2021-01-29  - 2021-25-05

Curator: Susana Blas



The exhibition Skinless, specifically devised by Marina Núñez for Kubo Kutxa, presents a set of recent works that convey malleable, empathic identities with environments, in which physical and psychological boundaries are diluted or duplicated in the scenarios or landscapes of which they are part.


Skinless is about identity, the idea of boundary and the more often than not uncomfortable dialogue between the connected, endless, open, soft and metamorphic and the constrained, stereotyped and controlled. Evocations of an environment in transformation and “on the road to destruction”, which today has shifted from being a theoretical matter to an urgent problem, given the evidence of imminent catastrophe brought about by the environmental crisis.


In line with recent ideas of theorist Donna Haraway –who exerted a great influence on the post-humanist artistic discourse of the late 20th century with her A Cyborg Manifesto (1984)– the exhibition invites us, as Haraway suggests in her latest book, Staying with the Trouble (2019), to reshape our relationship with the Earth and its –human and non-human– inhabitants, accepting that we have to inhabit a wounded territory together. Ideas that resonate with Núñez’s work, in which scenarios, though hostile and distorted, are open to integration and symbiosis.

The show’s title alludes to eliminating the boundary that isolates us from the outside world: the skin, as a reason for merging with both the natural environment and technology, and understanding life on Earth as an organic process in which our decisions, although crucial, belong to broader laws that affect the entire cosmos.



Light as the unifying energy of parts has been present in Marina Núñez’s output since her earliest works, not only as an iconography leading to transformation, but also by being the instrument and matter of her pieces, given that the artist in recent years, although still considering herself as a painter, has opted for digital techniques: video, photography and infographic drawing, which enable extreme malleability that is line with her theoretical concerns.


This scenario of energy, climate and social crisis prevailing in recent decades has been joined by a global pandemic in 2020. The spread of a fluid, mutable and constantly expanding virus helps us to understand, almost in a literal manner, the concept of boundary that the artist attributes to the epidermis.


The invisible disease penetrates through the skin while we try without much success to control its access. This wicked, replicating virus is additionally nothing more than the consequence of human actions of wildly exploiting ecosystems that are now taking their toll on “civilisation”. The dichotomies of nature/culture and body/technology have underpinned the artist’s imaginary ever since her earliest works.

Marina Núñez has for many years been interested in otherness (madness, monstrosity, the cyborg universe) and in non-canonical imaginaries, and although all her work is an attempt to reveal alternative realities to the norm, perhaps the difference of this exhibition from previous projects is the appropriateness of the show in the uncertain, apocalyptic times that humanity has been experiencing over the past year.


© Marina Núñez. Marejada, 2020. Detail



Marina Núñez  (Palencia, 1966)



In her works, Marina Núñez depicts different, aberrant, hideous beings, ones existing beyond the pale or contrary to the norm. The anomalous bodies that inhabit her paintings, digital images or videos speak to us about a metamorphous, hybrid, multiple identity. She recreates a destabilising, impure subjectivity for which otherness is not something alien, but a basic component of the human being.


With a Degree in Fine Arts from the University of Salamanca and a PhD in Fine Arts from the University of Castilla-La Mancha, Marina Núñez is currently a professor of painting in the Faculty of Fine Arts at the University of Vigo while remaining fully dedicated to her artistic career.


Her work has been displayed in both solo and group shows in Spain and various cities throughout the world (Paris, Buenos Aires, Venice, Berlin, London, New York, Krakow, Palermo, Ajaccio and Shanghai).

Ever since her initial works, she has been an artist who questions gender roles and established, Marina Núñez. Photo: Pedro Gallego                                           canos, as well as that which exists beyond conventions. She has expressed this quest in various formats, such as painting, video and 3D animation, and in recent years she has shown a preference for 3D software and special effects. Her work displays the possible influence that science fiction literature or cinema has had on her, two key sources of inspiration.


As for her subject matter, one can identify madness, death, monstrosity and science fiction, although the main focus of her work is the female figure.

Marina Núñez has created a world of her own populated by creatures and settings that exist on the margins or against the norm.


Her work can be found in the collections of several institutions, including the Museo Nacional Centro de Arte Reina Sofía, Artium in Vitoria-Gasteiz, MUSAC in León, Patio Herreriano in Valladolid, La Panera in Lleida, TEA in Tenerife, CAAM in Las Palmas, Es Baluard in Palma de Mallorca, Fundación la Caixa, Fundación Botín, MAC in La Coruña, CAB in Burgos, FRAC Corsica or the American University, Washington DC.


She currently resides in both Madrid and Pontevedra and is a professor in the Faculty of Fine Arts at the University of Vigo.



Tornados, supernovas and tides

A conversation between Marina Núñez and Susana Blas


15 April at 18:00 (online)

Conversation between the artist and the curator.

Available on our Youtube channel



Gided visits


Every Saturday

5.30pm in Basque / 6.30pm in Spanish 


Whit prior booking, T 943 251939,  This email address is being protected from spambots. You need JavaScript enabled to view it. in the gallery.





