Momu & No Es 1982
Lives in Rotterdam, Barcelona. Works in Rotterdam, Barcelona.
Represented by:
JOEY RAMONE
Momu & No Es, Lucía Moreno (Basel, 1982) and Eva Noguera (Barcelona,
1979), earned fine arts degrees at the University of Barcelona, then went on to complete postgraduate studies in artistic research at the DAI, Dutch Art Institute.
Their recent work revolves around the construction of stories, habits and routines stemming from their immediate surroundings. By questioning social roles and modifying the established rules, they propose other possible alternatives, using fiction and ingenuity to develop a series of storylines, events and fables that draw on the post-internet era. Usually working in the fields of video art, installation and screen performance to create new discursive environments in which they mix and reinterpret imaginaries and references of popular culture.
In their work they conceive characters and roles inspired from people and entities which reflect the triviality of our contemporary time; whose neurosis managed to escape society and build parallel realities. Their aesthetics and compositions become literary constructions and techniques that originate temporary subjective realities, whose foundation is the ability to sublimate the mental of the everyday; questioning the absolute truth and endless love.
Through the consequent repetition of popular imaginary they reveal the uncanny, recreating apparent elements and situations set in a particular context producing a sense of familiarity, estrangement and later rejection.
They extract, isolate and crudely agitate the elements of the system creating an absurd violence producing a nervous laughter generated by tension. They do not search for humor, but rather the uncomfortable – allowing them to deal with the stipulated complexities of the human being.
1979), earned fine arts degrees at the University of Barcelona, then went on to complete postgraduate studies in artistic research at the DAI, Dutch Art Institute.
Their recent work revolves around the construction of stories, habits and routines stemming from their immediate surroundings. By questioning social roles and modifying the established rules, they propose other possible alternatives, using fiction and ingenuity to develop a series of storylines, events and fables that draw on the post-internet era. Usually working in the fields of video art, installation and screen performance to create new discursive environments in which they mix and reinterpret imaginaries and references of popular culture.
In their work they conceive characters and roles inspired from people and entities which reflect the triviality of our contemporary time; whose neurosis managed to escape society and build parallel realities. Their aesthetics and compositions become literary constructions and techniques that originate temporary subjective realities, whose foundation is the ability to sublimate the mental of the everyday; questioning the absolute truth and endless love.
Through the consequent repetition of popular imaginary they reveal the uncanny, recreating apparent elements and situations set in a particular context producing a sense of familiarity, estrangement and later rejection.
They extract, isolate and crudely agitate the elements of the system creating an absurd violence producing a nervous laughter generated by tension. They do not search for humor, but rather the uncomfortable – allowing them to deal with the stipulated complexities of the human being.
Artworks
Media
Highlights
Recommendations
Collections
Shows
Market position
CV
Media
Momu & No Es "Global Windshield, The Musical"
About
Head Lights / Talent Nights presenteert: Momu & No Es
Aanstaande donderdag 23 juni om 22.00 uur Momu & No Es een laserkunstwerk speciaal voor Head Lights / Talent Nights! Kunstenaarsduo Momu & No Es is opgericht door Lucía Moreno en Eva Noguera. Het duo maakt dynamische installaties, video's en performances waarin ze de grenzen opzoeken van fantasie en obscure symboliek. Momu & No Es lanceren op donderdag 23 juni om 22.00 uur een kunstwerk speciaal voor Head Lights / Talent Nights. Een paar vragen aan Lucía en Eva.
Wat voor werk hebben jullie gemaakt voor Head Lights / Talent Nights?
“In samenwerking met Gerard en Edith van ProArtsDesign hebben we het laserkunstwerk Winti gemaakt. Winti gaat over een nachtelijke conversatie tussen twee vrienden in hun favoriete snackbar op de Middellandstraat: Texas Fried Chicken. Ze praten over hun toekomstplannen en wensen en zitten vol illusies en grote verwachtingen.”
Als Rotterdam jullie canvas was, op welke plek zouden jullie dan een werk willen maken en waarom?
