Teresa Solar


Teresa Solar Abboud (Madrid, 1985) shows that in her work there is a continuous interest in language and in its processes of translation, in constant transformation.

She is the daughter of a Spanish father and Egyptian mother, and speaks Arabic, although she can neither read nor write it, and she makes this circumstance a condition rather than a conditioning factor in her work, which explores the concept of translation in a broader sense than the textual; through the way and form with which she composes her stories. As she herself expresses in these words, “despite being based on real facts, nothing of what is described following is true – in fact nothing that anyone says has truly happened has truly happened. Nevertheless, what is described took place in the sense that it is told and therefore is true because it is told”; finally narration and biographical past are blurred into a single discourse, in which as much is involved as is moved away.

The exhibition brings together works corresponding to two different projects.The works corresponding to the photographic series Llano múltiple (Multiple Plain), 2012, takes images of a wooden house set in a valley in the middle of nowhere and in a state of semi-ruin, which still houses the memory of the shootings that in the course of almost a quarter of a century ago John Ford, Sam Peckimpah and Wim Wenders carried out, or on which that mythical fable has been superimposed, but which curiously release an anomalous truth. According to the artist herself, it deals with “the process of translation and interchange of historical spaces to their cinematographic reference and also the reverse process”.

The two works in Doble mordido (Double Bite) 2013, and the videoTodas las cosas que no están (All the things that are not there), 2013, correspond to another project, emerged following the tale about the scientific research by Harold Eugene Edgerton, inventor of the stroboscope and father of ultra-rapid photography, and the zoologist Donald R. Griffith, who had shown that a strange type of bat is capable of passing through solid bodies during its flight. But like the previous tale, this is only the basis on which rests Solar’s true proposal, in her own words, “reflection on recall and memory through the reconstruction of spaces”, or, as Carlos Fernández Pello acutely writes, “in Doble Mordido, the technological advancements that Edgerton used to capture that which escaped the human eye recover the opacity of Griffith’s block.They are mystery machines because they served to filter atomic light or to protect the classified images of radiation, but also because, in being stripped of their technical function, they neither talk nor are of use, but are brushed against, touch and are brought into the abyss of that which is but is not visible”.

María de Corral
Lorena Martínez de Corral


I have spent several years working on the concept of the set and of uprooting in the cinema and tourist industry. Many of these are recreations of stagings, shots and dialogues from determined films or photographs. I am interested in the process of translation and interchange of historical spaces to their cinematographic reference, but also in the reverse process through which the conditions of production of certain films or documentaries “leave a mark”, and themselves constitute historical events and geographical landmarks. Added to all this is the fact that, in one way or another, the referents go through me biographically. For example, my series of works on the “moving” and displacing of sets in Lawrence de Arabia has a relationship with my condition as illiterate in Arabic (the daughter of an Egyptian mother, able to speak but neither read nor write Arabic) and the invertebrate manner of making sense. In the same way, in my latest film on the photographer and engineer Harold Edgerton, I do not only articulate my video around a personal journey through the centre of the United States, but also the narrator is an actress who speaks for me and I act as my own character within the film. All these works reflect on the “bio-political”, anecdotal and muddy implications of great identity narratives.

In my last project at the Formato Cómodo gallery the work with language and translation is particularly important; the exhibition revolves around the materialisation of sign language and the gestural, abstract and corporal character inherent to any language. Starting from this premise, I use ceramics made on a potter’s wheel and sculptures to develop a series of works which translate the signs into forms and surfaces, and which speak to us of the physical resistance that accompanies the translation of that which one does not understand, of that which is foreign.

Teresa Solar


Teresa Solar Abboud (Madrid, 1985). Vive y trabaja en Madrid – Vive e lavora a Madrid – Viu i treballa a Madrid – Lives and works in Madrid

Estudió Bellas Artes en la UCM y cursó estudios de posgrado en la UEM gracias a una beca de la Fundación la Caixa. Entre otros proyectos ha expuesto individualmente en Matadero Madrid, en el Centro de Arte 2 de Mayo y en la Galería Formato Cómodo.

Ha sido recientemente premiada con la beca de producción Fundación Marcelino Botín, con la que va a producir su próxima película.También ha ganado el premio Generaciones 2013 y la beca de producción CAM 2011, con la que realizó Todas las cosas que no están, su anterior mediometraje.


Licenciada en Bellas Artes por la UCM. Madrid

Graduada en el Máster Oficial en Arte Contemporáneo (MOAC) por la UEM. Madrid


Todas las cosas que no están. Matadero Madrid. Foreign Office. Galería Formato Cómodo. Madrid

2012 Sin heroísmos, por favor. CA2M. Madrid

El llano múltiple. Galería Formato Cómodo. Madrid

Los embajadores, Centro Párraga. Murcia

2010 Los embajadores, Galería Vall Ortí. Valencia

E PREMI / GROUP EXHIBITIONS, AWARDS, CURATORIAL PROJECTS (selección / selezione / selection)

2015 Reunión de hechos. Galería Slowtrack, Ms. Rina Bowen Gallery

The rescue of the effects, General Public. Berlín

(…), Can Felipa, Barcelona Iceberg 2, Matadero. Madrid

Premio artista revelación, Jugada a tres bandas. Madrid

2015 – 2014 Beca de producción Fundación Marcelino Botín

2012 Premio Generaciones, Fundación Caja Madrid

2011 Appeal to probability, Het Wilde Weten. Holanda

Premio ABC, Museo ABC. Madrid

Rencontres internationales,

Centre Pompidou, Museo Reina Sofía, Haus der Kulturen der Welt

Beca de producción CAM. Selección premio de artes plásticas ABC

2010 Entes, Galería Àngels. Barcelona

Los embajadores, Galería Vall Ortí, Valencia

Oscuro y salvaje, Casa Encendida. Madrid

Rencontres Internationales, Haus der Kulturen der Welt, Berlín. Museo Reina Sofía. Madrid

Premio “Tentaciones”, Feria Estampa. Madrid

Residencia en Glogauair, Berlín, Comunidad de Madrid

2009 Rencontres Internationales, Centre Pompidou. París

I am getting so far out, Galería DUVE. Berlín

Yo no tengo razón, Sala Offlimits. Madrid

LOOP Festival, CCCB. Barcelona

Beca de producción en artes plásticas, Comunidad de Madrid

Selección Instantes de Paisaje 09, CDAN. Huesca

Selección en II Certamen de dibujo contemporáneo Pilar y Andrés Centenera Jaraba. Guadalajara

2008 Beca para estudios de Máster La Caixa

Beca Erasmus de traslado a la Universidad de Wimbledon. Londres

2007 Finalista IV Concurso de Dibujo UCM. Madrid

Beca de Ayuda a la Producción INJUVE

2006 Beca Séneca de traslado a la Universidad de Barcelona

Artwork in Exhibition