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SANTIAGO TALAVERA

Spain, 1979

GABINETE DE DIBUJOS

These two years of pandemic seem to have consolidated a cultural perspective of the future that Marina Garcés already called “posthumous condition”. Perhaps it is in intrinsic concerns to the ecological and social challenges posed by the future, and from a cultural precariousness context with cancellations and multiple problems, that drawing can be shown as a precise tool for reflecting on the collapse of a society hungry for other kinds of narratives.

In El pasado habrá sido un planeta extraño, Santiago Talavera presents a series of drawings on different materials that make up an imaginary topography in continuous growth

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ROBERTO MOLLÁ

Spain, 1966

GABINETE DE DIBUJOS

Roberto Mollá always poses a certain tension in his drawings. Whether through the use of different techniques in the same medium, through the contrast between forms or through joint quotations from very dissimilar visual milestones in both minority art and mass culture.

These battles between elements so distant in time and space, and in terms of both culture and style, are always posed with a very restricted but wisely dosed chromatism and on a graph paper background; that paper that was used before the arrival of paralex and computers with rulers, guides and virtual grids, and whose plot of horizontal and vertical lines is of great help when resorting to the strategy of automatic drawing, carried out without previous plans or preliminary sketches. A background which, instead of giving a cold, technical tone to the drawing, gives it a nostalgic, retro connotation and the warmth of the yellowish texture of a time when manual drawing was the only possible way.

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ERNESTO CASERO

Spain, 1977

GABINETE DE DIBUJOS

Ernesto Casero has been producing meticulous coal and graphite imageswith a powerful ideological charge for more than a decade, in which he expresses a very critical position in relation to scientific history. Whether producing pseudo-scientific graphic materials, such as imaginary-generated botanicals or playing with clay volumes that are subsequently depicted, a documentary video about a fictional pandemic or false cover books; or by merging photographs from historical imagery into a single piece of drawing, so that forcing the previous ones to dialogue either by discrepancy or by agreement on certain interested views of biology and skewed interpretations of the natural world’s essence. In any case, its contemplation offers a fascinating aesthetic experience while invites to reflection.

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FERNANDO MARTÍN GODOY

Spain, 1975

MARTÍNEZ & AVEZUELA

Based in London, he develops his work mainly around painting and then extends from there to other disciplines such as sculpture, drawing and collage. His work is based on reality, often on found images, and on the history of art itself in order to make a personal reading of the world, in which silence, gaps in information or what happens in the dark areas of memory take centre stage. His pieces often show a pulse between the real and the fictitious. Geometric games, subtlety and synthesis are essential elements in his visual universe.
Winner of the Grand Prix Santa Isabel de Portugal in 2006, his work has been shown in various art galleries and institutional spaces such as the CAB in Burgos, the Espacio Caja Madrid in Zaragoza, the CentroCentro in Madrid, the MACUF in La Coruña, the Centro Guerrero in Granada and the Fondation Suisse in Paris, and at fairs such as ARCO, Art Fair Tokyo, Arte Lisboa, Artesantander and Drawing Room. His works form part of private collections in Spain, the United Kingdom, France, Germany, Italy, Switzerland, Japan, Hong Kong and the USA, and are present in a good number of Spanish institutional collections.

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GUILLERMO MARTÍN BERMEJO

Spain, 1971

MARTÍNEZ & AVEZUELA

In his extensive career as an artist we highlight his recent exhibitions at the Museo Lázaro Galdiano (2019-2020), the Real Academia de San Fernando (2018), Museo Carmen Thyssen (2017) and the Fundación Santiago y Segundo Montes (2016). His drawings depict a romantic world populated by fragile beings that emerge from myths and Western literature. Some are almost unfinished fragments, intimate portraits drawn on pages taken from old and torn books he buys at flea markets; others become elaborate scenes where these characters interact in the settings and traditions of the places the artist inhabits. Its seemingly naïve quality uses the past as a poetic space in which to recount his own memories and life experiences. Fiction overlaps with reality, and the narratives of classical artists intertwine with Guillermo’s own life.

