Blog Archives

Buenos Aires, Argentina, 1980

Presented by GALERÍA YUSTO/GINER

Emmanuel Lafont is a visual artist who lives and works in Málaga, Spain. His work is generally autobiographical and based on his particular perception of the world. At the same time he investigates the mechanism of the creative process and how it influences our surroundings. He recognizes an unconditional love for graphite, ink and the more ‘artesanal’ processes (painting, filming and sculpture.) But the necessity of searching for new languages, incites him to try different techniques and ways of representation; such as installations or video.

Lisbon, Portugal, 1972

Presented by GALERIA MONUMENTAL

Lourenço de Castro’s work is constructed as a self-referential process, oriented towards obtaining visual signs resulting from the gesture of the subject who produces them. The way in which the images are constructed, placed in a superposition of layers and vestiges, points to the possibility that several times coexisted in the same place. The instantaneous constitution of a visual system on the pictorial surface makes visible the paradox existing between the fixed instant generated by the image and the apparently transitory moment from which the image becomes significant.
In Troll, his most recent series, the characteristic chromatic domain of Lourenço de Castro’s work creates, by superposition and transparency, a manuscript that results in a game where the artist’s gestures are confronted with pre-formatted signs of heroes and popular figures of children’s stories.

Lisbon, Portugal, 1991

Presented by GALERIA MONUMENTAL

João Gomes Gago’s work is marked by a search for the emancipation of the first motives, through the actions where they are generated. Two possibilities meet face to face, like two antitheses. The origin of these moments described as interior, spiritual and psychic would be the precedent and the secret, linking the known world of perceptible sensory phenomena with the unknown and invisible realm of shadows.
The artist appropriates this environment to place the drawing in a field of metaphysical values. In the group of signs that form part of his spectrum, a kind of nuclear “energy” is evoked. An affinity between birth and death is expressed, although the effects caused by the whole process of conceiving the “stain” are placed in a prevailing register, which inhabits the paper.

Lisbon, Portugal, 1973

Presented by GALERIA MONUMENTAL

Bárbara Assis Pacheco’s work is based on the universe of cabinets of curiosities [«cabinets de curiosités»] and the observation and interrogation of civilizations. The materials she usually chooses give subversive use to papers that apparently do not seem to be destined for “artistic creation”. As can be seen in the examples: Effeuillage XII, from the series “Ridicule” (2018) made in envelopes, or Amazonia, from the series “Solo Comum” (2017), drawn on maps.
With an extensive and varied work created from the collections of museums of ethnology and natural sciences, Bárbara Assis Pacheco has devoted special attention to animals and plants. She has also reflected on “the natural size of things” in their relationship with the body, space and time, always through a curious and ironic gaze and a mastery of the stroke, thought and materials.

Lorca, Murcia, Spain, 1983

Presentado por la GALERÍA ART NUEVE

Sergio Porlán’s artistic work leads us into the sphere of lightness, delicacy and subtle perceptions. It is a work of alchemy. A baroque vanitas that takes us to the mysterious, the hidden symbolism, the illegible… Through painting, sculpture and installation, enveloping contexts are generated that make the spectator participate in a particular scenography that represents the enigma of everyday life.

Granada, Spain, 1982

Presented by GALERÍA ART NUEVE

In Pablo Capitán Del Río’s proposals, the interest in chance and the expectations that articulate the relationships between the laws of physics and the poetic connotations present in the materials are manifested, resulting in unstable constructions that almost organically compose his pieces.
In his work, uncertainty appears not only in the use of materials, generally close to the universe of the povera, but also in the sense of the work as a composition always on the verge of collapse. His works always present an imbalance that generates in the spectator an awareness that everything can change from one moment to the next. Works that move, that initiate processes, that disturb the viewer’s gaze, but above all that transform their relationship with space and the environment.

Plymouth, United Kingdom, 1971

Presented by GALERÍA ART NUEVE

We find the experience of the fragmentary and the unstable in Mark Hosking’s works, both in his sculptures in which the accident and the collapse take part, the one that has already happened or the one that is about to happen, and in his subtle paintings in which the forms of the painting and the figures of its interior collide and begin to integrate.
His creations take a step beyond the pure rationality of minimalism, whose formal authority is here questioned. Works that demonstrate the failure of pure form and show the impossibility of absolute integration and the constant permanence of a difference that resists being metabolized. A difference that eliminates the illusion of totality and makes us aware of the accidental and breakable part.

Eijsden, the Netherlands, 1974

Presented by GALERÍA ART NUEVE

Kirsten Hutsch lives and works in Amsterdam. She has a degree in Sculpture (Fine Art Maastricht) and she studied in the postgraduate programme at the Rijks Academy in Amsterdam.
Her works investigate the relationship between reality and image. It is an inquiry into the nature of human perception and the substance of reality. Through a variety of media, these works consider the ambiguity of the essential reality of a physical object on the one hand and the artificial nature of its representation on the other. The work allows the object to manifest itself in its real, material and sensory ambiguity. In Transfer Gesso, the original painting is reconfigured into a twin canvas.

Madrid, Spain, 1977

Presented by GRANADA GALLERY

His source of inspiration has always been comics, street art and urban art. He is known worldwide for his characters, the Hero Animals and his colourful, expressive and lively style.
As if it were an explosion of ideas that travel through the mind to be collected in a work, color, characters, texts and objects seem to come off until they cover the entire space. The artist picks up the process of creating a work of art, from a small idea written down in a notebook to the final result. His work is conceived as a mural where the ideas that he has annotated in his notebook begin to navigate freely along the walls. The leaves of the notebook become the representation of the mind and creativity, so they are dynamic and revolted, until they find their place in the final work.

Huesca, Spain, 1978

Presented by LA CARBONERÍA – ESPACIO DE ARTE

In his drawings, Javier Aquilué avoids blurring and staining so that his images resemble a written page, as he conceives each drawing as the story of his own appearance. A story that raises questions about the image as a narration that oscillates between that which is remembered and that which is forgotten, distorted or reinterpreted.
In his series of erasures, Aquilué makes drawings by scanning them in successive stages of the process or using tracing paper to make them disappear once finished. The original paper as residue on which the subtle wear has remained, question the relationship between original and copy, medium and image, action and product, drawing and writing, in works that move between Walter Benjamin’s essay and Beckett’s theatre of the absurd.