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Teresa Solar Abboud

Madrid, Spain. 1985
Vida na superfìcie

Kuntshalle Lissabon, Lisbon, PT, 2023.

Vida na superfìcie

Kuntshalle Lissabon, Lisbon, PT, 2023.

Vida na superfìcie

Kuntshalle Lissabon, Lisbon, PT, 2023.

Kuntshalle Lissabon, Lisbon, PT, 2023.

Kuntshalle Lissabon, Lisbon, PT, 2023.

Vida na superfìcie

Kuntshalle Lissabon, Lisbon, PT, 2023.

Vida na superfìcie

Kuntshalle Lissabon, Lisbon, PT, 2023.

Vida na superfìcie

Kuntshalle Lissabon, Lisbon, PT, 2023.

Vida na superfìcie

Kuntshalle Lissabon, Lisbon, PT, 2023.

Tunnel Boring Machine

Arsenale. International exhibition “The Milk of Dreams”
59th Venice Biennale 2022, curated by Cecilia Alemani.

Tunnel Boring Machine

Arsenale. International exhibition “The Milk of Dreams”
59th Venice Biennale 2022, curated by Cecilia Alemani.

Tunnel Boring Machine

Arsenale. International exhibition “The Milk of Dreams”
59th Venice Biennale 2022, curated by Cecilia Alemani.

Tunnel Boring Machine

Arsenale. International exhibition “The Milk of Dreams”
59th Venice Biennale 2022, curated by Cecilia Alemani.

Tunnel Boring Machine

Arsenale. International exhibition “The Milk of Dreams”
59th Venice Biennale 2022, curated by Cecilia Alemani.

BIG MOUTH WITHIN BOUNDARIES OOZING OUT

1646, La Haya, Netherlands, 2022.

BIG MOUTH WITHIN BOUNDARIES OOZING OUT

1646, La Haya, Netherlands, 2022.

BIG MOUTH WITHIN BOUNDARIES OOZING OUT

1646, La Haya, Netherlands, 2022.

BIG MOUTH WITHIN BOUNDARIES OOZING OUT

1646, La Haya, Netherlands, 2022.

BIG MOUTH WITHIN BOUNDARIES OOZING OUT

1646, La Haya, Netherlands, 2022.

BIG MOUTH WITHIN BOUNDARIES OOZING OUT

1646, La Haya, Netherlands, 2022.

BIG MOUTH WITHIN BOUNDARIES OOZING OUT

1646, La Haya, Netherlands, 2022.

Osteoclast (I do not know how I came to be on board this ship, this navel of my ark)

Liverpool Biennial 2021.
Curated by Manuela Moscoso.
Photos by Mark McNulty and Colin McPherson

Osteoclast (I do not know how I came to be on board this ship, this navel of my ark)

Liverpool Biennial 2021.
Curated by Manuela Moscoso.
Photos by Mark McNulty and Colin McPherson

Osteoclast (I do not know how I came to be on board this ship, this navel of my ark)

Liverpool Biennial 2021.
Curated by Manuela Moscoso.
Photos by Mark McNulty and Colin McPherson

Osteoclast (I do not know how I came to be on board this ship, this navel of my ark)

Liverpool Biennial 2021.
Curated by Manuela Moscoso.
Photos by Mark McNulty and Colin McPherson Photography by Colin McPherson (@germanocean)

Osteoclast (I do not know how I came to be on board this ship, this navel of my ark)

Liverpool Biennial 2021.
Curated by Manuela Moscoso.
Photos by Mark McNulty and Colin McPherson

Osteoclast (I do not know how I came to be on board this ship, this navel of my ark)

Liverpool Biennial 2021.
Curated by Manuela Moscoso.
Photos by Mark McNulty and Colin McPherson

El hecho alegre Una mecánica popular de los sentidos

2019. (group show). La Casa Encendida, Madrid, Spain. Curated by Tania Pardo.

El hecho alegre Una mecánica popular de los sentidos

2019. (group show). La Casa Encendida, Madrid, Spain. Curated by Tania Pardo.

El hecho alegre Una mecánica popular de los sentidos

2019. (group show). La Casa Encendida, Madrid, Spain. Curated by Tania Pardo.