His works can be found in a number of private collections in Spain, France, Belgium and England, as well as in institutions such as the Koc Collection (Istanbul), Museo Conde Duque de Arte Contemporáneo (Madrid), Museo Lázaro Galdiano (Madrid), Colección Caja Madrid (Madrid), Colección Caja España (Valladolid) and the Spanish Embassy in Tokyo (Japan).

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SOFÍA JACK

Spain, 1968

MARTÍNEZ & AVEZUELA

Graduated in Fine Arts from the Complutense University of Madrid, she later furthered her training with Gerhard Richter, Zush, Vito Acconci and Katherina Sieverding. Throughout various projects she addresses the complex and uncomfortable negotiation between utopia and reality. In her charcoal drawings, she recreates places that embodied modern rationality in order to investigate its reverse side, and how the human – desires, fears, affections and feelings – cracks an idea of reason and order that becomes utopia. Sometimes they are imaginary solutions – machine-houses capable of adapting to the needs of their surroundings and their inhabitants – or else they are spaces of rationalist architecture in which she develops a psychological, emotional and affective fact, as a mirror of our personal and non-transferable life story.

Her work is represented, among other institutions, in the Museo de la Real Academia de Bellas Artes de San Fernando, the CGAC, the Colegio de Ingenieros de Caminos, Canales y Puertos de Madrid, INJUVE, Museo de Arte Contemporáneo Unión Fenosa, Ministerio de Asuntos Exteriores, Diputación A Coruña, Fundación la Caixa, Museo Patio Herreriano, Comunidad de Madrid or the Colección de Arte Contemporáneo de la UNED, as well as in numerous private collections.

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MARÍA ANA VASCO COSTA

Portugal, 1981

FONSECA MACEDO – ARTE CONTEMPORÂNEA

Maria Ana Vasco Costa was born in Lisbon, in 1981. She is graduated in Architecture and studied ceramics at AR.CO, in Lisbon. Maria Ana Vasco Costa developed a series of abstract drawings, watercolour on paper, titled “Glaze Drawings”. Using the techniques she already tested on ceramic objects, Maria Ana Vasco Costa achieves on paper the same materiality of the shine she usually gets on her ceramics.

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JOSÉ LOUREIRO

Portugal, 1960

FONSECA MACEDO – ARTE CONTEMPORÂNEA

José Loureiro was born in Mangualde, in 1961. He studied painting at the Fine Art Faculty in Lisbon. He lives and works in Lisbon.

José Loureiro shows “Criaturas”, his most recent work, in oil on paper. These drawings, in a figurative expression of human faces, call our attention as the artist introduces bizarre elements, as if human beings were undergoing a deep transformation process. Are these human beings transparent? Are these colourful discs really eyes? Can they see? In amazing shapes and colours, José Loureiro criticizes with humor the changing of the humans into strange beings, with highly technological features.

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ISABEL MADUREIRA ANDRADE

Portugal, 1991

FONSECA MACEDO – ARTE CONTEMPORÂNEA

Isabel Madureira Andrade was born in Ponta Delgada, Açores, 1991. She studied painting at the Fine Art Faculty in Lisbon. She lives and works in Lisbon. In these drawings, Isabel Madureira Andrade explores the symmetry games. However, these are apparent symmetries, not perfect in their form. Isabel Madureira Andrade is interested in opposing the repetitive and modular character of these structures with the unpredictable component, which characterizes the nature of the oil paint as well as the act of drawing.

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JORGE JULVE

Spain, 1989

GALERÍA DANIEL CUEVAS

In his works Jorge Julve continues to show his interest in developing processes in which the image of the human body becomes the measure of the painting. He incorporates intervened photographic images that he converts into painting, which he mixes with oil painting, showing them as a whole, as a single image that confuses us between the limits of the pictorial and the photographic. In his own words, “all the images that we absorb day by day, that we find, that are sent to us or that we look for end up becoming painting. In the process there is an interest in articulating, composing, creating problems to end up solving them later in such a way that turns the painting into a new image”.

 

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