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Portugal, 1973

GALERIA MONUMENTAL

Portugal, 1940

ARTE PERIFÉRICA

For decades Jorge Martins has had as a recurrent question in his work in painting and drawing the relationships between space and light in a search marked by subtly and profoundly gestural challenges, that is, diversely expressive of the body in action.

More than identifiable iconographies, the forms he represents frequently refer to forces, movements or explicit and implicit tensions such as falling, levitating, opening or closing, touching, crossing, splitting, bending. Sometimes with immense delicacy or very decisively, Martins exercises the superior virtuosity of someone who knows how to weigh fullness and emptiness, velocities and arrhythmias of space, materialities. And, frequently, he questions poetics of the binomial tactility-illusion, when he turns paradoxical the reality of the smooth surface, frequently suggesting vortices, abysses and illusions, fictionalising that space.

Spain, 1977

RUIZ LINARES

My project work explores the expansion of drawing from the daily record in small format towards a monumental format that attends to the presence of my body and the physical space. The main motivation is the representation of the female figure as an expression of unconscious and emotional contents. From the identification with fictional practices carried out by women, or with women as protagonists in cinema and literature, I intend to approach a new subjective narration.
In these moments, the approach deals with the existence of an identity in crisis, reinterpreting images from genre cinema: horror and fantasy, in its encounter with the supernatural. The search wants to take a step towards the how it was made, the special effect that shows the process of the creation of monsters and models, contextualised in the art workshop of a film.

Spain, 1967

RUIZ LINARES

His current work delves into abstraction with pieces in which colour is a fundamental part. His drawings oscillate between capricious chaos and balance, taking their raison d’être in the achievement of a perfect composition. In this created order, accidents and irregularities emerge, executed with precious refinement, which provide a peculiarity – perhaps the one that was missing – to this ordered abstract reality.

His work can be found in various collections, including those of the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Banco de España (Madrid), the Centro Andaluz de Arte Contemporáneo (Seville) and the Museo de Arte Contemporáneo Unión Fenosa (A Coruña).

Spain, 1989

RUIZ LINARES

Eva Rodríguez Góngora develops her work mainly through drawing and painting in order to investigate both natural phenomena and the interrelationship of the significant elements they contain. Assuming that the patterns and formulas inscribed in nature participate in any cast of the planet, each piece, which can be understood as the result of an investigation, tries to rival human optics and reverse its scales to deactivate blind spots. By directing the focus towards the small, the unknown, the forgotten or overlooked, an attempt is made to transcend epistemological limits. Drawing, as a process and as a result, supports concentration, observation and listening.

Spain, 1969

GALERÍA DANIEL CUEVAS

The drawing The Silence of the World, made in acrylic on paper and photographic printing, like any other triptych, “treasures the vocation of discovering its central nucleus. By folding down the flaps of the triptych like shutters that turn on imaginary hinges, we are shown the melted whirlpool of the formless, the transformation of a matter that has not been able to stabilise itself. At the same time, in this unfolding of the side flaps, we can glimpse a kind of elemental landscape that is barely hinted at through the textures of dots or pores that accumulate on the surface of the paper. Here the possibility of painting is subordinated to the latticework of a lattice that supposedly interrupts vision and produces an undefined image”.

Spain, 1972

GALERÍA SIBONEY

The work of Juana Gonzáles is developed in the disciplines of painting and drawing and her style is inscribed in expressionism, surrealism and narrative figuration at the same time. Figurative painter in large format works, she mixes different techniques in her works, such as photography and acrylic on wooden support in some cases. Her characters are in many cases life-size, represented in dreamlike, unreal and often sarcastic situations. The models she photographs as a basis for her work are mostly older women from Puertollano, her place of origin, and these characters are represented in theatrical situations..

Spain, 1961

GALERÍA SIBONEY

Emilio González Sainz recreates in his works the personalities of the collector in his cabinet of curiosities, the explorer of the deep north, the walker in the forest, the hunter with his greyhounds, the writer working in his cabin… to a certain extent archetypes of a part of European culture of the last three hundred years that is related to books and to the knowledge of nature as spheres of both work and individual pleasure.

González Sainz loves winter landscapes, bare rocks and frozen fields, and it is in this sphere of elective affinities that his latest production of felt-tip pen drawings is situated, in which he writes the names of his favourite artists and writers forming swirls in the air. Patinir, Brueguel, Poe, Corot, Ucello, Melville, Mantegna, Pessoa, Bonnard, Dufy, Matisse, Morandi, Brancusi, Austen, Hopper, Stubss, Giacometti, Paul Klee, Highsmith seem about to disappear.

Buenos Aires, 1939

GABINETE DE DIBUJOS

Germany, 1967

LAGE EGAL

Alekos Hofstetter was born in Bonn, Germany, in 1967 and grew up also in Brussels and Bangkok. In 1989, he founded the artist group “Bewegung Nurr” together with Christian Steuer and Daniel H. Wild, which is dedicated to the theme of art in public space. Hofstetter has lived and worked in Berlin since 1996.
At first, his works dealt with the destruction and ruinous in media landscapes and their media distribution. Since 2011, he has increasingly focused on themes of modern and post-war architecture, especially so-called Brutalism. The body of his paintings, drawings, prints and editions is gathered under the generic title of “Tannhäuser Tor”.