Querer parecer noche

2019. CA2M (Centro de Arte Dos de Mayo), Madrid, Spain. Curated by Beatriz Alonso y Carlos Fernández Pello.

Querer parecer noche

2019. CA2M (Centro de Arte Dos de Mayo), Madrid, Spain. Curated by Beatriz Alonso y Carlos Fernández Pello.

Querer parecer noche

2019. CA2M (Centro de Arte Dos de Mayo), Madrid, Spain. Curated by Beatriz Alonso y Carlos Fernández Pello.

Querer parecer noche

2019. CA2M (Centro de Arte Dos de Mayo), Madrid, Spain. Curated by Beatriz Alonso y Carlos Fernández Pello.

Ride, ride, ride

2019. Index Foundation (The Swedish Contemporary Art Foundation), Stockholm, Sweden.

Ride, ride, ride

2019. Index Foundation (The Swedish Contemporary Art Foundation), Stockholm, Sweden.

Ride, ride, ride

2019. Index Foundation (The Swedish Contemporary Art Foundation), Stockholm, Sweden.

Ride, ride, ride

2019. Index Foundation (The Swedish Contemporary Art Foundation), Stockholm, Sweden.

Flotation Line

2018. Der Tank (Kunst Institut Basel), Switzerland. Curated by Chus Martínez.

Flotation Line

2018. Der Tank (Kunst Institut Basel), Switzerland. Curated by Chus Martínez.

Flotation Line

2018. Der Tank (Kunst Institut Basel), Switzerland. Curated by Chus Martínez.

Flotation Line

2018. Der Tank (Kunst Institut Basel), Switzerland. Curated by Chus Martínez.

Flotation Line

2018. Der Tank (Kunst Institut Basel), Switzerland. Curated by Chus Martínez.

Flotation Line

2018. Der Tank (Kunst Institut Basel), Switzerland. Curated by Chus Martínez.

Cabalga, cabalga, cabalga

2018. Abierto x obras. Matadero Madrid (Centro de Creación Contemporánea), Spain.

Cabalga, cabalga, cabalga

2018. Abierto x obras. Matadero Madrid (Centro de Creación Contemporánea), Spain.

Cabalga, cabalga, cabalga

2018. Abierto x obras. Matadero Madrid (Centro de Creación Contemporánea), Spain.

Cabalga, cabalga, cabalga

2018. Abierto x obras. Matadero Madrid (Centro de Creación Contemporánea), Spain.

Cabalga, cabalga, cabalga

2018. Abierto x obras. Matadero Madrid (Centro de Creación Contemporánea), Spain.

Pumping Station

2017-2019. IX KölnSkulptur, Cologne, Germany. Curated by Chus Martínez.

Pumping Station

2017-2019. IX KölnSkulptur, Cologne, Germany. Curated by Chus Martínez.

The Night is Dark Enough for Us to See It

2015. The Green Parrot, Barcelona, Spain.

The Night is Dark Enough for Us to See It

2015. The Green Parrot, Barcelona, Spain.

The Night is Dark Enough for Us to See It

2015. The Green Parrot, Barcelona, Spain.

The Night is Dark Enough for Us to See It

2015. The Green Parrot, Barcelona, Spain.

All the Things that are Not There

2014. Matadero Madrid (Centro de Creación Contemporánea), Spain.

All the Things that are Not There

2014. Matadero Madrid (Centro de Creación Contemporánea), Spain.

All the Things that are Not There

2014. Matadero Madrid (Centro de Creación Contemporánea), Spain.

All the Things that are Not There

2014. Matadero Madrid (Centro de Creación Contemporánea), Spain.

Sin heroísmos, por favor

2012. CA2M (Centro de Arte Dos de Mayo), Madrid, Spain. Curated by Tania Pardo.

Sin heroísmos, por favor

2012. CA2M (Centro de Arte Dos de Mayo), Madrid, Spain. Curated by Tania Pardo.

Sin heroísmos, por favor

2012. CA2M (Centro de Arte Dos de Mayo), Madrid, Spain. Curated by Tania Pardo.

Teresa Solar Abboud’s imaginary is based on the morphology of speech and, by extension, of thought. Concepts such as resistance, insulation, tightness and immunity are developed through a multidisciplinary production focused on sculpture and drawing, and based on the creation of multi-layered narratives. Throat, pore, hatch, tongue, pipe, her pieces are populated with connotations of connectivity and flow. Hers is a practice full of words and full of organs that create words: a talkative work that doubts itself but nevertheless wants to talk.

In recent years, Solar Abboud has developed large-format installations in which families of sister sculptures vary in shape and size, creating complex ecosystems of thought. The reflection about the great stories of progress in contemporary society are opposed to micro-narratives that have to do with her own body: sports injuries, stuttering and daily transits through her city are a fundamental part of the expressive sphere of the creator.

The artist takes up the space with pieces of very different size and materiality: clay, found objects and human symbols coexist in her work. Teresa Solar Abboud approaches these relationships from an organic sensibility, as if they were bodily functions, but she also accentuates the complex system of relationships in the industrial world, where hybrid forms of existence that combine organic and synthetic properties are constantly being produced. The work with ceramics is especially relevant in her production: the artist interprets the clay as a metaphor for the relationship of mankind with the geological mantle on which our civilizations lay and thus creates, through the intrinsic insulating qualities of the material, cavernous systems with which to tell stories of self-protection and isolation. 

She participated in the 59th International Art Exhibition of La Biennale di Venezia The Milk of Dreams, curated by Cecilia Alemani (2022). Her new solo show Vida na superfícieis now on view at Kunsthalle Lissabon (Lisbon, Portugal). Future projects include a solo exhibition at CA2M curated by Tania Pardo. 

She participated in the group shows ¡Doblad mis amores! at Collegium, Arévalo, curated by Chus Martínez, and Abundant Futures, from TBA21 Collection, curated by Daniela Zyman at C3A, Córdoba (2023). In 2021 she took part in the Liverpool Biennial curated by Manuela Moscoso with a public art installation at Exchange Flags titled Osteoclast. She took part in KölnSkulptur #9 curated by Chus Martínez in Cologne (2017-2019).

Recent solo shows include Time of worms at Galeria Joan Prats in Barcelona, curated by Julia Morandeira; Big Mouth, within Boundaries, Oozing out in 1946, The Hague; Formas de fuga at Travesía Cuatro Madrid; Pumping Station at Travesía Cuatro CDMX, Mexico; Ride, Ride, Ride at Matadero Madrid and Index Foundation, Stockholm and Flotation Line at Der TANK, Institut Kunst in Basel. She has taken part in group shows at Pinchuk Foundation, Kiev; Museo de Arte Abstracto, Cuenca, Spain; Centro Conde Duque, Madrid; Casal Solleric, Palma de Mallorca, Spain; Museo Patio Herreriano, Valladolid, Spain; CA2M, Madrid; Haus der Kunst, Münich, Fundación Marcelino Botín, Santander; Maxxi, Rome; General Public in Berlin; Kunstverein München; and La Casa Encendida, Madrid.