Txuspo Poyo

Poyo was born in Alsasua, Navarra in 1963.
BA in Fine Arts from the Universidad del País Vasco, 1983-1988.
- 2001 Marcelo Botín Foundation Grant, for the programme ISCP, NY.
CADA: animation in Maya. New York University.
- 2005 Bilbo Arte Fundaziona. Bilbao.
- 2006 Arte y Derecho Foundation Grant, Madrid. Gure Arte Prizes. Donostia.

• Anamnesis. Valencia Biennial.
• Imágenes Mágicas. Fundación Botí. Cordoba.
• Gure Artea. Koldo Mitxelena. San Sebastian.
• Cuentos digitales. CGAC. Santiago de Compostela. A Coruña.
• Registros contra el tiempo. Villa Iris. Santander.
• Stalker, Cruzando Puentes. MPA. Pamplona.
• Herrorismo • Project Room. Arco 2001, Madrid.
• MHT Monkey Honky Town.
• Sala Montcada. La Caixa, Barcelona.
• 7 Biennal Martinez Guerricabeitia. Universidad de Valencia.
• Get Off, Sex Museum. New York.
• Monocanal, video programme. MNCARS, Madrid.
• Multitude, Artist Space, New York.
• Cinco+Dos, Spanish Cultural Centre of Habana, Cuba.
• Cine y Casi Cine, Museo de Arte Contemporáneo Reina Sofía, Madrid.
• Gaur, Hemen, Orain, Museo de Bellas Artes, Bilbao• Artistas y Diseñadores, Edizioni Elena Levi, Roma. Italy.
• Trasvases, Spanish video artists• Paradise 8 ,Exit Art, New York• Camera Oscura • San Casciano dei Bagni. Italy.
• +8+7+3+1-1-1-5 , Forum 98, Moscow. Russia.
• GlassBox Gallery
• Paris. France.
• Siesta Over, Side Show Gallery, Brooklyn. New York.
• A very short space of time.  Biennial of the Image, Paris. France.
• Manuals for the 21st Century, Impakt festival, Utrecht, Netherlands.
• Fondazione Sandretto Re Rebaudengo, Guarene-Turin, Italy.
• Current Uncurrent: working in Brooklyn, Brooklyn Museum. New York.
• Interzones • Kunstforningen, Copenhaguen. Denmark.
• Uppsala Konstmuseum, Slottet Uppsala-Sweden.



Txuspo Poyo’s work comprises an initial series of collages, followed by a repertoire of film and video pieces made with a digital camera and pixel vision. The exposed rolls of film of his first works in 16mm and 35mm create the conceptual and formal plot of the television screens. The video works take shape in the editing process, by which in their combination, the editing table and the computer become labs for the appropriation and deconstruction of fictions. His works take part in the image’s oscillation between control and its censorship.

Cecile Bourne