Ania Soliman

Volcano (Journal of Reconfinement Series), 2020

Volcano (Journal of Reconfinement Series)

Ania Soliman



Artist website: http://aniasoliman.com

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Carboncillo, tinta y lápiz sobre papel, acuarela

2020

847 EUR
Taxes not included

Mabel Palacín

Paisaje Interior con Marina, 2020

Paisaje Interior con Marina

Mabel Palacín

The body of work of Mabel Palacin (Barcelona, 1966) is photography considered in all its mutations, including film, video and its digital variants.

The photographs produced for Interior Landscape with Seascape, a project that also takes the form of a video installation with an architectural dimension, express the subversive tradition of collage in which it is possible to imagine worlds in which characters burn and disappear next to a chimney, animals are pushed by gravity and objects alter their scale, rearranging the world. The photographs are the interior landscape of the imagination

Artist website: https://mabelpalacin.com/

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Fotografía color. Impresión digital giclée sobre papel Matadero Fiber Hahnemüle

2020

3000 EUR
Taxes not included

Carlos Casas

Mutia Escarpment (composite series), 2020

Mutia Escarpment (composite series)

Carlos Casas

The work of Carlos Casas (b. Barcelona, 1974) stands in the crossover of documentary film, sound and visual arts, trying to extend the boundaries of contemporary visual experience, with the manners of an anthropologist and the goals of a visual artist, his works document with poetry and accuracy environments and people who can be found in the limits of our planet.

The works presented by Carlos Casas are part of his project “Notes on a film about elephants” and all of them originate from a journey, which begins with the investigation of a myth that is part of our visual and literary culture, that of the elephant cemetery. This myth, anchored in the collective imagination, brings us closer to a reality that is near us, that of our fragility as a species. These works aim to investigate on our own journey as a species, an investigation that is born out of fiction, to highlight the vulnerability of our weakened ecosystems, to return, in the end, to the world of imagination in the form of a film "Cemetery" (2019).

The works of this project function as an open dialogue with the visitor, in which through the use of various media (photography, drawing or collage) Casas unravels his research for the making of his latest film in which approaches that emerge from the fictional imaginary are exchanged and where nature is represented to bring us closer to the imminent reality of the Anthropocene.

Artist website: http://www.carloscasas.net

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B/W impresión digital sobre Hahnemülhe Photo Rag Baryta

2020

1000 EUR
Taxes not included

Mabel Palacín

Paisaje Interior con Marina. Pingüino, 2020

Paisaje Interior con Marina. Pingüino

Mabel Palacín

The body of work of Mabel Palacin (Barcelona, 1966) is photography considered in all its mutations, including film, video and its digital variants.

The photographs produced for Interior Landscape with Seascape, a project that also takes the form of a video installation with an architectural dimension, express the subversive tradition of collage in which it is possible to imagine worlds in which characters burn and disappear next to a chimney, animals are pushed by gravity and objects alter their scale, rearranging the world. The photographs are the interior landscape of the imagination.

Artist website: https://mabelpalacin.com/

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Fotografía color. Impresión digital giclée sobre papel Matadero Fiber Hahnemüle

2020

2000 EUR
Taxes not included

Mabel Palacín

Paisaje Interior con Marina. Aranjuez, 2020

Paisaje Interior con Marina. Aranjuez

Mabel Palacín

The body of work of Mabel Palacin (Barcelona, 1966) is photography considered in all its mutations, including film, video and its digital variants.

The photographs produced for Interior Landscape with Seascape, a project that also takes the form of a video installation with an architectural dimension, express the subversive tradition of collage in which it is possible to imagine worlds in which characters burn and disappear next to a chimney, animals are pushed by gravity and objects alter their scale, rearranging the world. The photographs are the interior landscape of the imagination.

Artist website: https://mabelpalacin.com/

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Fotografía color. Impresión digital giclée sobre papel Matadero Fiber Hahnemüle

2020

2000 EUR
Taxes not included

Ania Soliman

bamboo 33447 (1535 leaves), 2018

bamboo 33447 (1535 leaves)

Ania Soliman

In Ania Soliman’s ( b. Warsaw, 1970) work we find an interest in the process of nature becoming machine and machine becoming nature and the fundamentally machine-like aspect of language is particularly fascinating to her.

