid.
2017
- BAIR, Extended Artist Residency. The Banff Centre for Arts and Creativity, Alberta.
2016
- Spanish Academy in Rome.
2011
- ISCP (International Studio Curatorial Program), New York.
2010
- Visual Arts Grant. Vice-presidency and Regional Ministry of Culture and Sports, Community of Madrid.
2009
- Grants for the Promotion of Spanish Art and Support for New Trends in the Arts. Ministry of Culture.
2008
- Artistic Creation Award, Community of Madrid.
2007
- Artist-in-residence. Glogauer, Berlin.
Publications
- Luna de Brillo. Hudson: Publication Studio Hudson and NF/ Nieves Fernández, 2025. Text by Inés Muñozcano.
- A Graphic Investigation Based on Scribbles and Children’s Lettering. In Margarita González and Ricardo Horcajada (eds.), A Way of Thinking Through Drawing: Graphic Proposals for Understanding Contemporary Times. Madrid: Dykinson SL, 2025. ISBN Pending.
- Moving the Body Between Scribbles and Letters: Mayaútica YMAA, a Graphic Research Project. In A Journey Through the Arts, Visual Culture and Artificial Intelligence in the Digital Era (pp. 262–280). Madrid: Dykinson SL, 2024. ISBN 978-84-1170-920-0.
- Early Approaches to Artistic Practice from an Ecological Perspective of Knowledge. In Tonia Requejo and Verónica Perales (eds.), Eco-social Art. Other Ways of Thinking, Making, and Feeling (pp. 65–80). Madrid: Plaza y Valdés Editores, 2022. ISBN 978-84-17121-50-1.
- MAYAUTICS. Drawing: Research, Theory & Practice, 7(21), pp. 125–137. Intellect, 2022. Co-authored with Ricardo Horcajada. https://doi.org/10.1386/drtp_00083_1
- Drawing a Mountain. Hudson: Publication Studio, 2020. ISBN 781624621819. Other authors: Lola Martínez, Antonia Santolaya, Irene Cantero, Elena Rosauro, Luis Ortega, Alfredo Puente, Oriol Fontdevila, Dioni Serrano.
- LIBAR 3. Artist book. Granada: Sonámbulos & University of Granada, 2019. ISBN 978-84-120149-3-8.
- Atmospheric Meditations. Before Present (338U-710U). Madrid: Slowtrack and NocaPaper, 2016. ISBN 978-84-945425-4-1. English version: Hudson: Publication Studio Hudson, 2017. ISBN 978-1-62462-149-9. With a text by Beatriz Alonso.
- Constructing a Place. Madrid: Complutense University, 2011. ISBN 978-84-694-7281-1. Other authors: Tonia Raquejo, Miguel A. Hernández-Navarro, María Iñigo Clavo, Jana Leo, Luis Ortega, Menene Gras Balaguer, Mary Di Lucia.
Press and texts
2020 – The Artian Podcast – Laura F. Gibellini. Visualizing The Invisible
2018 – Metrópolis RTVE – PROCESSI 144_M (Academia de España en Roma 2016-2017)
2017 – The Brooklyn Rail – Artist of the Visible – By Mary Di Lucia
2017 – Viceversa Magazine – Meditaciones atmosféricas – By Lea Díaz
2017 – El Cultural – Laura F. Gibellini, el tiempo del arte – por Elena Vozmediano
2016 – CCCB – Entrevista a Laura F. Gibellini
2015 – Praxis Interview Magazine – Laura F. Gibellini – By Brainard Carey
2014 – Hyperallergic – New Subway Art Installation Brings the Home into the Commute
2012 – Artecontexto – Laura F. Gibellini. Variations on a Landscape – by Suset Sánchez