VAT not included

Neon on tainted metracrylate, 2022

Fernando de Ana

If there is an art gene, Fernando de Ana (Talavera de la Reina, 1979) and a graduate in Fine Arts, carries it with him. Since he was born he has been surrounded by oil and pencils, spatulas and turpentine. He belongs to the third generation of a saga of artists that began at the beginning of the 19th century with his great-uncle, José Pérez, painter and first director of the Cádiz Museum of Art, and continued with his father, Juan Carlos Jiménez, also a painter and Doctor. in Fine Arts.

If his ancestors delighted in light and still lifes, Fernando de Ana has also wanted to explore other more contemporary languages, working first as an illustrator - he has received several international awards - and as a cartoonist, to later soak up design and the avant-garde Dutch, a pioneer country in this field, where he combined his artistic work with that of art director for more than a decade. His work has been exhibited in Prague, Bologna, Amsterdam or London, among other cities and has been selected and awarded in different art competitions.

From that transversality of influences and from that symbiosis of classic and avant-garde references, now comes his maturity as an artist. Away from his comfort zone, the artist opts for his own language in which emotions prevail over the metallic. His way of being in the world beats in his work: human relationships marked by sex, loneliness and melancholy, anxiety as a catalyst for art, obsessions spinning in a spiral, repetition of patterns, morbid agitated with tenderness infinite, the frustrated Innocence that still breathes, moving it as a motor. Fernando de Ana's work responds to a mature creative process, built over several decades exploring different formats, where material, meaning and feeling go in the same direction. 'Forbbiden carnal', his elegant series in resin and neon, has already become an exponent by combining without complexes an apparently cold material with geometric limits with the warmth and sensuality of light, in such a way that it has achieved that both elements exchange natures.

The author undresses through this meticulous technique and tells us about his inner world, his contradictions and his fears, all crossed by Eros and Thanatos, pleasure and pain, contradiction as the very genesis of life. Each work of 'Forbbiden Carnal' shows an aspect of sentimental relationships, an instant in the relationship with the other, always complex and necessary: the arrow of first eye contact, one's own vulnerability, seduction as a totem and motor, lies and the decadent, the caress as an antidote to loneliness. Nothing better than resin, color and the symbiosis of geometry with neon to express this entire sensitive universe, which not only seeks to connect with the beauty and the terrible of the viewer, but to seduce him as well.

Measurements: W140 x D30 x H140 CM

VAT NOT INCLUDED

Federico Miró
"Sin título", 2021
Acrílico sobre lienzo
Medidas: H 150 x  W 100 cm

 

Obras en colecciónes:

Universidad de Málaga.

Academia de Arte de San Quirce, Segovia.

CAC Málaga.

Fundación La Gaceta Regional, Salamanca.

Colección Jiménez-Rivero.

Colección Kells.

Colección DKV.

 

Premios / Awards

2017   

Premio BMW de pintura a la Innovación 2017, Madrid.

Premio Colección Jiménez-Rivero, Arte Emergente Español.Sección MAPA, Feria Estampa, Madrid.

2016  

Premio  XXVII Circuitos de Artes plásticas de la Comunidad de Madrid.

Segundo premio del XXI Certamen Jóvenes Pintores de la Fundación Gaceta, Salamanca.

Mención especial, Premio MálagaCrea, Málaga

2015   

Finalista Premio Focus-Abengoa, Sevilla.

Selección  30º Premio BMW de Pintura, Madrid.

Finalista Griffin Art Prize, Londres.

2014  

Primer premio de la exposición Salón de Verano, Madrid.

2013  

Primer premio de la Beca de Pintura de Paisaje de la Academia de San Quirce,Segovia.

Primer premio del VII premio de Pintura Universidad de Málaga, Málaga.

 

 

 

VAT NOT INCLUDED

Federico Miró
"Sin título", 2021
Acrílico sobre lienzo
Medidas: H 150 x  W 100 cm

 

Obras en colecciónes:

Universidad de Málaga.

Academia de Arte de San Quirce, Segovia.

CAC Málaga.

Fundación La Gaceta Regional, Salamanca.

Colección Jiménez-Rivero.

Colección Kells.

Colección DKV.

 

Premios

2017   

Premio BMW de pintura a la Innovación 2017, Madrid.

Premio Colección Jiménez-Rivero, Arte Emergente Español.Sección MAPA, Feria Estampa, Madrid.

2016  

Premio  XXVII Circuitos de Artes plásticas de la Comunidad de Madrid.

Segundo premio del XXI Certamen Jóvenes Pintores de la Fundación Gaceta, Salamanca.

Mención especial, Premio MálagaCrea, Málaga

2015   

Finalista Premio Focus-Abengoa, Sevilla.

