Vat not included

Rayaa Werte, 2018

Serie Khamekaye

Paula Anta
Photography

Edition of 5

 

The Khamekaye series was executed in the Grande-Côte, a 150 km-long stretch of Senegal’s coastline between the northern outskirts of Dakar and the River Senegal estuary. Every now and then on this big expanse of beaches and sand dunes, one can make out structures made up of branches, plastic, fishing nets and various objects, rising up out of the sea, the sand and the vegetation. At first sight they look like formless, chaotic objects, tangles of branches and plastics that seem to have been washed up by the tides. But their composition, their vertical, somehow dynamic, presence in a place lashed by wind, water and salt invite curiosity as to what they are and what they are doing stuck out there in that particular place. Chaos provides opportunities to make wonderful discoveries, and little by little, to the observer’s eye, these tangled structures begin to take on more defined forms: animals, fantastic creatures, specific beings with arms, legs, heads, in movement, in groups, even foreshortened figures.

The Khamekaye are signs, great landmarks placed along the shore to mark places where there are villages further inland. They have a very specific purpose; a practical, domestic raison d’être. Their locations are not random, and their presence is not fanciful or unimportant. They make the locations of villages visible both from the sea (there are busy fishing zones all along this coast) and from the shore. Khamekaye is a word meaning “landmark” in Wolof, one of the most widely spoken languages in Senegal, and it is used exclusively to refer to these beach signals.

Measurements: W 183 x  D 4 x H 123 cm

Vat not included

Sanii katou poids, 2019

Serie Khamekaye

Paula Anta
Photography

Edition of 5

 

The Khamekaye series was executed in the Grande-Côte, a 150 km-long stretch of Senegal’s coastline between the northern outskirts of Dakar and the River Senegal estuary. Every now and then on this big expanse of beaches and sand dunes, one can make out structures made up of branches, plastic, fishing nets and various objects, rising up out of the sea, the sand and the vegetation. At first sight they look like formless, chaotic objects, tangles of branches and plastics that seem to have been washed up by the tides. But their composition, their vertical, somehow dynamic, presence in a place lashed by wind, water and salt invite curiosity as to what they are and what they are doing stuck out there in that particular place. Chaos provides opportunities to make wonderful discoveries, and little by little, to the observer’s eye, these tangled structures begin to take on more defined forms: animals, fantastic creatures, specific beings with arms, legs, heads, in movement, in groups, even foreshortened figures.

The Khamekaye are signs, great landmarks placed along the shore to mark places where there are villages further inland. They have a very specific purpose; a practical, domestic raison d’être. Their locations are not random, and their presence is not fanciful or unimportant. They make the locations of villages visible both from the sea (there are busy fishing zones all along this coast) and from the shore. Khamekaye is a word meaning “landmark” in Wolof, one of the most widely spoken languages in Senegal, and it is used exclusively to refer to these beach signals.

Measurements: W 183 x  D 4 x H 123 cm

VAT NOT INCLUDED

Technique: Giclée print on dibond.

Ed 1/3+ 2 A:P

 

BOYS ON MENPHIS

With a prolific and significant career in the field of video art and staged photography, Carles Congost (Olot, Girona, 1970) has established himself over almost three decades as an intergenerational artistic reference. His particular use of humour and irony, as well as his particular fondness for different sub-genres of mass culture are manifested through his theatricalized, exaggerated, baroque and often science fiction-like stagings, with which he questions social roles, the use of the media and the institution of art itself, without losing sight of the complex contemporary visual experience. The photographic series "Boys on Memphis" is the project that Congost has devised for the stand of the Galeria Horrach Moyà at ARCO Madrid 2022, giving rise to the artist's first solo show at this important fair in Madrid. Through four large-format photographs, the artist displays many of the themes that have shaped his visual and discursive universe to date, allowing us to easily establish links between these new works and some of his previous proposals. The four photographs in this series present us with a trio of models carrying out simple stagings inside a set whose aesthetics recall both the Memphis Group, an Italian architecture and industrial design collective that triumphed in the 1980s under the leadership of the Milanese Ettore Sottsass, and the more geometric side of Art Deco and Pop Art of the 1960s. All the architectural and ornamental elements of the set, as well as the costumes and props that appear in the photographs play an important symbolic role. For example, in "Mambo" (2022) a small basket installed in the central part of the image turns the colourful set into a basketball court that refers to a student sports competition; the same basket appears again in the photograph entitled "The Man From Utopia" (2022), which alludes to the album that the famous guitarist Frank Zappa published in 1983 and on whose cover he appears incarnated as RanXerox, a popular fantasy character created by the cartoonists Tanino Liberatone and Stefano Tamburini. In the photograph, a simple yellow triangle floating in front of the model's face gives the sporting scene an eerie science fiction component. In "Teorema" (2002), we see reproduced in a rather sui generis way one of the scenes from the film of the same name by Pier Paolo Pasolini. Its protagonist, an enigmatic young man played by the actor Terence Stamp, appears on several occasions with a copy of the complete works of the symbolist poet Arthur Rimbaud in an identical edition. The attire worn by the model in the photograph, on the other hand, refers to the Paninari youth movement that emerged in Milan in the 1980s. The Paninari, with their habits and their way of dressing, were evidence of the progressive implantation of the American way of life in Italian and Mediterranean culture, a process that the Reagan administration was able to carry out thanks to the collaboration of the first private television channels in Italy. "Italodisco" (2022) continues this same idea by paying homage to the design of the vinyl record covers of this musical genre that took Europe by storm in the 1980s, crowding the shelves of music shops with its futuristic and romantic sound.

