Eva LOOTZ was born in Vienna (Austria) where she studied Philosophy and Plastic Arts and did her B.A. in Film and TV Direction. At the end of the sixties, she moved to Spain, where she began exhibiting in 1973.
Departing from an anti-expressive, process-driven approach, informed by a conscious thrust towards broadening the concept of art, she evolved towards the creation of inter-sensorial, encompassing spaces, or, as she herself puts it, towards “continuous art”. Her work, underpinned by a clear interest in interaction between matter and language, is characterized from the outset by the use of a compendium of heterogeneous registers.
Of her best known exhibits, the following stand out: Metal, Fundación Valdecilla (Madrid, 1983); Noche, decían, Sala Montcada (Barcelona, 1987); Alfombra escrita, Barbara Farber Gallery (Amsterdam, 1990); Eva Lootz, David Beitzel Gallery (NY, 1990); Arenas Giróvagas, Tinglado Dos (Tarragona, 1991); Escultura y dibujos, Galería Juana de Aizpuru (Madrid, 1992); A Farewell to Isaac Newton, South London Gallery (London, 1994); La madre se agita, Almudí (Valencia, 1997); Eva Lootz, Boras Konstmuseum (Sweden, 1997), Lunds Konsthall, (Sweden, 1998), Brandts Klaedefabrik (Denmark, 1998); Ich und Du, Adriana Schmidt Gallery (Cologne, 2000); Derivas, Galería Quadrado Azul (Oporto, 2001), Berggasse 19, Galería Estiarte (Madrid, 2001); La lengua de los pájaros, Palacio de Cristal del Retiro, Museo Nacional Centro de Arte Reina Sofía (Madrid, 2002); Sedimentacions, Fundació Sa Nostra (Palma, Ibiza, Mahón, 2004); Paisajes hidráulicos, Galería Trinta (Santiago de Compostela, 2007); Mundo, Seco, Benamor, Amarga, Sala Verónicas (Murcia, 2009); Hidrotopías-la escritura del agua, Fundació Suñol (Barcelona, 2009); Viajes de Agua, Casa Encendida (Madrid, 2009); Redes de agua, Galería ArtNueve (Murcia, 2010); A la izquierda del padre, Fundación Casa de la Moneda, Madrid, 2010); Pensar dibujando/Drawing as Thought, Skissernas Museum (Sweden, 2011); Dis-cursos de agua, CAB (Burgos, 2012) and A-nudando, Galería Trinta (Santiago de Compostela, 2014).
Lootz has staged many permanent exterior interventions, among them, NO-MA-DE-JA-DO, Isla de la Cartuja, Expo 92 (Seville, 1992); La mano de Linneo (Sweden, 1996); Endless flow (Denmark, 2002); Proyecto Recoletos (Christmas lighting of Paseo de Recoletos, Madrid, 2004). In 2008, within the framework of Expo 08, she constructed La oreja parlante and placed that work on the east bank of the Ebro, in Zaragoza. She won the National Prize for Plastic Arts in 1994; the Premio Tomás Franciso Prieto awarded by the Real Casa de la Moneda, in 2009; the Premio MAV for Woman in Visual Arts, in 2010 and the Premio Fundación Arte y Mecenazgo in 2013. In 2014 she also received the Premio José González de la Peña, Barón de Forma, from the Real Academia de San Fernando.
She was Professor of Fine Arts at the University of Cuenca and has given courses and lectures at Fine Arts faculties in universities in Spain, Sweden, USA and Chile. She has published Monumentos negativos, selected writings from the 80s on the “theatre of matter”. The work also offers keys to her thought as an artist.
“Regarding my collaboration for RE-ACTION, I must say I was thrilled from the beginning by the idea of the snowball effect, the notion of works flowing into and out of each other, with no clear idea of where it would all lead. Ríos que hablan... departs, on the one hand, from Díptico de lo oculto and fragments of a poem by Chantal Maillard and, on the other, from one of my works related to rivers, specifically to the broken tongue conceived for the Dis-cursos de agua exhibition. The overriding feature of that work is that when the barbotine dries, it comes apart, forming cracks in a drought-ravaged landscape. The landscape then becomes dotted with sentences, which appear like splashes all over it.”
