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KLAUS MOSETTIG

Graz, Austria, 1975

UMA LULIK

Klaus Mosettig’s “method is empirical rather than representational, concerned primarily with the act of drawing itself and the objective relay of visual information from projection to paper, via his hand. The transcribed images lose their historical contexts and become studies in tone and line.”

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SERGIO MORA

Barcelona, Spain, 1975

GALERÍA SIBONEY

“Mora belongs to a generation of young artists who, beginning the twenty-first century, expanded their pictorial activity beyond the borders of the canvas. They once again occupied spaces that had always needed the audacity of art, of the craft of painter, but which, after the thrust of postmodernity, had suffered a shift away from the focus of aesthetic discussion, perhaps because of the clear tendency of these painters not to exclude of his works an accused narrative style: a path that could be merged with that of the illustration and that, far from bothering them, it encourages and strengthens their convictions.
Childhood, games and toys, television, rock, pop, movies, science fiction, monsters, “art as something magical” – which he always defends – are elements that populate his works until they become Places of transformation, memory, joy and hope in a beyond that is achieved through contemplation”.
Julio Hontana

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ANAMARY BILBAO

Lisbon, Portugal, 1986

UMA LULIK

“Memory has as much past as it has present. It is a type of awareness of time that produces meanings wittingly and unwittingly (as Proust tells us), by the occupation of that interstitial place of the before in the now. It occurs both of a predisposed effort of taking back something (that we think is) lost, as the passive acceptance of remembrance as a new past. It is this memory, subjective and dynamic, that constitutes AnaMary Bilbao’s intervention field. Her practice always comes from the memory of a past gesture, always exceeded by its replicas in their flawed mimetic efforts (…)”. Wrote Ana Cristina Cachola about the artist’s practice.
The Bilbao drawing process is now subliminal to the photographic process, which the artist is exploring: drawing photos, previously applied by a scraping method in the memory of another image, resulting in the absence of a narrative.

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PAULO LISBOA

Lisbon, Portugal, 1977

UMA LULIK

Slipping (process) and field (media and concept), are the determinants on the Paulo Lisboa´s drawings we will select from this artist to present at DRAWING ROOM MADRID. In the words of Nuno F. G. Loureiro, Assistant Professor, Department of Nuclear Science and Engineering, MIT, these drawings “depart from a selection of his work in which darkness becomes substance and its absence is light, in a layer upon layer of meticulous sedimentation”. They are drawings (from 2016 and 2018) that meet the starting / finishing points of the artist’s work, which means, the nature of light and the way it reveals and watches tangible reality. Very briefly, in these works, coming from an almost infinite series, the slip caused at each point of graphite invokes, according to the artist, “the life of a photon, from its generation in the nucleus of the sun until the retina of the human eye. The one who witnesses, the one who connects the body with the mind and with the conscience.”

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DIS BERLÍN

Soria, Spain, 1959

GALERÍA SIBONEY

The unmistakable work of Dis Berlin, even when it is done in oil, usually shows a drawing base that relates it to certain classicism. His mid-century images, coming from a very aesthetic visual culture that has lasted to this day, blend and overlap in compositions of surreal air, always very graphic. They are still lifes, landscapes or even only intriguing patterns in which bright colour is a very important emotional component.
Dis Berlin is an artist who tends more and more to careful and precious manufacturing. This does not prevent him from investigating new media such as the binding of old books that he presents in the “Bookbindings” series, which besides being a material part of the work inspire the choice of objects and figures drawn.

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MARIAJOSÉ GALLARDO

Badajoz, Spain, 1978

WADSTRÖM TÖNNHEIM GALLERY

The popular tradition of amulets and talismans, the new imagery created by today’s mass media, the history of art and, especially, the Andalusian baroque with their representations of death, are sources of creative energy for Mariajosé Gallardo. She studied at the Santa Isabel School of Fine Arts of Hungary in Seville, where she lives and works.
Gallardo creates syncretic and anachronistic images by adding various references, by way of archives where the order is not evident and the viewer is asked to wander among the symbolic meanings.
Among the recent exhibitions of the artist, the large retrospective held at the Center for Contemporary Art in Malaga entitled “Death. Judgment. Hell. Glory”, 2019.

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DANIEL FLEUR

Malmö, Sweden, 1992

WADSTRÖM TÖNNHEIM GALLERY

Daniel Fleur finished his studies at the Malmö Academy of Art in 2018 and has already started an international career.
Both his drawings and his oil paintings have their starting point in the changes and deviations that can occur when an image is translated into encoded information. In his work, Fleur allows both his own use of digital images and the way of communication of society to be transformed into a new creation where the substance of the digital image and its relationship with painting is examined.
The translation of visual information and image compression processes generate these dematerialized landscapes whose lines and colours behave as when one tries to remember a dream just after waking up, in a position between survival and disappearance.

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ANA VELEZ

Lisbon, Portugal, 1982

WADSTRÖM TÖNNHEIM GALLERY

Ana Velez has participated in several solo and group exhibitions at the institutional level, but also in collective projects of urban art.
In her work she has established drawing as a directional tool, inquiring about its multiple material possibilities, which led her to develop her work also in the public space. There she made a series of pictorial interventions on damaged or already vanished buildings.
She addresses themes that go around the concept of identity, based on three ideas: place, memory and body, highlighting place as the container of memory and identity.

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TERESA DIAS COELHO

Lisbon, Portugal, 1954

GALERIA MONUMENTAL

“It is always like that, in all Teresa Dias Coelho’s work: her paintings always seem so attached to a figurative evidence that they offer some resistance to the passage to another level of elaboration that apprehends the ghosts that are hidden in them. And we can well say that they are full of ghosts.” (António Guerreiro, 2017).
If her work is marked by what a Portuguese poet summed up as a Time of Ghosts, these ghosts can be from individuals, family stories, which we only access through details given to us – the feet, the shoes, the positions and the assumptions they raise – as from anonymous collectives of those same days: portraits of paralysis or fight. If in her painting the “figurative evidence” seems to hide these ghosts to some extent, it is in the drawing that they gain greater density, like a siren or an alert in the fog of memory. Turn Again, the series to which these drawings belong, can be read in this way – the resistance and persistence of the drawing.

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SEBASTIÃO CASTELO LOPES

Lisbon, Portugal, 1994

GALERIA MONUMENTAL

In Work’s Words, visual poem and artistic manifesto from 2016, Sebastião Castelo Lopes states the relationship of his work with words. Au Lecteur’s (2019) recent drawings continue this intertextual play with poetry and also challenge the viewer, reusing and reworking, according to a work ethic of the artist, Baudelaire’s decadentist Ennui (Hypocrite lecteur, – mon semblable, – mon frère!), at a time when Ennui seems to settle in from both sides. As João Valinho points out, Sebastião Castelo Lopes challenges us, and challenges himself, with works in which we are confronted “with a process of reintervention on the part of the artist, over several temporal amplitudes – from months to years. […] Beyond this contentious relationship between what is said, described, and their formal appearance, there is still their numerous relations with the unspeakable – the free correspondence of forms, in an emancipated plan of sensation, that Sebastião Castelo Lopes offers us. as possible and invites us to experience. To the reader, not in joy, sadness or boredom, but in full serenity.
Winner of the Millennium BCP Foundation Acquisition Award / Drawing Room Lisbon 2019.

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