“Rotterdam is voor ons een heel inspirerende stad, daarom hebben we ook besloten om hier te blijven. Onze liefde voor Rotterdam is gestart in 2010 toen we er voor het eerst kwamen tijdens een artist-in-residence programma bij Duende. Duende is een onafhankelijk kunstenaarscollectief in Rotterdam-Noord. Tijdens de residentie hebben we de video MOHAI gemaakt geïnspireerd op onze belevenissen in Rotterdam. De twee hoofdpersonen in de video, Nane en Karina, gaan de stad in met een gigantische monoliet van een Inca totem genaamd Mohai. De pelgrimstocht met dit object is een reflectie van onze eigen ervaringen in de stad. Rotterdam is een stad die ons intrigeert en veel magie biedt door geheime plekjes, natuur, water, sneeuw, architectuur en cultuur. Een van onze eerste ontdekkingen in Rotterdam waren de Winti winkels op de Middellandstraat; deze winkels openen een deur naar Afro-Surinaams cultureel erfgoed. De Winti winkels zijn in onze beleving kleine spirituele tempels, waar de vermenging tussen culturen plaatsvindt. De eerste keer in zo’n winkel waren we totaal gefascineerd door de prachtige explosie van beelden, objecten, woorden, geuren en culturen die naast elkaar bestaan. Inmiddels zijn onze bezoeken aan de Winti winkels vaste prik geworden. Ze vormen de inspiratie voor ons project Winti. We kopen daar kaarsen, oliën en kruiden en introduceren deze elementen in ons dagelijks leven. Deze elementen vertegenwoordigen voor ons de magie, geloof en het historische erfgoed van rituelen en bieden een manier om onze toekomst te vormen en te heroverwegen."
Wat zou je nog aan de stad willen toevoegen? Anything possible!
"Meer boekenwinkels en goedkopere koffie.”
http://www.rotterdamviertdestad.nl/manifestatie/de-diepte-in/head-lights-talent-nights-presenteert-momu-no-es/
Rotterdam viert de stad!
A TROUBLING OMEN. INTERVIEW TO MOMU & NO ES
In the work of the duet Momu & No Es (Eva Noguera and Lucía Moreno) through the video art, video performance, installations and sculptures, merge the absurd with a criticism to the scope drive and the hyperconnection in a time of cognitive capitalism and their new forms of setting-up subjectivities.
Under the apparent superficiality of the comical spark, in your pieces a troubling omen always makes its home: where has this interest to talk openly about this alienating and superstitious relation that we have with the digital world come from?
Our interest comes from the suspicion and genuine distrust towards the evolution of the use of the “new” reality technologies. Generationally we are observers who have seen and lived very radical changes in all aspects of our way to understand the environment and ourselves. Concepts like privacy, simultaneity, availability 24/7 or the streaming are elements and ways of life that have been reinterpreted and frenetically assimilated by everyone. In spite of being lost in this reality, we still remember a different world in which we did not live on-line.
How did your suspicion towards the power of the digital image start? Do you remember a key situation, of awakening, of curiosity? A moment, let’s say, significant?
At the beginning of the 2000, while I was in college, an exhibition “Archive Cultures”, commissioned by Nuria Enguita and Jorge Blasco, at Fundació Tàpies impressed me very much. It was then when I discovered the power of the digital image and how it would stir up the ways of seeing and being closer to reality (Lucía). In my case, it was when I discovered the Freehand (Eva).
In your last exhibit Be Careful My Sister (Joey Ramone Gallery, Rotterdam, 2019) you go back to the language of the installation. Could you comment in what does it consist and which are the driving ideas of this exhibit?
Be Careful My Sister is a summarized version of the exhibit My advice to Eva, which is now shown in La Casa Encendida in Madrid. At the same time, this is the answer to a previous small piece made by Eva to Lucía, called My Advice to Lucy in which three key points for the millennial generation were shown: a wild ambition, because we live in a world where opportunities are for ambitious people, where the main slogan is “do not feel special, at this moment, you are special” and third “do not suffer for what others think about you because they are basically in the same situation”.
My Advice to Eva is a piece in which daily situations that lead everyone to frustration are described: a video expressing gratitude to eliminate an applicant in a recruitment process, a lady who needs to call her dog in her five minutes’ break, a pyramid of Maslow and a worm that sings to you that you are a loser. But there is a replica of this worm and repressive and paternalistic elements, a ghost who does not care about anything and that lives in this same world.
The exhibit is surrounded by information: there are texts, symbols and images that follow this dialogue. A coocon as a being of light, stoicism as a way of living, advertising memes, predictions about a future guided by artificial intelligence etc. Be Careful My Sister, continues this idea of fraternity in a world of fragmented time and narrations, and defends that as long as a you and a me exist there will be hope because there is an us.
In your work you invite the spectator to immerse himself to simulations of the promises of happiness that Internet offers us, reinterpreting stereotypical and mentors of the global popular culture. As you work in Spain and Rotterdam and you have participated in exhibits and residences in other places of the world such as Japan or the United States, do you notice any difference in the receipt of your works in different cultural contexts?
Yes, we notice differences in the receipt of our work. Fortunately, we do not live in such a globalized world. For example, we notice differences even between Madrid and Barcelona where contexts are small. Where we really noticed a different receipt was in Japan. In spite of having worked in institutions and in collaboration with other Japanese artists, making contact was complicated, because although it may seem it, you do not share the same codes or artistic references and here is where you notice that we live in an Eurocentric world and that not all the artistic traditions have a same origin or orientation. When we were in Senegal, the contrast was much more impressive.
