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Txuspo Poyo (1963, Alsasua, Navarra) holds a BA in Fine Arts from the University of the Basque Country (UPV). In 2001 he completed an ISCP residency sponsored by Fundación Marcelino Botín and also studied at the CADA center of New York University. In 2006 he received funding from Fundación Arte y Derecho and Fundación de las Artes de Valencia for his Delay Glass project, and the same year won the Premio Gure Artea of the Basque Government. In 2008, he was awarded first prize at the 10th Unión Fenosa International Exhibition. In 2015 he received funding from The Fundación BBVA for La Engaña tunnel project and 2018 from Huarte Centro de arte contemporáneo and the Gobierno de Navarra for Izaro project. He has taken part in the Madrid Region’s 15th Image Symposium, and has been an invited speaker on master’s programs at the University of Cuenca and the UPV.

He has held solo exhibitions in venues such as Fundación BBVA, Madrid, Museo Artium in Vitoria, Centre d’Art La Panera in Lleida, the Costa Rica Museum of Contemporary Art and Design and the Montcada Gallery of Fundació la Caixa in Barcelona. His group exhibitions include Geopolíticas de la animación showing at the CAAC in Seville and MARCO in Vigo; Les Rencontres Internationales Paris/Madrid/Berlin; the 2nd Angola Triennial; the FILE in São Paulo; Incógnitas at the Guggenheim Museum Bilbao; Cine y casi cine at the Reina Sofía in Madrid; Multitude at the Artist Space Gallery in New York, and Fundación Sandretto Re Rebaudengo, in Guarene-Turin, Italy.



Since the 1990s, Txuspo Poyo has followed a distinct process method that is marked by its use of montage to trace juxtaposed stories embarking from the point of exploration and analysis of certain generational events at their hybrid cross. These range from the celluloid series, where he disassembled films and interweaved the filmed images together, to the use of the Pixel Vision camera as a pre-technological toy; the aim being to conduct a documentary study of the relational elements of moral, gender based, social and psychological behavior of animated characters in Western culture. These propositions have given rise to narratives that draw their tension from interconnected images, plots in which unfinished historical remnants converge with fragments of the cultural imaginary, both individual and collective, lifted from history, film, architecture and science fiction. His works offer a re-reading of procedures and models of production and representation.