Unframed measurements: W 210 x H 150 cm

Framed measurements: W 217 x D 6 x H 157 cm

VAT not included

Serie Figura Imposible

Serigraph on paper

Year 1973

Edition: 184 / 300

Signed: José María Yturralde

Measurements: W 62 x D 2 xH 82.5 cm

VAT not included

Serie Figura Imposible

Serigraph on paper

Year: 1973 - 1975

Edition: 106 / 125

Signed: José María Yturralde

Measurements: W 60.5 x D 2 x H 74 cm

VAT not included

Serie Figura Imposible

Serigraph on paper

Year: 1973 - 1975

Edition: 95 /125

Signed: José María Yturralde

Measurements: W 60.5 x D 2 x H 74 cm

VAT not included

Serie Figura Imposible

Serigraph on paper

Año: 1971

Edition. P.A

Signed: José María Yturralde

Measurements: W 62 x D 2 x H 76 cm

VAT not included

Serie Figura Imposible

Serigraph on paper

Year: 1972

Edition. P.A

Signed: José María Yturralde

Measurements: W 62 x D 2 x H 76 cm

VAT not included

Serie Figura Imposible

Serigraph on paper

Year: 1973

Edition: 141 / 150

Signed: José María Yturralde

Medidas: W 64 x D 2 x H 79 cm

VAT not included

Nidos, 2003

Mixed technique of acrylic, enamel, varnish and acrylic spray on canvas.

Felicidad Moreno

 

Measurements: W 200 x D 3 x H 250 cm

 

She was born in Toledo (Spain) in 1986 and she obtained one of the prizes of the II Young Art Show, organized by the Institute of Youth in Madrid. Since then she has participated in several important group exhibitions.

Her work appears in different museums and collections, such as MUSAC in León, Museo Patio Herreriano in Valladolid, LA CAIXA Contemporary Art Collection in Barcelona, Banco de España Collection in Madrid, Caja de Burgos Collection, CAB and ARTIUM Collection in Vitoria.

VAT not included

Cinco cuadros y uno más

Año 2007

Rosa Munoz

 

Rosa Munoz is an outstanding Spanish artist and crucial representative of the photography of the staging (or constructed photograph) that is made in our country. All his long career he has exercised it from Madrid, his city of birth and residence. He has a long history of both group and individual exhibitions, whether presented nationally or internationally.

Out of the many Individual expositions that since 1996 he has presented his work, it is worth highlighting those carried out in the Canal de Isabel II room (2012), a retrospective and very detailed exhibition of his entire career (produced by the Community of Madrid), at the Tomas y Valiente Center de Fuenlabrada Madrid- (CEART, year 2012), at the Gas Natural Fenosa Museum of Contemporary Art in A Coruña (MACUF, 2010) and in multiple private national and international galleries such as Yvonamor Palix (Paris), Alarcón Criado (Seville) , Bacelos (Vigo), Antonio de Barnola,  Spectrum (Zaragoza), Claude Samuel (Paris). .

Rosa Muñoz's work is found in countless private and public artistic collections. Among the latter, we can highlight those of the Gas Natural Fenosa Museum of Contemporary Art (MACUF), Center Nacional d`Art Georges Pompidou (Paris), Community of Madrid, Estampa Collection and the Municipal Museum Cuartel del Conde Duque de Madrid. Likewise, his works belong to highly prestigious collections such as those of Pilar Citoler, CEART and Canal De Isabel II.

