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“Rastro VIII”, 2008.

Concha Prada.

Fotografía a color digitalizada.  Edición de 3.

Medidas: W 294 x H 130 cm


El proceso creativo de Concha Prada se mueve entorno a la interrelación entre lo fotográfico y lo pictórico. Desde la estricta utilización del lenguaje fotográfico desarrolla una reflexión sobre el espacio pictórico y la abstracción.

El ámbito temático de sus trabajos es el espacio doméstico, y el mecanismo que construye y sustenta sus fotografías es la instalación de un dispositivo pictórico en el seno de lo fotográfico.

Con este nuevo trabajo de fotogramas trata de llevar este mecanismo al limite.

Un fotograma es una fotografía sin cámara. Es la huella que deja un objeto o acción sobre el papel fotográfico impresionado por una fuente de luz. El proceso se realiza en oscuridad total, por lo que el resultado son fotografías a ciegas en las que el gesto y el azar juegan un papel fundamental.

Y es a través de este proceso, y utilizando un objeto del ámbito doméstico, una fregona, como desarrolla este nuevo trabajo, provocando un resultado que desdibuja los límites entre lo pictórico y lo fotográfico.

Pareja de butacas modelo Okay creadas por el diseñador industrial italiano Adriano Piazzesi. Compuesto por una estructura sencilla, con formas limpias y orgánicas, realizada en acero de alta calidad y el asiento tapizado en su piel original.   La butaca modelo Okay es un claro ejemplo de la estética de mediados del siglo XX y del diseño italiano.

Adriano Piazzesi (1923-2009) was a Florentine designer, painter and sculptor, with revolutionary ideas about movement and relaxation.


Armchair dimensions: W104 x D 100 x H 39/76 cm




Large format wall-hanging sculpture handmade of 100% raw agave cotton thread. It has naturally dyed thread details in different shades. It is a contemporary reinterpretation of traditional geometric motifs of the indigenous cultures of South America. The piece hangs from a black bar with black iron connectors.


Medidas: W 256 x D 15 x H 130 cm

VAT not included

Souvenir 58 A . Ed. 1/5 ,2013
Digital printing and resin on dibond

Cesar Delgado

Medidas: W 150 x H 105 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.



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.

«Reale» table designed by Carlo Mollino (1905 - 1973) made of solid cherry wood structure and lacquered in black. Edited by Zanotta. Italy 1950s.

Measurements: W 200 x D 200 cm


Carlo Mollino (1905-1973), born in Turin, Italy, was a notable and versatile character whose interests spanned various disciplines throughout his life. The son of an engineer, from a young age he was drawn to a wide range of fields, including architecture, furniture design, aeronautics and racing automobiles.

However, his curiosity was not limited to technical fields. Mollino also dedicated himself to photography, and is known for his series of polaroids of female nudes. Additionally, he participated in activities as diverse as skiing and the occult.

He began his career as an architect in 1930, designing a house in Forte dei Marmi that earned him the G.Pistono prize.

Mollino's work is characterized by sinuous, streamlined lines, as well as his modern approach to artisanal techniques.

His architectural style, influenced by figures such as Alvar Aalto and Erich Mendelsohn, has often been described as neo-baroque or neoliberty, as he avoided rationalism and its connotations, seeking a more organic and artistic expression in his work. His legacy continues to be influential in the world of design and architecture.


Bibliograpía: Poletti, Zanotta, Electa 2004, pag. 103

Pair of Bauhaus style chairs made in the 70's for Pizzi Arredamenti in Italy. Composed of a structure made of tube and steel plate with the seat and backrest reupholstered by hand in yellow cotton velvet

Measurements: W 54 x D 54 x H 70 cm


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