But beyond the local and transcultural contexts, there is a common ground in the stereotypical that we create. It is pretty universal because we always have the intention of reaching a general audience. Although the piece or project is not didactic or completely intelligible, we want for it to have a familiar appearance to the public, that includes popular culture and a bit of show and that this connexion is a gateway to the purpose.
In your work, the implementation of power of the images as builders of subjectivities reminds me to the power of the religious images of the Middle Age. If it is true that we now trust the algorithms like the ancient people anticipated the result of their battles in the entrails of the animals, do you agree on the idea that the postmodernity is a new Middle Age? Why?
I remember a day a long time ago, listening in the radio a broadcasting of ancient music, in a moment, the radio speaker asked I do not know if to a theorist or to an interpreter why we should listen to baroque music and this one answered: “to be prepared to go back to the Baroque period”. It was a serious national broadcasting. And, from then, I did not stop thinking about that. I agree on that perhaps we are at the door of a New Middle Age. Now, at a time of post-truth, it seems that we are socially going back to the non-rational mythic era, prephilosphic and prescientific. The communication of today, in spite of being written, it looks more like a written oral expression because it takes place in a culture of the interface where we are accomplices of our own trickery.
If it is true that the generations that grew surrounded by the Internet belong to what is called The Second Gutenberg Parenthesis, a time of an alphabetisation where digital communication promotes a new orality, do you think that a new alphabetisation would be necessary? Are there more emancipating alternatives to our current exemplar of on-line communication?
From my point of view an alphabetisation needed today, following the idea of the essay In the Beginning…Was the Command Line by Neal Stephenson (1999), would be the knowledge of the programing language. That is to say that since we are at a moment of technological acceleration, we should know the language that is hidden behind the GUI (Graphical user interface), more simplified and alienating each time that separate and disconnect us from the technology that is behind. And yes, there are more emancipating alternatives to our current exemplar of on-line communication. Yes, for sure! We still have body. And mind. We also believe that, as always, in technology there will be peaks in which our grandsons would be horrified because IPhone will be used on the table, as I get horrified for the fact that my grandparents threw the ashes of their cigarettes on the floor of the house.
Which are your models and sources of inspiration theoretical and artistic?
There are a lot of literary models in our work, but besides the literature in general as a source of inspiration artists such as Antonio Ortega, Fischli & Weiss, Daniel Rehn, Carles Congost, Yuichiro Jose Tamura, Shana Moulton, Michel Pornoy, Jon Rafman, Lauren Prouvost, Erina Matsui, Camille Henrot, Hito Steyerl, Ryan Trecartin. And on the theoretical level, we are interested in people and groups such as Tiqqun, Donna Haraway, Timothy Morton, Geert Lovink, Florian Cramer, Sarah Sharma, Rosi Braidotti, Chus Martínez, Saito Tamaki, Josep Maria Esquirol, Ursula K. Le Guin among many others.
What are you working in now? And which are your future projects?
A new musical.
https://a-desk.org/en/spotlight/un-inquietante-presagio-entrevista-a-momu-no-es/
Ana Llurba
Momu & No Es at Nevan Contempo
Post-Internet denotes an idea in arts and criticism that refers to society and modes of interaction following the widespread adoption of the Internet. Generally it is described as art that is about the Internet’s effects on aesthetics, culture and society.
Following this principle the work of artist duo Momu & No Es (Eva Noguera and Lucía Moreno) – which takes various shapes including installations, sculptures, video art and video performance – merges a criticism to the hyperconnectivity in a time of cogni-tive-cultural economy with the absurd. Through distinct forms of setting-up subjectivi-ties the work expresses the suspicion and genuine distrust towards the evolution of the use of the ‘new reality’ technologies. Social media for example include numerous tech-nologies and their influence on the behavior of a vast part of the human population can hardly be underestimated. Social media platforms have become a common feature of every day life as they allow instantaneous communication, status updates, and so-cial networking among individuals. They are now often a primary vehicle for people to present themselves to others, expand the role other individuals can play in one’s own self-presentation, and expand the audience.
Momu & No Es’ latest exhibition entitled Who Does She Think She Is on the one hand denotes the Internet’ s effects on aesthetics, culture and society while on the other hand points to an offline reality where Momu & No Es negotiate their offline relation-ship. Earlier titles such as My Advice to Eva, My Advice to Lucy or Be Careful my Sister remind us that despite being with one foot into the digital world we still have a tangi-ble body and a mind. Who Does She Think She Is questions appearances, attitudes, interactions, behaviors, self-presentation, experience, personality, audiences, affor-dances. The work describes daily situations that lead everyone to frustration: a video expressing gratitude to eliminate an applicant in a recruitment process, a lady who needs to call her dog in her five minutes’ break, a pyramid of Maslow and a worm that sings to you that you are a loser. There are repressive and paternalistic elements, a ghost who does not care about anything and that lives in this same world. There are texts, symbols and images juxtaposed and in a constant dialogue; a cocoon as a be-ing of light, stoicism as a way of living, advertising memes, predictions about a future guided by artificial intelligence.
