Apostando por
formatos digitales
como transmisiones
que darán a conocer
de forma masiva el
hecho artístico
La Colección Pi
Fernandino participa
de los “recuerdos de
la utopía”, puesto
que “la nostalgia se
transforma en
En 2010 obtuvo el
premio al
Privado que otorga

The collection Colección Pi Fernandino is the result of the relationship and the commitment of two business world professionals to contemporary art. This commitment led to a centered collection focused on video art. The Collection traces a path through the history of video in the international artistic scene and gives exceptional witness to its consolidation in the creative panorama.

After its inception by Helena Fernandino and Emilio Pi (Pamplona, 1954) in the 1990’s, it became clear during the first decade of the new millennium that the collection of painting, photography and video art had developed primarily into a video art collection as the number of works accomplished in this format surpassed the others. Equally important was the discovery of many personal references to the collector’s own experience and identity within this form of artistic expression and the recognition of the video and moving image as a contemporary creative language.

The video art collection consists of 300 works, including installations, video projections and single-channel, and an archive of more than 1.000 limited editions and compilations. Noteworthy are pieces by video pioneers like Vito Acconci, Bruce Nauman, Muntadas and Ulrike Rosenbach. Also included are artists who developed the moving image in other contexts such as Yang Fudong, Douglas Gordon, Yosua Okon, Tracey Emin, Willie Doherty, Hiraki Sawa and Sergio Prego.

To define the spirit and orientation of this collection, let us cite the critic and curator, Juan Antonio Álvarez Reyes. “The [collection] Colección Pi Fernandino, with its focus on videos of the 90’s and 2000’s, should be viewed from a post utopian perspective]. Although it includes some of the artists of the first and second generation , it is the third generation which makes up the majority of the collection. It is a trace of utopia in the sense suggested by Martha Rosler”, or, to say it in the words of Andreas Huyssen, it participates in the “memories of utopia” as “the longing in artworks, which aims at the reality of the non-existent, takes the form of remembrance”.

Parts of the collection have been exhibited at the Museo Nacional Centro de Arte Reina Sofía (Acciones y Situaciones , Madrid 2008), Centro de Arte Dos de Mayo (Gustos, colecciones y cintas de video, Madrid 2008) and within the programming of VIVA - Vital International Video Art at the MOCA Seoul, the Hara Museum of Tokyo, and the Centro Pompidou (2010). In April 2011 the collection was presented in Brazil (Brasilia, Museu Nacional do Conjunto Cultural da Republica y Sao Paulo, Instituto Cervantes). Moreover, parts have been exhibited at the Museo Vostell (IV Ciclo de Videoarte, June 2011) and at numerous national contests of video creation.

In 2010, the Collection was recognized along with the Paul Getty Collection (international category) with the ARCO Fair Award for Private Collecting.