Gala Knörr is a Spanish multidisciplinary artist who has worked in painting, photography and video. Her practice explores the intersection of technology and identity in contemporary society. She holds an MA Fine Arts from Central Saint Martins and a BFA in Fine Arts from Parsons School of Design in Paris.
Gala has been awarded grants, residencies and distinctions internationally, including Emergencias 2.0 La Casa Encendida in Madrid (2010); an Honourable Mention from the BEERS London Emerging Art Award (UK); selected for The Columbia Threadneedle Prize in 2014 (Mall Galleries, London); an artist residency during the 50th anniversary of Cité Internationale des Arts in Paris (France); the 2016 international artist fellowship CREADORES from La Térmica Centro de Cultura Contemporánea in Málaga (Spain); and most recently, the production grant and artist residency at Fundación Bilbaoarte Fundazioa in Bilbao (Spain), where her first institutional solo exhibition will be held in late 2017.
She has collaborated as a performer for Bowie Festival at ICA (London, UK) with Jussi Brightmore; Banner Repeater (London, UK) with Katrina Palmer; Lights of Soho (London, UK) with Oliver Guy-Watkins and as Bohemian Inc. at Centro Cultural Montehermoso in Vitoria-Gasteiz (Spain). She has worked as an educator at Saatchi Gallery, and supported different activist campaigns directed by Maximilla Lukacs and The Department of Peace for the Rainforest Alliance ‘Earth Day’ campaign in 2013, and the 2014 Joan Jett Public Service Announcement dealing with income equality and women’s health issues.
Her curatorial project ‘Journey to the Center of My Mind’ was invited to be showcased at the Historical Monument #157 in Los Angeles in 2012, reuniting international Los Angeles and London based female emerging artists and musicians. A second edition to the project was presented in Madrid in 2013.
ABOUT THE WORK:
SELF IDENTITY IS A BAD VISUAL SYSTEM, FUNDACIÓN BILBAOARTE ‘PUERTAS ABIERTAS’, BILBAO
‘Self Identity is a Bad Visual System’ is a title borrowed from the essay that Susanne Von Falkenhausen published for e-flux journal during the 56th Venice Biennale. She comments on the cultural practice of narcissism being a conductor for technological advances that have come to control and dominate our lives as consumers. At the end of the eighties, the internet was considered a utopian space where man would be able to exist and access information of all kinds in absolute freedom, where corporations and politicians would not have any control. Of this cyberspace or idealized alternative reality little has been left with the introduction of social media. All use and content we generate is analyzed by computerized systems to select what to show us, what to consume on the internet. Our identity, our tastes and personality are objects of commerce inside a mirage. Simultaneously social media has a radical aspect to it due to its accessibility we can share content that is not regularly found on mainstream media. The artist decided to select social media users with a profile that broke the pre-established norms of the gender binary, beauty and race, giving space through painting (a permanent and traditional medium) to radical moments that celebrate diversity inside an electronic sigh.
CROWD-SOURCE MALAGUEÑO, CREADORES 2016, LA TÉRMICA, MÁLAGA
‘Crowd-Source Malagueño’ is a project dedicated to the associative nature of images and the power of language through the re-appropriation of existing material, extracted from videos and photographs sent to the artist via social media. Knörr explores the interpersonal relationships that are forged between strangers, how they represent their lives and their persona to later re-appropriate those snaps, elaborating new realities or surrealities, and simultaneously establishing an electronic relationship with each subject underlining the performative aspect of the art process.
Find out more about the artist: www.galaknorr.com