The installation referencing millennial friendship highlights how young people of the artists’ generation conceive personal relationships, intimacy and their external projec-tion in a time when nothing but success seems to be acceptable and such success is not understood without staging, without replication.
Borrowing Manga aesthetics and those generated by social networks, Momu & No Es, propose a response to the frustrations generated and amplified in the sea of data in which we live, a response based on empathy and care. As Momu & No Es put it, their recent work “continues this idea of fraternity in a world of fragmented time and nar-rations, and defends that as long as a you and a me exist there will be hope because there is an us”.
https://artviewer.org/momu-no-at-nevan-contempo/
Art Viewer
7 highlights van Art Rotterdam
Op uitnodiging van See All This komt topverzamelaar Valeria Napoleone naar Art Rotterdam. Napoleone verzamelt alleen het werk van vrouwelijke kunstenaars, want die zijn nog steeds ondervertegenwoordigd in de kunstwereld. De oplossing? Meer investeren in vrouwen. Tijdens Art Rotterdam 2019 deelt Napoleone haar gouden verzameltips en highlights van de beurs. Hier zie je alvast haar top 7!
Valeria Napoleone zal ook meewerken aan de tentoonstelling en publicatie Pretty Brilliant – 99 genius women in the arts die See All This in 2020 hoopt te realiseren: een vervolg op het geniale vrouwennummer van afgelopen zomer, dat inmiddels een collector’s item is geworden. Met als aanleiding het honderdjarig vrouwenkiesrecht, is dit het moment om meer zichtbaarheid te creëren voor vrouwen in de kunstwereld.
Lees ook het interview met Valeria in NRC van 7 februari 2019.
Art Rotterdam 2019 vindt plaats van 7 t/m 10 februari in de Van Nelle Fabriek in Rotterdam. Daar vind je o.a. Valeria Napoleones selectie.
Valeria’s top 7 van Art Rotterdam 2019:
Caroline Mesquita (1989, Frankrijk) – Galerie Carlier Gebauer
Helen Verhoeven (1974, Nederland) – Galerie Stigter van Doesburg
Amie Dicke (1978, Nederland) – Galerie Stigter van Doesburg
Momu & No Es: Lucia Moreno (1982, Zwitserland) en Eva Noguera (1979, Spanje) – Galerie Joey Ramone
Evy Jokhova (1984, Zwitserland) – Galerie L’étrangère
Susan Philipsz (1965, Verenigd Koninkrijk) – Ellen de Bruijne Projects
Sarah van Sonsbeeck (1976, Nederland) – Annet Gelink Gallery
https://seeallthis.com/blog/pretty-brilliant/
Valeria Napoleone
Text | Momu & No Es: Being Singular Plural | 2018
The 2016-17 programme of exhibitions at Espai 13 presents six projects by artists who are working from the periphery of the usual circuits of contemporary art in Barcelona. They all address the issue of belonging to and breaking away from one’s original artistic context. The artists featured in the One Foot Out. Expeditions and Diasporas programme reflect on how working from a distance affects their art. They all share a liberated view of their surroundings and a working method that involes audience participation and approaches fiction and performativity. The programme offers a joint view of the artistic diaspora. Curated by Jordi Antas
Plural Being. I am the Others, the Others are Me by Momu & No Es reflects the constant search for calm in a hectic society. Through a theme park scenario, the exhibition attempts to answer a series of questions about the times we live in, the things we yearn for, and the rewards we expect in return for our day-to-day efforts. Momu & No Es present a new installation that recreates a phantomscape through a series of sculptural elements, mantric sounds, suspended images and performative elements that plunge visitors into a space of sublimation and estrangement. A reflection on personal space and on the body as testing ground that questions the human condition in a hyperconnected era.
https://juliageerlings.com/project/text-momu-no-es-being-singular-plural/
Julia Geerlings
Shows
Market position
They have held solo shows and screenings in centers like Espai13 of the Fundació Joan Miró (Barcelona); 1646 (The Hague); MACG, Museo de Arte Carrillo Gil (Mexico City); CUAC, Central Utah Art Center (Salt Lake City); Ellen de Bruijne Projects (Amsterdam); Tokyo Wonder Site (Tokyo); Espai Montcada, CaixaForum (Barcelona), La Virreina Centre de la Imatge (Barcelona) and Echo Park Film Center (Los Angeles). They live and work between the Netherlands and Spain.