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amondarain engl 




Dig it all 2001José Ramón Amondarain

Shaking up images


2021-05-21 - 2021-09-26

Curator: Francisco Javier San Martín



Agitar las imágenes [Shaking Up Images] is the first retrospective exhibition that provides a complete overview of José Ramón Amondarain’s work over more than three decades, bringing together more than 200 pieces produced over practically all the creative stages of this Donostia artist. Its curator, Francisco Javier San Martín, and the artist himself have carefully selected the works that represent each of his different series. According to San Martín: “Three decades of carefully observing the world and contemporary society, yet no less carefully the inner front of art and the work of contemporary artists or modern tradition”.

It is perhaps surprising for those who follow the artist’s work that the exhibition focuses on sculpture, given that Amondarain is better known for his pictorial work, although sculpture has always been present in his studio work and, in one way or another, in all his exhibitions. The aim is therefore to highlight this aspect of his work and to position it in relation to his artistic production as a whole.


The pieces on display occupy the magnificent space of Kubo Kutxa Gallery, appropriating and inhabiting it in a layout chosen and studied by Amondarain to achieve a result in accordance with his idea of what an exhibition should be. The idea of a large space occupied by a strategically designed forest of sculptures, or the grouping of the pieces, are important as part of the definition of this project in which the artist takes stock of his career.

The works are primarily from the artist’s collection, but the selection is completed with contributions from private collections, as well as several institutions, such as Artium, Museo de Bellas Artes in Bilbao or Fundación Naturgy, which have generously loaned their pieces on a temporary basis.


“Shaking images” is one of the artist’s expressions and with it he wants to claim his position of dialogue with Art History through appropriation, deviation, copying or parody, as well as with everyday images. “Shaking images” implies gathering elements from others, in this context of hyperabundance, and putting them into action. Any appropriation within the contemporary context is inevitable or irrepressible, but it is also functional and productive. The work on display in this exhibition has been created upon this fine line.


The exhibition is displayed in the three spaces of the Kubo Kutxa Gallery. The space at the entrance contains two series that deal with Amondarain’s relationship with the modern legacy and its updating through studio work: Anagramas [Anagrams] on the walls, polyester pieces in which the letters of artists’ names have been rearranged to produce a phrase related to their work, or rather to Amondarain’s perception of their work. And in the space of the exhibition hall, his series of Aviones [Airplanes], small aeromodelling pieces covered with characteristic motifs of painters especially close to the artist, in which painting becomes camouflage as well as a tribute.


In the main hall of the gallery, a densely overcrowded group of sculptures on pedestals shows a good cross-section of the variety of Amondarain’s sculptural work. On display are large-scale works, such as El corte [The Cut] or Punto ciego [Blind Spot], Háptica [Haptic] or Cuánto de quién [How Much of Whom], as well as tiny experimental fragments, from early sculptures in lead or oil paint to recent works in a variety of materials, some of which were produced as this exhibition was being prepared. A series of prints in the form of posters or manifestos on one wall shows processes of work, ideas or suggestions, complicity and seduction accompanying the artist’s work in the studio and operating as a diary in images. Sparks of imagination feeding a desire to return to the studio.

And finally, in the third room a projection provides us with a series of images that Amondarain has employed to produce his works throughout the course of his artistic career. This unique look back helps us to intuit his way of working by the manner in which they are articulated with each other, within an environment that is voluntarily devoid of works, in which what we have seen in the previous room encounters a world of frankly revealing references.  

José Ramón Amondarain | Dig it all, 2001 | Photography © Lopez de Zubiria





Gemelas 2006José Ramón Amondarain  (Donostia / San Sebastián, 1964)


He graduated in Fine Arts from the University of the Basque Country, specialising in Painting. His training continued at Arteleku (Donostia) and he later enjoyed a residency in the study programme at Künstlerhaus Bethanien (Berlin).

His work has been displayed in institutional galleries such as Sala Rekalde, Bilbao; Museo Guggenheim, Bilbao; Museo Patio Herreriano, Valladolid; DA2, Domus Artium, Salamanca; CAAM, Las Palmas de Gran Canarias; Palais de Beaux-Arts, Brussels; La Casa Encendida, Madrid; Koldo Mitxelena, Donostia; Museo Galdiano, Madrid, and Artium, Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz.

He has participated in various international fairs, including ARCO, Madrid; ART BASEL, Basel; ART FORUM BERLIN, Berlin; ART AMSTERDAM, Amsterdam, and ART BEIJING, Beijing.

His work can be found in the Museo Artium in Vitoria, Museo Reina Sofía in Madrid and in collections such as the Fundación ”la Caixa” in Barcelona, CA2M in Madrid, Unión Fenosa in La Coruña and Bank of Spain.

He was the recipient of the Endesa Group Scholarship in 1993 and Botín Scholarship in 1999, among others, and also that of the Spanish Academy in Rome in 2018-2019.

Amondarain is undoubtedly one of the most brilliant Basque artists, but he transcends the local to be present within the international debates that have occurred in recent decades in the field of painting. He is a good example of a multifaceted artist with the ability to embrace a wide range of material and conceptual procedures.


José Ramón Amondarain | Gemelas, 2006 | Photography © Lopez de Zubiria




Free guides tours


Every Saturday


17:30 Basque / 18:30 Spanish

Whit prior booking: in the gallery, T 943 251939,  or  This email address is being protected from spambots. You need JavaScript enabled to view it.




JOSÉ RAMÓN AMONDARAINCatalogo amondarain


Shaking Up Images


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Descard here the guide of exhibition