Medidas: W 144 x D 3 x H 132 cm

VAT not included

Serie Scratches

Año 2007

MP Rosado

 

Los hermanos Rosado hacen de su condición de gemelos para abordar la identidad de sus obras. Utilizando el dibujo, la fotografía y las instalaciones.  Introduciéndonos a un mundo de teatralidad, ambigüedad y fantasía.  Parten de espacios anodinos donde intervienen y generan trampantojos. pictóricos. La serie «Scratches» hace referencia a la técnica que raya la pintura después de haberla cubierto con capas de pigmento o tinta china. Crean el artificio cuando se reviste de apariencia verídica. Espacios inundados de agua y veleros que surcan pavimentos o techos iluminados por tubos fluorescentes configuran escenas espectaculares que activan nuestra imaginación y nos invitan a fabular.

En muchas de las instalaciones son ellos mismos los personajes representados. Sitúan al espectador en un espacio teatral donde exploran los límites de individualidad. La máscara es uno de sus elementos habituales en las figuras, añaden a las escenas elementos desconocidos y en algunos casos desconcertantes.

Sus trabajos siempre parece que están en suspensión, como una imagen hecha en el aire.

Han recibido varias becas y premios, entre ellos destacan el premio “Andalucía Joven” a las Artes 2001 de la Junta de Andalucía y el Instituto Andaluz de la Juventud y la beca de la Pollock-Krasner Foundation de Nueva York 2002-2003.

En muchas de sus obras, los hermanos Rosado ponen en escena un personaje único, una especie de síntesis del espacio y del tiempo que separa a los gemelos desde su nacimiento. Este personaje imposible ocupa los lugares en situaciones improbables, aunque muy reales.

Medidas: W 160 x D 3.5 x H 110 cm

VAT not included

White color photograph of the series, “Flores de color”, technique with printing on photographic paper.

Monica Sanchez-Robles is a multidisciplinary artist currently living in Madrid, although he has lived for years in France and Italy. She has a degree in Fine Arts from the Complutense University of Madrid, from the BBAA of Granada, does her doctorate studies, continues her training in digital photography at the EFTI School of Photography in Madrid, and did her postgraduate studies at Parsons Paris School of Design in Paris. He has exhibited individually in galleries in Spain and France. In addition, he has exhibited collectively at various exhibitions and fairs in France, Spain, Miami, London and Switzerland.
Measurements: W 146 x D 6 x H 181  cm

VAT not included

Paisaje "Childhood", 2008

Pigment, resin and varnish on board.
Darío Urzay: He was born in Bilbao on December 13, 1958.
He studies Fine Arts at the University of the Basque Country. . In 1983 he obtained the Gure Artea award, in 2005 his work was recognized with the National Prize for Graphic Art and the Excellence Work Award at the Beijing Biennial. The Guggenheim Museum Bilbao, the Reina Sofía National Museum Center in Madrid, the Deutsche Bank Collection in London, the Patio Herreriano Museum in Valladolid or the ARTIUM museum, among others, should be highlighted.
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Medidas: W 140 x D 340 cm

VAT not included

Serie paisajes del futuro Nº6

Año 2010

Rosa Munoz

 

Rosa Munoz is an outstanding Spanish artist and crucial representative of the photography of the staging (or constructed photograph) that is made in our country. All his long career he has exercised it from Madrid, his city of birth and residence. He has a long history of both group and individual exhibitions, whether presented nationally or internationally.

Out of the many Individual expositions that since 1996 he has presented his work, it is worth highlighting those carried out in the Canal de Isabel II room (2012), a retrospective and very detailed exhibition of his entire career (produced by the Community of Madrid), at the Tomas y Valiente Center de Fuenlabrada Madrid- (CEART, year 2012), at the Gas Natural Fenosa Museum of Contemporary Art in A Coruña (MACUF, 2010) and in multiple private national and international galleries such as Yvonamor Palix (Paris), Alarcón Criado (Seville) , Bacelos (Vigo), Antonio de Barnola,  Spectrum (Zaragoza), Claude Samuel (Paris). .

