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Portugal, 1979


Francisco Mendes Moreira began painting in 2003 and exhibiting in 2007. His work operates with an emotional colour and deformation and, in the case of works on paper, he adapts his possibilities to the shapes and formats of reused cardboard. Mendes Moreira has developed an international career with exhibitions at galleries in Los Angeles, Copehangue, Barcelona, Paris.

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Spain, 1973


“Can the Darwinian approach be reversed? Of all the species that inhabit our planet, which has evolved and towards where? These questions may be easy to ask, and possibly to solve, if we enter the dystopian world of the artist Cesc Abad.

Man has differentiated himself from other animals by his capacity for reasoning, critical thinking and, in short, his intelligence, and according to Nietzsche’s ideas, he has even been able to overcome the slavery of the human condition and achieve freedom, which allows him to give free rein to his creativity.

However, it may happen that what seems to be the pinnacle of civilisation is not designed for man, but for animals capable of developing more efficient behaviour than humans”.

Mónica Marañón

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Japan, 1956


Paper is fundamental to understanding Toshiro Yamaguchi’s work, a paper that he understands as a support, but also as a material. His works on paper are apparently simple, light, almost geometric, sometimes drawings and at other times they become unsuspected sketches that promise other works embracing an unexpected third dimension.
It is interesting to show this process in which the two formats/supports maintain their own identity and, although they seem complementary or at least related, they acquire a firm character independently.

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Georgia, 1990


Shalva Nikvashvili is a multimedia artist who works primarily around the concepts of identity and memory, tradition and cultural affiliation. The artist is dedicated to challenging and testing the limits of what is acceptable, whether in art or in life. She studied at the Tbilisi State Academy of Arts, Faculty of Design, and then went on to study sculpture at the Royal Academy of Arts in Antwerp. Shalva’s works have been exhibited in several European galleries and museums, including the KW Institute for Contemporary Art in Berlin and the Barbara Thumm Gallery in Berlin. Her work has been featured in major art publications such as ID Magazine, Vice, Metal Magazine and others. In 2021, Shalva worked with Kirill Serebrennikov on the opera “Nos” by D.Shostakovich, Bayerische Staatsoper, and created masks for the performance. Shalva Nikvashvili currently lives and works in Belgium.

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Georgia, 1991


Gvantsa Jishkariani is a multimedia artist working in a range of media including painting, photography and sculpture. Dedicated to experimentation, the artist likes to explore traditional craft – investigate her own associations, research into the tradition and then employ the knowledge to create her art. Her works often deal with her personal emotions and experiences as well as reflect socio-political conditions of present-day Georgia. The artist often employs humour to address these deeply personal and highly relevant subjects.

Gvantsa is the co-founder of the contemporary art galleries in Tbilisi, Patara Gallery and The Why Not Gallery. In 2021 Gvantsa received Prince Claus Foundation Seed Awards. In 2020 she was selected for the Forbes 30 under 30 list, Between 2017 and 2019, Gvantsa was the curator of the Tbilisi Photo Festival Night of Photography. In 2019 she won the NARS Foundation Studio Grant, New York and in 2017 the artist received the Tsinandali Award in Visual Arts. Gvantsa was the founder of the first Georgian online magazine Gargar magazine on art and fashion.

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France, 1928- 1962


Yves Klein was a French artist who represented the Neo-Dadaist movement and one of the founders of New Realism. While the common denominator of his works was that they were monochromatic, the painter played much more with the application of colour. At first, he experimented with different rollers and sponges, although he often simply laid the paint down and let the paint lay itself down so that the blue could express itself and find its own form.
Yves Klein began to use natural sponges for his works as early as 1956, before he decided to apply paint by roller. In Klein’s reliefs, the organic bed is structured with numerous sponges in overlapping layers, reminiscent of the primitive sea bed or distant planetary landscapes.
With this original sculpture by Yves Klein, which the Cortina Gallery presents, two of his great characteristics, colour and material, sponge, can be appreciated. The famous intense blue colour, which he patented as the International Klein Blue, (IKB) or Klein Blue (now also called blue style by big fashion firms that have also decided to give it that nickname).

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France, 1879 – 1953

A universe populated by his characters – archetypes – the woman, the star, the bird, the female sex. Miró’s graphics acquire such a personal stamp that it is impossible not to identify them. Francis Picabia, born Francis-Marie Martinez de Picabia; 22 January 1879 – 30 November 1953, was a French avant-garde painter, poet and typographer of Spanish descent.

Beginning his early career as an impressionist and figurative painter, he later experimented with other avant-garde movements, often maintaining a sense of the absurd or the disturbing. It is perhaps most interesting to view Picabia’s work in the light of the many and varied artistic movements to which he was exposed, and with which he maintained a significant and dynamic relationship.

The essence of an oeuvre whose main axis was the questioning of the figure in the exaltation or elimination of the figure. The abrupt artistic and stylistic changes that constitute the essence of Picabia’s creative curiosity express, in addition to his passion for painting and the image, his fear of disappearance.G

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Portugal, 1954


There’s a mist in our eyes when we look back.
These drawn images herald an end of representation and a beginning of oblivion. Memory and forgetting.
Representing is figuring out the impossible and forgetting, a small death. I don’t know if these cloudy drawings, filled with water, help us to see the tree, the night or the rooms we remember. It could be a police series that referred to an unknown. Who, of these figures/ characters, almost ghosts, will finally be shrouded in the shadows of a broken movie? All indeed. Even those with their backs turned to look at almost
nothing (the end of the performance or the beginning of an eternal oblivion).
Drawing hurts. The body is tense and the hand does not touch the paper, only the fingers move the chiaroscuro movement. What will be the decision (when we ride a bike): look back or go ahead blindly?

Carlos N Correa

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Portugal, 1958


BFA in Painting and PhD in Drawing from the Faculty of Fine Arts, University of Lisbon. Worked with Mario Mertz and studied with Georg Eisler (Model Drawing and Painting) at the International Academy of Arts in Salzburg, Austria. Specialized in print making
and litography with Dževad Hoso in Sarajevo, Yugoslavia (1984/85).
Teaches Drawing at the Faculty of Fine Arts, in Lisbon.
He exhibits his work regularly since 1981 and is represented in public and private collections, both in Portugal and abroad. Founding member and curator of Galeria
Manuel San-Payo’s work is essentially indebted to drawing in its evident graphic component. Keeping a disciplined daily drawing practice of everyday observations for decades, even the abstract dominant of his work sustains a latent conflict with the figure and figuration that is always around, underlying or in suspension.

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Portugal, 1991


Gomes Gago has a BA in Drawing by the Faculty of Fine Arts, University of Lisbon and a MFA in Drawing and Printmaking by the Faculty of Fine Arts, University of Porto. Among other distinctions, in 2018 João was awarded the big prize at the International Biennial of Young Art of Vila Verde (BPI Prize).
He is represented in private and institutional collections in Portugal and abroad.

All João Gomes Gago’s work, from 2017 until now, features an intimate connection with radiance and its traces, and often an explicit connection with fire: in «Reenactment» series, from 2017, where both paper and drawing are devoured by fire, used as a medium alongside with charcoal, Chinese ink, and acrylic; or in «Shadows», from 2018, which retrieves an ancient technique, using lithographic ink on photosensitive paper. The energy that is always the first thing that strikes us when we look at his works, tells us about how the line can reveal an energon, a body of energy in action, much more powerful than the delicate, discreet, and functional body of the artist. What João Gomes Gago offers in each of his works is an action that transcends himself and transcends the viewer, touching us with a blazing force and drawing us into something we lacked without knowing it.

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