Selección  30º Premio BMW de Pintura, Madrid.

Finalista Griffin Art Prize, Londres.

2014  

Primer premio de la exposición Salón de Verano, Madrid.

2013  

Primer premio de la Beca de Pintura de Paisaje de la Academia de San Quirce,Segovia.

Primer premio del VII premio de Pintura Universidad de Málaga, Málaga.

VAT NOT INCLUDED

"Unos días después del Kind of Blue, 1959"

Miki Leal

Acrílico y acuarela sobre papel.

Medidas díptico: 236 x 332 cm

 

AWARDS

2021 International Studio & Curatorial Program (ISCP), New York, USA. Grant awarded by the
Consulado General de España en Nueva York. Ministerio de Asuntos Exteriores, Unión Europea
y de Cooperación. Gobierno de España.
2016 1º Premio del 31º Premio BMW Pintura. Madrid, Spain.
Beca de la Academia de BBAA de San Fernando in Rome. Rome, Italy.
2013 1º Premio. I Premio Bienal de Pintura Rafael Boti.
2009 Beca Cajasol.
2007 Premio Altadis de pintura 2006.
2006 Beca caja Madrid Proyecto BBC.
2004 Beca, Ayudas a la Creación Artística Contemporánea de la Consejería de Cultura de la Junta
de Andalucía.
2002 1º Premio. Certamen Nacional de Arte joven (I.A.J.) Málaga.
1998 1º Premio para Artistas Jóvenes de la Fundación el Monte. Sevilla.

VAT not included

"Butterfly Painting" by Damien Hirst, 2009

Work in acrylic, framed in a methacrylate case with transparent sides and a wooden background in gold leaf that reveals the artist's signature on the back.

This piece of art was made to celebrate the opening of the PinchukArtCentre in kyiv, Ukraine on April 25-26, 2009. Spin Butterfly shows the spontaneity and overall energy of the artist's creative process. According to Hirst it is a "Huge burst of energy, full of life, color and optimism". The colors used are introduced on the canvas and then subjected to a mechanical rotation movement that extends them, creating a transition of colors, resulting in a unique work of art that becomes pure expression. With this artistic method Hirst imitates Jackson Pollock's action painting.

Measurements: W 80 x D 5 x H 85 cm

VAT not included

Skull Spin Painting by artist Damien Hirst.

Work in acrylic, framed in a methacrylate case with sides in fluorescent colors and a wooden background that reveals the artist's signature on the back.

This piece of art was made to celebrate the opening of the PinchukArtCentre in kyiv, Ukraine on April 25-26, 2009. Spin Skull shows the spontaneity and overall energy of the artist's creative process. According to Hirst it is a "Huge burst of energy, full of life, color and optimism". The colors used are introduced on the canvas and then subjected to a mechanical rotation movement that extends them, creating a transition of colors, resulting in a unique work of art that becomes pure expression. With this artistic method Hirst imitates Jackson Pollock's action painting.

Measurements: W 72 x D 5 x H 83 cm

 

VAT NOT INCLUDED

Berghof (A. Hitler). Obersalzberg, Bavarian Alps, Germany. 1924-1936. Destroyed between April and May 1945.

Mineral pigmented inkjet digital printing, cotton paper
Hahnemühle Photo rag, frame and glass. Edition 5 + 2P.A

Emilio Pemjean : Born in 1971 in Chile. Architect by the Higher Technical School of Architecture of Madrid.
In his work as an Architect he has been awarded in numerous architectural competitions, his work exhibited, published in books and magazines and received various awards such as: Toulouse Photo Contest, “AL Betrayal” EFTI Madrid, “FNAC Photography Contest” Madrid, etc. He conducted workshops with famous artists such as Chema Madoz, Ciuco Gutiérrez, Manuel Rufo, Jesús Micó, etc.

Medidas:  W 143 x H 143 cm

VAT NOT INCLUDED

Berghof (A. Hitler). Obersalzberg, Bavarian Alps, Germany. 1924-1936. Destroyed between April and May 1945.

Mineral pigmented inkjet digital printing, cotton paper
Hahnemühle Photo rag, frame and glass. Edition 5 + 2P.A

Emilio Pemjean : Born in 1971 in Chile. Architect by the Higher Technical School of Architecture of Madrid.
In his work as an Architect he has been awarded in numerous architectural competitions, his work exhibited, published in books and magazines and received various awards such as: Toulouse Photo Contest, “AL Betrayal” EFTI Madrid, “FNAC Photography Contest” Madrid, etc. He conducted workshops with famous artists such as Chema Madoz, Ciuco Gutiérrez, Manuel Rufo, Jesús Micó, etc.

Medidas:  W 143 x H 143 cm

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

English