The drawings presented belong to the project entitled Nature is an experiment, which Soliman is initiating an investigation into nature and its various technologies. The artist presents several drawings of artificial bamboo plants in yellow as to emphasize their artificiality. Designed by humans, assigned a serial number and mass-produced in plastic or fabric, the artificial bamboo plants represent the kind of irrational and manic overproduction that threatens our existence on this planet.

Artist website: http://aniasoliman.com

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Encáustica, lápiz, pigmento, fragmentos de un manual de dibujo técnico sobre papel

2018

9000 EUR
Taxes not included

Ania Soliman

bamboo VHA101714, 2018

bamboo VHA101714

Ania Soliman

In Ania Soliman’s ( b. Warsaw, 1970) work we find an interest in the process of nature becoming machine and machine becoming nature and the fundamentally machine-like aspect of language is particularly fascinating to her.

The drawings presented belong to the project entitled Nature is an experiment, which Soliman is initiating an investigation into nature and its various technologies. The artist presents several drawings of artificial bamboo plants in yellow as to emphasize their artificiality. Designed by humans, assigned a serial number and mass-produced in plastic or fabric, the artificial bamboo plants represent the kind of irrational and manic overproduction that threatens our existence on this planet.

Artist website: http://aniasoliman.com

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Encáustica, lápiz, pigmento, fragmentos de un manual de dibujo técnico sobre papel

2018

9000 EUR
Taxes not included

Peter Downsbrough

Untitled (London), 2002

Untitled (London)

Peter Downsbrough

El trabajo de Peter Downsbrough (b. 1940, New Jersey) se inscribe dentro de una compleja relación entre la arquitectura, la tipografía, y la lingüística.
En lo que se refiere a su aspecto formal, el riguroso trabajo de Downsbrough muestra un gran interés por la geometria, limitándose principalmente a la utilización de la línea, el plano, el espacio negativo (cortado), y la delimitación. El núcleo de su obra se basa en la investigación del espacio y la relación del espectador con su entorno arquitectónico; y es precisamente esta investigación de ritmos espaciales y geometría lineal la que también aparece, de manera prominente, en sus fotografías en blanco y negro de paisajes urbanos.

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Gelatino-bromuro de plata sobre papel baritado

2002

9000 EUR
Taxes not included

Peter Downsbrough

Untitled (Deal GB), 2002

Untitled (Deal GB)

Peter Downsbrough

Peter Downsbrough’s (b. New Jersey, 1940) work deals with the complex relationship between architecture, typography, and linguistics. His work maintains a complex relationship with architecture and typography, while also drawing on the achievements of the early avant-garde (Bauhaus, De Stijl) and Minimal Art. In terms of form, the work of Downsbrough is highly rigorous and exhibits a powerful geometric sense, restricting itself primarily to the use of line, plane, negative space (cutting away), and delimitation. At the core of his oeuvre is an investigation of place and the viewer’s relationship to architectural surroundings. This investigation of spatial rhythms and linear geometry also appears prominently in his black and white photographs of urban settings.

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Gelatino-bromuro de plata sobre papel baritado

2002

9000 EUR
Taxes not included

Esther Ferrer

Elle étail là, 1984

Elle étail là

Esther Ferrer

Esther Ferrer (1937, San Sebastian, Spain) is a pioneer and one of the main representatives of performance art in Spain. Since the 1970s she has developed her work by transitioning from action to object and vice versa, using her own body as a starting point.
In "Elle était là" the artist displays a series of works based on a self-portrait in which she appears seated with a chair and a stone, both recurring objects in her actions. In this work Ferrer substitutes photography for drawing, insistently repeated, like an echo, like an allusion to one of the defining traits of her performance, repetition, the absurd.

