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White color photograph of the series, “Flores de color”, technique with printing on photographic paper.
Monica Sanchez-Robles is a multidisciplinary artist currently living in Madrid, although he has lived for years in France and Italy. She has a degree in Fine Arts from the Complutense University of Madrid, from the BBAA of Granada, does her doctorate studies, continues her training in digital photography at the EFTI School of Photography in Madrid, and did her postgraduate studies at Parsons Paris School of Design in Paris. He has exhibited individually in galleries in Spain and France. In addition, he has exhibited collectively at various exhibitions and fairs in France, Spain, Miami, London and Switzerland.
Measurements: W 120 x H 160 cm
VAT not included
Paisaje "Childhood", 2008
Pigment, resin and varnish on board.
Darío Urzay: He was born in Bilbao on December 13, 1958.
He studies Fine Arts at the University of the Basque Country. . In 1983 he obtained the Gure Artea award, in 2005 his work was recognized with the National Prize for Graphic Art and the Excellence Work Award at the Beijing Biennial. The Guggenheim Museum Bilbao, the Reina Sofía National Museum Center in Madrid, the Deutsche Bank Collection in London, the Patio Herreriano Museum in Valladolid or the ARTIUM museum, among others, should be highlighted.
 
Medidas: W 140 x D 340 cm
VAT not included
"Sin título" (Brooklyn Academy Of Music) 1986
Aquatint. Signed. Serie 12/75
Julian Schnabel (1951)
Measurements: W 167 x D 6 x H 228 cm
Julian Schnabel (born October 26, 1951) is an American painter and filmmaker. In the 1980s, Schnabel received international media attention for his "plate paintings" — with broken ceramic plates set onto large-scale paintings. Since the 1990s, he has been a proponent of independent arthouse cinema. Schnabel directed Before Night Falls, which became Javier Bardem's breakthrough Academy Award-nominated role, and The Diving Bell and the Butterfly, which was nominated for four Academy Awards. For the latter, he won the Cannes Film Festival Award for Best Director and the Golden Globe Award for Best Director, as well as receiving nominations for the Academy Award for Best Director and the César Award for Best Director.
His works are exhibited in the collections of various museums throughout the world, among them the Metropolitan Museum of Art; Museum of Modern Art in New York; the Whitney Museum of American Art; the Museum of Contemporary Art (MOCA), Los Angeles; Los Angeles County Museum of Art; Reina Sofia in Madrid; Tate Modern in London and the Centre Georges Pompidou in Paris.
VAT not included
Obra de la serie "Learning to Fly"
2020
Acrylic on linen canvas
Measurements: W 114 x H 146 cm
Alex Voinea was born in 1973 in Romania. He left Romania after the revolution and went to Italy. He is now based in Sitges, Barcelona, where he lives and works. He has exhibited his work in several cities, including Brussels, Paris, London, Milan, Amsterdam, New York, and Los Angeles.
VAT not included
2017
Alex voinea He was born in Romania in 1973. Leaving Romania after the revolution, he moved to Italy and now resides in Sitges (Barcelona) where he lives and exhibits. He has exhibited his work in various cities, including Brussels, Paris, London, Milan, Amsterdam, New York, and Los Angeles.
Measurements: W 114 x H 146 cm
VAT not included
Souvenir 49 E. Ed. 3/5, 2013
Digital printing and resin on dibond
(59 x 523⁄4 ″)
Cesar Delgado
Measurements: W 110 x H 137 cm
The work of Cesar Delgado it could be compared to a scientific laboratory in which a world of tiny creatures is observed under a microscope. Meandering, twisted shapes intertwine in the fabric, delimiting paths with traces of coagulated liquid color. Like eels hatched in a tank of water, Delgado's signs vibrate with autonomous, independent life. Earthy browns mix with pure white and crawl through the space of the painting in twisted baroque convolutions. Suddenly, horizontal bands delimit and close the scene remembering that the scientific world is that of the artist where a precise, physically defined brushstroke takes us back to the world of the cold, impersonal and sharp brushstrokes of Lichtenstein.
It is the painting for the sake of painting, the abstraction for the abstraction, the work for the work. There is no pathos. Everything exists and can therefore be examined, studied like on an anatomy table. Delgado arranges the pieces of the painting for the autopsy of art history, acts as a paleontologist who breaks the stones so that fossil shells from the Jurassic period come to light. Spiral corneas, splintered bones, segments of foliaceous sheets vibrate in these slipped paintings of his own work in which a vague memory of Kandinsky merges with a problematic pop optic.
INDIVIDUAL EXPOSITIONS
2012 «Informatismo», Tomás y Valiente Art Center, Fuenlabrada
«Informatism«, Space2. The Museum Gallery. Bogota Colombia
2010. «Informatismo», Fernando Pradilla Gallery, Madrid.
2009. Art Madrid Project Room
2007. “Derivados de Pintura”, Fernando Pradilla Gallery, Madrid.
2005. "Taxidermias", Fernando Pradilla Gallery, Madrid,.
2003. Dahl Gallery of Contemporary Art, Lucerne.
2002. Les filles du Calvaire Gallery, Paris.
1999 . Gallery Ars Vivendi, Munich.
1998. Valle Quintana Gallery, Madrid.
1997. Barrio y Valle Quintana Gallery, Madrid.
1994. MW Gallery, Madrid.
1993. Sala Pradillo, Madrid.
1988. Athenaeum of Madrid.
VAT not included
Taxidermia 67, 2009
Acrílico sobre lienzo
César Delgado: Madrid, 1961. Pintor español.