CV
MOMU & NO ES
Lucía Moreno Murillo born in Basel, CH, 1982.
Eva Noguera Escudero born in Barcelona, ES, 1979.
Live and work in Rotterdam and Madrid.
Education
2011-2012 | MFA DAI-Dutch Art Institute/ ArtEZ, Arnhem, NL
2005-2007 | PhD program Fine Arts University of Barcelona UB, Barcelona, ES
2000-2004 | BA Fine Arts University of Barcelona UB, Barcelona, ES
(Selected) Solo Exhibitions
2019 | Who Does She Think She Is, NEVAN Contempo, Prague, CZ
2019 | Rosebud #1, ROZENSTRAAT – a rose is a rose, Amsterdam, NL
2019 | Be Careful My Sister, JOEY RAMONE, Rotterdam, NL
2019 | Art Rotterdam, with JOEY RAMONE, Van Nelle Factory, Rotterdam, NL
2018 | Global Windshield, The Musical, Sala MULTIVERSO de la Fundación BBVA,
Palacio del Marqués de Salamanca, Madrid, ES
2018 | ARCOmadrid with JOEY RAMONE, Ifema, Madrid, ES
2017 | Plural Being, I’m the Others, the Others are Me, Espai 13 Fundació Joan Miró,
Barcelona, ES
2016 | Visiones Contemporáneas, DA2, Salamanca, ES
2016 | Talent Nights International, Rotterdam viert de Stad, Het Nieuwe Instituut,
Rotterdam, NL
2015 | Highway, 1646 Den Haag, NL
2014 | Incoming Video Call…CUAC Contemporary Art, Salt Lake City, USA
2014 | Apocalyptic Visions, Ellen de Bruijne Projects, Amsterdam, NL
2013 | Our progressive thinkers, Likovni salon, Celje, Slovenia, SL
2013 | I’m sick of thinking that my dead friends have gone to the Canary Islands,
Theatre Nau Estruch, Sabadell, ES
2013 | Tales of Wondersite, Suburban video lounge, Rotterdam, NL
2012 | Los Logrados, MAS Museo de Arte de Cantabria, Santander, ES
2011 | CRANIDO, Ocemex, México DF, MX
2010 | MOHAI, Arte Santander solo Project, Demolden Video Project, ES
2010 | Tales Of Wonder Site, Museo Carrillo Gil, México DF, MX
2008 | Elf Wars (1979 - 1982), Espai Moncada - Caixafòrum, Barcelona, ES
2008 | Reina de las fiestas, solo Project LOOP FAIR’08 – Galería Senda, Barcelona, ES
2006 | Mi dispiace signor mininistrodi sicurezza, CASM-Centre d’Art Santa Mònica,
Barcelona, ES
(Selected) Group Exhibitions
2019 | Open Codes. We are data, Zinemateka, Azkuna Zentroa, Bilbao
2019 | Les Enfantes Terrible, Espai Tactel, Valencia, ES
2019 | The Shortest Lines Go For A Walk, Espai Tactel Toormix, Barcelona, ES
2019 | Generaciones, La Casa Encendida, Madrid, ES
2019 | A Trip Down The Rabbit Hole, International Film Festival Rotterdam, Cinerama,
Rotterdam, NL
2019 | Kiss Kiss Bang Bang, ADN Platform, Barcelona, ES
2018 | PRODUIR, PRODUIR, PRODUÏ(IT), LOOP Festival, Barcelona, ES
2018 | Querer Parecer Noche (Wish to Seem Night), CA2M, Madrid, ES
2018 | Visiones Contemporáneas, Centro Cultural de Espana, México City, MEX
2017 | Post-vivos, Salón at Poppositions, ING Art Center, Brussels, BL
2017 | Contemporary Visions, Echo Park Film Center L.A, USA
2016 | Of Breaking and ripping, La Virreina Centre de la Imatge, Barcelona, ES
2016 | the super narrative, In De Ruimte, Ghent, BE
2016 | "/|\" , W139, Amsterdam, NL
2016 | Mono3 (screening) Courtyard Theatre, London, UK
2016 | Spending Quality Time With My Quantified Self, TENT, Rotterdam, NL
2016 | set Background, Embassy Gallery, Edinburgh, UK
2015 | The Other Side of the Mountain: Mystic Mountains and Cosmic Wanderings,
Neutral Ground Contemporary Art Forum, Regina, CA
2015 | IX Strobe Festival, Lo Pati, Amposta, ES
2014 | Unstable Causes - Live event for ART Rotterdam, De Player, Rotterdam, NL
2013 | The air os songs, Gallery of Contemporary Art, Celje, Slovenia, SL
2013 | Dutch Art Institute Istanbul, Galata Fotoğrafhanesi Fotoğraf Akademisi, Istanbul,
TR
2012 | Pop Politics, CA2M, Centro de Arte Dos de Mayo, Móstoles, Madrid, ES