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Dibujo. Tinta sobre papel

1984

6500 EUR
Taxes not included

Esther Ferrer

Elle Était Là. Mano con silla (Serie El Libro de las Manos), 1984

Elle Était Là. Mano con silla (Serie El Libro de las Manos)

Esther Ferrer

Esther Ferrer (1937, San Sebastian, Spain) is a pioneer and one of the main representatives of performance art in Spain. Since the 1970s she has developed her work by transitioning from action to object and vice versa, using her own body as a starting point. Elle était là is based on a poem by the artist, which she unfolds in a series of works through a self-portrait in which she appears seated with a chair and a stone, both recurrent objects in her actions. In this work from the series, Ferrer resorts to collage, reframing and unfolding the image, exploring new points of view of the same action.
ELLE cherchait partout

jours et nuits

avant et après l’aube

seulement la pause pour le petit déjeuner

le lieu était sans aire

ELLE ne respirait pas

ELLE n’avait pas besoin

Et encore…

La pupille ne bougeait pas non plus

ELLE n’avait pas besoin

on voyait tout de l’intérieur

la bouche entrouverte

elle ne s’ouvrait pas

elle ne se refermait pas

mais elle y était

comme les oreilles

à sa place

on aurait dit qu’elles ne servaient à rien

et encore…

elles étaient là

comme tout le reste d’ailleurs

cherchant tout le temps de l’intérieur

et encore…

lieu sans pluie, sans soleil, sans brume non plus,

clair

on y voyait tout

mais on ne pouvait pas trouver

ELLE cherchait pourtant

confondue qu’ELLE était encore avec l’autre monde

celui de dehors

celui du petit déjeuner le matin

et l’amour le soir

cherchant tout le temps

malgré ses yeux, ses oreilles, ses pupilles et ses lèvres fixes

dans en lieu sans horizon , sans nom et sans fin

tout petit

à la dimension de sa tête

quelques cm2 en surface

quelques cm3 en volume

ELLE était là

dans sa main la petite chaise et la grande pierre

assise dessus

pour trouver

et encore…

quelle IDIOTE….

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Fotografía en B/N

1984

5000 EUR
Taxes not included

Peter Gallo

Small pink bed, 2007 - 2015

Small pink bed

Peter Gallo

Peter Gallo's (1959, Vermont) work comprises mixed media pieces in which combines an imaginary of resources as diverse as gay pornography and ornithology with words by Roland Barthes, Freud, and bands such as Joy Division and The Cocteau Twins.

For the production of this work the artist uses materials from his personal history, as is the case of the frame that comes from his adolescence. "Pink bed" is inspired by the pictorial works of Robert Ryman's monochrome paintings.

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Óleo sobre lino

2007 - 2015

9000 EUR
Taxes not included

Pep Agut

Artistes i pretendents, 2016

Artistes i pretendents

Pep Agut

Drawing on his dual training in the practice of painting and photography, Pep Agut (1961, Barcelona) focused his interest very early on the problems of representation, the role of the artist and the place of art.

This work belongs to Pep Agut's project "Penelope" (2016) in which the artist accumulates in his discourse on representation (1979-2016) the experience of a sailor in the waters of the world of art and aesthetics ... and every artistic experience is a form of social commitment.

"Odysseus leaves for the Trojan War. Penelope, his wife, will remain at home in Ithaca to await his return. The local potentates become Penelope's suitors. The palace becomes the site of a great orgy that lasts for more than twenty years. Penelope proposes to marry one of them when she finishes the weaving she has begun, a tunic to celebrate her husband's return, a return that the suitors do not believe in at all. In the evening she undoes part of what she has woven in the morning. Her son, Telemachus, flees in search of his father. Odysseus returns at last, more than twenty years later after sailing around the Mediterranean in all sorts of adventures, and, one by one, kills his wife's suitors and regains the throne. One of his servant girls recognises him by an old scar on his knee in the middle of a body scarred by war wounds. Penelope cannot offer him her gift, for it, continually interrupted, continually unwoven, represents nothing.

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Tela, DECAdry, bastidor, grapas y pintura sobre pared.

2016

15000 EUR
Taxes not included

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