Coderch's practice is an investigation into our common ways of making sense, exploring how stories and images help us give order to our lives. That means inhabiting a space that belongs equally to what we call reality and to what we call fiction. Her recent work postulates scenarios and situations that allow her to explore, by way of installations, videos, performances, and audio pieces, questions like what is a good life, what does it mean to be disoriented, how do we resemble an object, what is in a voice or how do we experience a memorable moment.

Selected solo exhibitions include: “The Magic Mountain” (Espai 13, Fundació Joan Miró, Barcelona), Desde la herida, Bienalsur (Buenos Aires, AR), 2021; Shelter, MUAC (D.F., MX), 2020; Vida de O, Centro Centro (Madrid, ES), 2018; [Shelter], Fundación BBVA (Madrid, ES), 2018; The Girl With No Door On Her Mouth, àngels (Barcelona, ES), 2018; [Shelter] As long as summer lasts, The Ryder (London, UK), 2018; Souvenir (Onyx), Art institute Vienna (Viena, AT), 2017; The Rainbow Statement, BGW (Barcelona, ES), 2016; Oro, Fundació Suñol (Barcelona, ES), 2014; La parte que falta, Bacelos (Madrid, ES), 201 ...

Lúa Coderch, AH 4/3 (mama Henningsen), 2018. Fake PH 4/3 lamp covered with synthetic hair, 42 cm Ø x 21 cm
Lúa Coderch, AH 4/3 (mama Henningsen), 2018. Fake PH 4/3 lamp covered with synthetic hair, 42 cm Ø x 21 cm
Lúa Coderch, AH 4/3 (mama Henningsen), 2018. Fake PH 4/3 lamp covered with synthetic hair, 42 cm Ø x 21 cm

Luck is a Form of Attention, 2022

Gilded arm mounted on a pendulum mechanism

22 x 18 x 15 cm

Sore throat series by Lúa Coderch

Published on Frieze Magazine on February 2018. Written by Max Andrews:

Two images of plants, mounted behind grey-tinted glass, are part of Coderch's series 'Sore Throat' (2018). We learn that the specimens of this photographic herbarium represent botanical remedies for ailments of the mouth and throat. Each is accompanied by textual inscriptions: shop-worn sentiments that strain good faith or a repertoire of break-up lines, such as: 'You deserve better' and 'Things are going too fast', for example. Phrases, like Echo herself, which are condemned to heart-breaking repetition.

Read full article here

The Hand Method (Screen), 2022

(Render) Wooden structure and digital printing

170 x 186 x 3 cm

Echo, 2022

Upholstered structure, artificial hair, Raspberry Pi, speaker and microphone

28 Ø x 111 cm

Edition of 3

Echo is an open-code sculpture referencing the myth of this nymph. The sculpture only knows and only uses words it has heard before. Echo listens, responds, and rehearses ways of combining learned words. Thus, it depends on others to expand its vocabulary and articulate increasingly complex thoughts. As in the myth, Echo is a body that is stripped of meaning, or at most has only coincidental meaning. Despite this, it finds a way to speak, largely dependent on the ability of listeners to imbue what they have heard with greater significance.

Trailer of [Shelter], 2015 by Lúa Coderch

Digital video single channel 16:9 color sound

1h 20 min 39 sec

Edition of 3

This project was made possible with the support of Fundación BBVA.

[Shelter] is a video essay in the form of a correspondence, in which the construction of a refuge – a makeshift architecture that will only just serve to survive the night in a hostile or unknown environment – provides the pretext for a conversation about issues like traceability and substance, technology and time. This production explores the forms of emerging ...