Rosa Muñoz's work is found in countless private and public artistic collections. Among the latter, we can highlight those of the Gas Natural Fenosa Museum of Contemporary Art (MACUF), Center Nacional d`Art Georges Pompidou (Paris), Community of Madrid, Estampa Collection and the Municipal Museum Cuartel del Conde Duque de Madrid. Likewise, his works belong to highly prestigious collections such as those of Pilar Citoler, CEART and Canal De Isabel II.

Medidas:  W 133 x D 5 x H 170 cm

VAT not included

Obra de la serie  "Learning to Fly"

2020

Acrylic on linen canvas

Measurements: W 114 x H 146  cm

 

Alex Voinea was born in 1973 in Romania. He left Romania after the revolution and went to Italy. He is now based in Sitges, Barcelona, where he lives and works. He has exhibited his work in several cities, including Brussels, Paris, London, Milan, Amsterdam, New York, and Los Angeles.

 

VAT not included

2017

Alex voinea He was born in Romania in 1973. Leaving Romania after the revolution, he moved to Italy and now resides in Sitges (Barcelona) where he lives and exhibits. He has exhibited his work in various cities, including Brussels, Paris, London, Milan, Amsterdam, New York, and Los Angeles.

Measurements: W 114 x H 146  cm

VAT not included

Souvenir 49 E. Ed. 3/5, 2013
Digital printing and resin on dibond
(59 x 523⁄4 ″)

Cesar Delgado

Measurements: W 110 x H 137 cm

 

The work of Cesar Delgado it could be compared to a scientific laboratory in which a world of tiny creatures is observed under a microscope. Meandering, twisted shapes intertwine in the fabric, delimiting paths with traces of coagulated liquid color. Like eels hatched in a tank of water, Delgado's signs vibrate with autonomous, independent life. Earthy browns mix with pure white and crawl through the space of the painting in twisted baroque convolutions. Suddenly, horizontal bands delimit and close the scene remembering that the scientific world is that of the artist where a precise, physically defined brushstroke takes us back to the world of the cold, impersonal and sharp brushstrokes of Lichtenstein.

It is the painting for the sake of painting, the abstraction for the abstraction, the work for the work. There is no pathos. Everything exists and can therefore be examined, studied like on an anatomy table. Delgado arranges the pieces of the painting for the autopsy of art history, acts as a paleontologist who breaks the stones so that fossil shells from the Jurassic period come to light. Spiral corneas, splintered bones, segments of foliaceous sheets vibrate in these slipped paintings of his own work in which a vague memory of Kandinsky merges with a problematic pop optic.

 

INDIVIDUAL EXPOSITIONS

2012    «Informatismo», Tomás y Valiente Art Center, Fuenlabrada
             «Informatism«, Space2. The Museum Gallery. Bogota Colombia

2010. «Informatismo», Fernando Pradilla Gallery, Madrid.

2009. Art Madrid Project Room

2007. “Derivados de Pintura”, Fernando Pradilla Gallery, Madrid.

2005. "Taxidermias", Fernando Pradilla Gallery, Madrid,.

2003. Dahl Gallery of Contemporary Art, Lucerne.

2002. Les filles du Calvaire Gallery, Paris.

1999 . Gallery Ars Vivendi, Munich.

1998. Valle Quintana Gallery, Madrid.

1997. Barrio y Valle Quintana Gallery, Madrid.

1994. MW Gallery, Madrid.

1993. Sala Pradillo, Madrid.

1988. Athenaeum of Madrid.

VAT not included

 

Taxidermia 67, 2009
Acrílico sobre lienzo

 

César Delgado: Madrid, 1961. Pintor español.
En 1989, obtiene la Beca Artista en Residencia La Romana, República Dominicana, y en 1992, la Beca de Pintura del Ayuntamiento de Mojácar, Almería. Recibe, en 1990, el Premio Adquisición en el VII Salón de Artes Plásticas de Alcobendas, Madrid, y en 1994, el Premio Adquisición en el Concurso Nacional de Pintura Ciudad de Alcorcón. Su obra, heredera de la tradición informalista española, y próxima a los postulados de Luis Gordillo, se distingue por el uso redundante de dos claves compositivas: la repetición, y la superposición. Aislando el gesto y definiendo la articulación de los planos pictóricos, Benítez, consigue una apariencia de frialdad cercana a los procesos litográficos, desde la densidad en la aplicación del pigmento, y la sugerencia orgánica de las formas. Destacan sus exposiciones individuales en la Galería MW, Madrid (1994), y Galería Valle Quintana, Madrid (1998).

Medidas: 150 x 180 cm

English