2012 | Three Artists Walk into a Bar…Curated by The Black Swan – participants of de
Appel Curatorial Programme 2011/2012, NL
2012 | Creación Injuve, CCE - Centro Cultural de España Montevideo, Montevideo, UR
2012 | You and You, Cartografias existenciales en la era de la comunicación virtual,
Biennal de La Habana, CB
2012 | My Character is a Battleground, Espacio Trapézio, Madrid
2011 | Videos(s)torias, Artium, Vitoria, ES
2011 | NEXT - Tokyo Wonder Site Shibuya, Tokyo, JP
2011 | Biennal de Valls, Valls, ES
2011 | Gilfriends Forever, TWS Hongo, Tokyo, JP
2011 | Region O. Centro de Arte Juan Carlos I, New York, US
2011 | Is this Spain? Instituto Cervantes, Milan, IT/Instituto Cervantes, Sao Paulo, BR
2010 | Daily truths, Duende, Rotterdam, NL
2010 | A Library Project, Midway Contemporary Art, Minneapolis, US
2010 | Before Everything, CA2M, Centro de Arte Dos de Mayo, Móstoles, Madrid, ES
Residences
2013 | Artist's residency program at the Center for Contemporary Arts in Celje, SI
2010 | Institutional research program TWS- Tokyo Wonder Site Aoyama, Tokyo, JP
2010 | Duende, Rotterdam residency program/residency grant for young artists,
Comunidad de Madrid, ES/NL
2006-2008 | HANGAR research, production and residency program, Barcelona, ES
Fellowships / Stipends
2019 | Film Fonds, Amsterdam, NL
2018 | Grant International Presentations, Mondriaan Fonds, NL
2018 | O&O Research grant, Centrum Beeldende Kunst Rotterdam, NL
2016 | Grant International Presentations, Mondriaan Fonds, NL
2015 | Ayudas BBVA a la Creación en videoarte, ES
2014 | O&O Research grant, Centrum Beeldende Kunst Rotterdam, NL
2012 | CoNCA Research and study fellowship, Generalitat de Catalunya, ES
2011 | Seguimon Serrallonga study fellowship, Vic University, ES
2010 | CoNCA, Research and creation grant, Generalitat de Catalunya, ES
2010 | Production Grant, Matadero, Madrid, ES
2004 | Fundació Guasch Coranty, Barcelona 'Guasch Coranty'04', ES
2004 | Production of artistic projects for visual artists, Generalitat de Catalunya, ES
Awards
2019 | Generaciones 2019, La Casa Encendida, Madrid, ES
2018 | New Video & Digital Art Creation, MultiVerso, Fundación BBVA, Madrid, ES
2011 | Del Plano al Cubo, Injuve, Madrid, ES / MX
2011 | Honorable Mention Prize ABC, Spain, ES
2010 | Circuitos’10, Madrid, ES
2009 | Institut de Cultura de Barcelona, 'BCN Producció'09', ES
2007 | Grant Injuve for the young creation, Madrid, ES
(Selected) Reviews
2019 | Navarro, Nicky & Ruiz Andrea, VIDEO ARTE, Obras que nacen de la tecnología,
Lamono NEWSPAPER, July-August 2019
2019 | Llurba, Anna, A Troubling Omen, A* Desk, 12-05-2019
2019 | Smallenburg, Sandra, ‘De kunstwereld is nog altijd een jongensclub’, NRC. 06-
02-2019
2018 | Chappaz, Ismael, ‘Momu & No Es’. OCIMAG. 27-12-2018
2018 | Munoz, Maria, Momu & No Es / Superentrevista. Bilbao. 23-02-2018
2018 | Momu & No Es estrenan 'Global Windshield, The Musical' en la sala Multiverso
de la Fundación BBVA. ABC Cultura. 23-02-2018
2018 | Pantalla Sónica #19 Momu & No Es.
2013 | Dot, Anna, PÚBLICO MUERTO EN LAS ISLAS CANARIAS CON MOMU & NO
ES. A* Desk. 02-12-2013
2008 | Badia, Montse, SOBRE GUERRAS Y MCGUFFINS. A* Desk. 09-07-2008
2008 | Burgueño, Marñia Jesús, Momu & No Es en CaixaForum Barcelona. Revista de
Arte. 26-06-2008
Collections
Royal Collection, The Hague, NL
Collection MONTEMADRID, Madrid, ES
MACBA, Museu d’art Contemporani de Barcelona, ES
MAS, Museo de Arte Moderno y Contemporáneo de Santander, ES
Patrimonio de la Universidad de Barcelona, UB, ES
Private Collections in NL, UK, ES
Lucía Moreno Murillo born in Basel, CH, 1982.