Eva Lootz lives and works in Madrid (Spain).
Departing from an anti-expressive, process-driven approach, informed by a conscious thrust towards broadening the concept of art, she evolved towards the creation of inter-sensorial, encompassing spaces, or, as she herself puts it, towards “continuous art”. Her work, underpinned by a clear interest in interaction between matter and language, is characterized from the outset by the use of a compendium of heterogeneous registers.
Of her best known exhibits, the following stand out: Metal, Fundación Valdecilla (Madrid, 1983); Noche, decían, Sala Montcada (Barcelona, 1987); Alfombra escrita, Barbara Farber Gallery (Amsterdam, 1990); Eva Lootz, David Beitzel Gallery (NY, 1990); Arenas Giróvagas, Tinglado Dos (Tarragona, 1991); Escultura y dibujos, Galería Juana de Aizpuru (Madrid, 1992); A Farewell to Isaac Newton, South London Gallery (London, 1994); La madre se agita, Almudí (Valencia, 1997); Eva Lootz, Boras Konstmuseum (Sweden, 1997), Lunds Konsthall, (Sweden, 1998), Brandts Klaedefabrik (Denmark, 1998); Ich und Du, Adriana Schmidt Gallery (Cologne, 2000); Derivas, Galería Quadrado Azul (Oporto, 2001), Berggasse 19, Galería Estiarte (Madrid, 2001); La lengua de los pájaros, Palacio de Cristal del Retiro, Museo Nacional Centro de Arte Reina Sofía (Madrid, 2002); Sedimentacions, Fundació Sa Nostra (Palma, Ibiza, Mahón, 2004); Paisajes hidráulicos, Galería Trinta (Santiago de Compostela, 2007); Mundo, Seco, Benamor, Amarga, Sala Verónicas (Murcia, 2009); Hidrotopías-la escritura del agua, Fundació Suñol (Barcelona, 2009); Viajes de Agua, Casa Encendida (Madrid, 2009); Redes de agua, Galería ArtNueve (Murcia, 2010); A la izquierda del padre, Fundación Casa de la Moneda, Madrid, 2010); Pensar dibujando/Drawing as Thought, Skissernas Museum (Sweden, 2011); Dis-cursos de agua, CAB (Burgos, 2012) and A-nudando, Galería Trinta (Santiago de Compostela, 2014).
Lootz has staged many permanent exterior interventions, among them, NO-MA-DE-JA-DO, Isla de la Cartuja, Expo 92 (Seville, 1992); La mano de Linneo (Sweden, 1996); Endless flow (Denmark, 2002); Proyecto Recoletos (Christmas lighting of Paseo de Recoletos, Madrid, 2004). In 2008, within the framework of Expo 08, she constructed La oreja parlante and placed that work on the east bank of the Ebro, in Zaragoza. She won the National Prize for Plastic Arts in 1994; the Premio Tomás Franciso Prieto awarded by the Real Casa de la Moneda, in 2009; the Premio MAV for Woman in Visual Arts, in 2010 and the Premio Fundación Arte y Mecenazgo in 2013. In 2014 she also received the Premio José González de la Peña, Barón de Forma, from the Real Academia de San Fernando.
She was Professor of Fine Arts at the University of Cuenca and has given courses and lectures at Fine Arts faculties in universities in Spain, Sweden, USA and Chile. She has published Monumentos negativos, selected writings from the 80s on the “theatre of matter”. The work also offers keys to her thought as an artist.
“Regarding my collaboration for RE-ACTION, I must say I was thrilled from the beginning by the idea of the snowball effect, the notion of works flowing into and out of each other, with no clear idea of where it would all lead. Ríos que hablan... departs, on the one hand, from Díptico de lo oculto and fragments of a poem by Chantal Maillard and, on the other, from one of my works related to rivers, specifically to the broken tongue conceived for the Dis-cursos de agua exhibition. The overriding feature of that work is that when the barbotine dries, it comes apart, forming cracks in a drought-ravaged landscape. The landscape then becomes dotted with sentences, which appear like splashes all over it.”
Eva Lootz lives and works in Madrid (Spain).