Eva Noguera Escudero born in Barcelona, ES, 1979.
Live and work in Rotterdam and Madrid.
Education
2011-2012 | MFA DAI-Dutch Art Institute/ ArtEZ, Arnhem, NL
2005-2007 | PhD program Fine Arts University of Barcelona UB, Barcelona, ES
2000-2004 | BA Fine Arts University of Barcelona UB, Barcelona, ES
(Selected) Solo Exhibitions
2019 | Who Does She Think She Is, NEVAN Contempo, Prague, CZ
2019 | Rosebud #1, ROZENSTRAAT – a rose is a rose, Amsterdam, NL
2019 | Be Careful My Sister, JOEY RAMONE, Rotterdam, NL
2019 | Art Rotterdam, with JOEY RAMONE, Van Nelle Factory, Rotterdam, NL
2018 | Global Windshield, The Musical, Sala MULTIVERSO de la Fundación BBVA,
Palacio del Marqués de Salamanca, Madrid, ES
2018 | ARCOmadrid with JOEY RAMONE, Ifema, Madrid, ES
2017 | Plural Being, I’m the Others, the Others are Me, Espai 13 Fundació Joan Miró,
Barcelona, ES
2016 | Visiones Contemporáneas, DA2, Salamanca, ES
2016 | Talent Nights International, Rotterdam viert de Stad, Het Nieuwe Instituut,
Rotterdam, NL
2015 | Highway, 1646 Den Haag, NL
2014 | Incoming Video Call…CUAC Contemporary Art, Salt Lake City, USA
2014 | Apocalyptic Visions, Ellen de Bruijne Projects, Amsterdam, NL
2013 | Our progressive thinkers, Likovni salon, Celje, Slovenia, SL
2013 | I’m sick of thinking that my dead friends have gone to the Canary Islands,
Theatre Nau Estruch, Sabadell, ES
2013 | Tales of Wondersite, Suburban video lounge, Rotterdam, NL
2012 | Los Logrados, MAS Museo de Arte de Cantabria, Santander, ES
2011 | CRANIDO, Ocemex, México DF, MX
2010 | MOHAI, Arte Santander solo Project, Demolden Video Project, ES
2010 | Tales Of Wonder Site, Museo Carrillo Gil, México DF, MX
2008 | Elf Wars (1979 - 1982), Espai Moncada - Caixafòrum, Barcelona, ES
2008 | Reina de las fiestas, solo Project LOOP FAIR’08 – Galería Senda, Barcelona, ES
2006 | Mi dispiace signor mininistrodi sicurezza, CASM-Centre d’Art Santa Mònica,
Barcelona, ES
(Selected) Group Exhibitions
2019 | Open Codes. We are data, Zinemateka, Azkuna Zentroa, Bilbao
2019 | Les Enfantes Terrible, Espai Tactel, Valencia, ES
2019 | The Shortest Lines Go For A Walk, Espai Tactel Toormix, Barcelona, ES
2019 | Generaciones, La Casa Encendida, Madrid, ES
2019 | A Trip Down The Rabbit Hole, International Film Festival Rotterdam, Cinerama,
Rotterdam, NL
2019 | Kiss Kiss Bang Bang, ADN Platform, Barcelona, ES
2018 | PRODUIR, PRODUIR, PRODUÏ(IT), LOOP Festival, Barcelona, ES
2018 | Querer Parecer Noche (Wish to Seem Night), CA2M, Madrid, ES
2018 | Visiones Contemporáneas, Centro Cultural de Espana, México City, MEX
2017 | Post-vivos, Salón at Poppositions, ING Art Center, Brussels, BL
2017 | Contemporary Visions, Echo Park Film Center L.A, USA
2016 | Of Breaking and ripping, La Virreina Centre de la Imatge, Barcelona, ES
2016 | the super narrative, In De Ruimte, Ghent, BE
2016 | "/|\" , W139, Amsterdam, NL
2016 | Mono3 (screening) Courtyard Theatre, London, UK
2016 | Spending Quality Time With My Quantified Self, TENT, Rotterdam, NL
2016 | set Background, Embassy Gallery, Edinburgh, UK
2015 | The Other Side of the Mountain: Mystic Mountains and Cosmic Wanderings,
Neutral Ground Contemporary Art Forum, Regina, CA
2015 | IX Strobe Festival, Lo Pati, Amposta, ES
2014 | Unstable Causes - Live event for ART Rotterdam, De Player, Rotterdam, NL
2013 | The air os songs, Gallery of Contemporary Art, Celje, Slovenia, SL
2013 | Dutch Art Institute Istanbul, Galata Fotoğrafhanesi Fotoğraf Akademisi, Istanbul,
TR
2012 | Pop Politics, CA2M, Centro de Arte Dos de Mayo, Móstoles, Madrid, ES
2012 | Three Artists Walk into a Bar…Curated by The Black Swan – participants of de
Appel Curatorial Programme 2011/2012, NL
2012 | Creación Injuve, CCE - Centro Cultural de España Montevideo, Montevideo, UR
2012 | You and You, Cartografias existenciales en la era de la comunicación virtual,
Biennal de La Habana, CB
2012 | My Character is a Battleground, Espacio Trapézio, Madrid
2011 | Videos(s)torias, Artium, Vitoria, ES
2011 | NEXT - Tokyo Wonder Site Shibuya, Tokyo, JP
2011 | Biennal de Valls, Valls, ES
2011 | Gilfriends Forever, TWS Hongo, Tokyo, JP
2011 | Region O. Centro de Arte Juan Carlos I, New York, US
2011 | Is this Spain? Instituto Cervantes, Milan, IT/Instituto Cervantes, Sao Paulo, BR
2010 | Daily truths, Duende, Rotterdam, NL
2010 | A Library Project, Midway Contemporary Art, Minneapolis, US
2010 | Before Everything, CA2M, Centro de Arte Dos de Mayo, Móstoles, Madrid, ES
Residences
2013 | Artist's residency program at the Center for Contemporary Arts in Celje, SI
2010 | Institutional research program TWS- Tokyo Wonder Site Aoyama, Tokyo, JP
2010 | Duende, Rotterdam residency program/residency grant for young artists,
Comunidad de Madrid, ES/NL
2006-2008 | HANGAR research, production and residency program, Barcelona, ES
Fellowships / Stipends
2019 | Film Fonds, Amsterdam, NL
2018 | Grant International Presentations, Mondriaan Fonds, NL
2018 | O&O Research grant, Centrum Beeldende Kunst Rotterdam, NL
2016 | Grant International Presentations, Mondriaan Fonds, NL
2015 | Ayudas BBVA a la Creación en videoarte, ES
2014 | O&O Research grant, Centrum Beeldende Kunst Rotterdam, NL
2012 | CoNCA Research and study fellowship, Generalitat de Catalunya, ES
2011 | Seguimon Serrallonga study fellowship, Vic University, ES
2010 | CoNCA, Research and creation grant, Generalitat de Catalunya, ES
2010 | Production Grant, Matadero, Madrid, ES
2004 | Fundació Guasch Coranty, Barcelona 'Guasch Coranty'04', ES
2004 | Production of artistic projects for visual artists, Generalitat de Catalunya, ES
Awards
2019 | Generaciones 2019, La Casa Encendida, Madrid, ES
2018 | New Video & Digital Art Creation, MultiVerso, Fundación BBVA, Madrid, ES
2011 | Del Plano al Cubo, Injuve, Madrid, ES / MX
2011 | Honorable Mention Prize ABC, Spain, ES
2010 | Circuitos’10, Madrid, ES
2009 | Institut de Cultura de Barcelona, 'BCN Producció'09', ES
2007 | Grant Injuve for the young creation, Madrid, ES
(Selected) Reviews
2019 | Navarro, Nicky & Ruiz Andrea, VIDEO ARTE, Obras que nacen de la tecnología,
Lamono NEWSPAPER, July-August 2019
2019 | Llurba, Anna, A Troubling Omen, A* Desk, 12-05-2019
2019 | Smallenburg, Sandra, ‘De kunstwereld is nog altijd een jongensclub’, NRC. 06-
02-2019
2018 | Chappaz, Ismael, ‘Momu & No Es’. OCIMAG. 27-12-2018
2018 | Munoz, Maria, Momu & No Es / Superentrevista. Bilbao. 23-02-2018
2018 | Momu & No Es estrenan 'Global Windshield, The Musical' en la sala Multiverso
de la Fundación BBVA. ABC Cultura. 23-02-2018
2018 | Pantalla Sónica #19 Momu & No Es.
2013 | Dot, Anna, PÚBLICO MUERTO EN LAS ISLAS CANARIAS CON MOMU & NO
ES. A* Desk. 02-12-2013
2008 | Badia, Montse, SOBRE GUERRAS Y MCGUFFINS. A* Desk. 09-07-2008
2008 | Burgueño, Marñia Jesús, Momu & No Es en CaixaForum Barcelona. Revista de
Arte. 26-06-2008
Collections
Royal Collection, The Hague, NL
Collection MONTEMADRID, Madrid, ES
MACBA, Museu d’art Contemporani de Barcelona, ES
MAS, Museo de Arte Moderno y Contemporáneo de Santander, ES
Patrimonio de la Universidad de Barcelona, UB, ES
Private Collections in NL, UK, ES