En 1989, obtiene la Beca Artista en Residencia La Romana, República Dominicana, y en 1992, la Beca de Pintura del Ayuntamiento de Mojácar, Almería. Recibe, en 1990, el Premio Adquisición en el VII Salón de Artes Plásticas de Alcobendas, Madrid, y en 1994, el Premio Adquisición en el Concurso Nacional de Pintura Ciudad de Alcorcón. Su obra, heredera de la tradición informalista española, y próxima a los postulados de Luis Gordillo, se distingue por el uso redundante de dos claves compositivas: la repetición, y la superposición. Aislando el gesto y definiendo la articulación de los planos pictóricos, Benítez, consigue una apariencia de frialdad cercana a los procesos litográficos, desde la densidad en la aplicación del pigmento, y la sugerencia orgánica de las formas. Destacan sus exposiciones individuales en la Galería MW, Madrid (1994), y Galería Valle Quintana, Madrid (1998).
Medidas: 150 x 180 cm
VAT not included
Souvenir 44
Ed. 3/5, año 2013
Impresión digital y resina sobre dibond.
Cesar Delgado
Measurements: W 110 x H 137 cm
The work of Cesar Delgado it could be compared to a scientific laboratory in which a world of tiny creatures is observed under a microscope. Meandering, twisted shapes intertwine in the fabric, delimiting paths with traces of coagulated liquid color. Like eels hatched in a tank of water, Delgado's signs vibrate with autonomous, independent life. Earthy browns mix with pure white and crawl through the space of the painting in twisted baroque convolutions. Suddenly, horizontal bands delimit and close the scene remembering that the scientific world is that of the artist where a precise, physically defined brushstroke takes us back to the world of the cold, impersonal and sharp brushstrokes of Lichtenstein.
It is the painting for the sake of painting, the abstraction for the abstraction, the work for the work. There is no pathos. Everything exists and can therefore be examined, studied like on an anatomy table. Delgado arranges the pieces of the painting for the autopsy of art history, acts as a paleontologist who breaks the stones so that fossil shells from the Jurassic period come to light. Spiral corneas, splintered bones, segments of foliaceous sheets vibrate in these slipped paintings of his own work in which a vague memory of Kandinsky merges with a problematic pop optic.
INDIVIDUAL EXPOSITIONS
2012 "Informatismo", Centro de Arte Tomás y Valiente, Fuenlabrada
"Informatismo", Space2. The Museum Gallery. Bogota Colombia
2010 . "Informatismo", Galería Fernando Pradilla, Madrid.
2009. Art Madrid Project Room
2007. “Derivados de Pintura”, Fernando Pradilla Gallery, Madrid.
2005. "Taxidermias", Fernando Pradilla Gallery, Madrid,.
2003. Dahl Gallery of Contemporary Art, Lucerne.
2002. Les filles du Calvaire Gallery, Paris.
1999 . Gallery Ars Vivendi, Munich.
1998. Valle Quintana Gallery, Madrid.
1997. Barrio y Valle Quintana Gallery, Madrid.
1994. MW Gallery, Madrid.
1993. Sala Pradillo, Madrid.
1988. Athenaeum of Madrid.
VAT not included
Juan Francisco Casas
Thenordicweightlessnessnight#2, 2017
BIC colored pen on paper.
Juan Francisco Casas Ruiz 1976: He has had numerous individual exhibitions highlighting (He) artbroken (Jonathan Levine Gallery), Saturdaynigthbathroom, Bare (ly) there and Foreignaffairs, (A) utopic (Fernando Pradilla Gallery, Madrid, 2005, 2008, 2010, 2014 respectively), After (h) ours (El Museo Gallery, Bogotá, Colombia 2011), MyLovingNation (Ferrán Cano Gallery, Palma de Mallorca, 2007), Sacrebleu! (Galería Sandunga, Granada, 2006), Mis (s) behave (Sala Rivadavia, Diputación Provincial de Cádiz, 2006) and participated in the most important art fairs in the world, as well as in almost all editions of ARCO since 2002 Exhibitions in New York, Miami or Chicago to Seoul, Singapore, London, Paris, Mexico or Basel, among many others, have featured his work and he has received numerous national and international awards and scholarships.
W 148 XD 5 XH 208
VAT not included
"Lagarteranas" 1997
Felicidad Moreno
Acrylic and enamel on canvas.
Measurements: W 204 x D 5 x H 254
She was born in Toledo. In 1959 she received an award from II Muestra de Arte Joven, which was organized by the youth institute in Madrid. Ever since then, she has taken part in many collective exhibitions.
Her work appears in different museums and collections, such as MUSAC in León, Museo Patio Herreriano in Valladolid, LA CAIXA Contemporary Art Collection in Barcelona, Banco de España Collection in Madrid, Caja de Burgos Collection, CAB and ARTIUM Collection in Vitoria.
VAT not included
Loops (17), 2001
Enamel and varnish on canvas
Felicidad Moreno
Measurements: W 175 x H 265 cm
She was born in Toledo (Spain) in 1986 and she obtained one of the prizes of the II Young Art Show, organized by the Institute of Youth in Madrid. Since then she has participated in several important group exhibitions.
Her work appears in different museums and collections, such as MUSAC in León, Museo Patio Herreriano in Valladolid, LA CAIXA Contemporary Art Collection in Barcelona, Banco de España Collection in Madrid, Caja de Burgos Collection, CAB and ARTIUM Collection in Vitoria.
VAT not included
"Derriere le Viridien 8″, Rubén Rodrigo Silguero2020
Oil on canvas
(861⁄2 x 633⁄4")
Measurements: 220 x 162 cm
“Rubén Rodrigo's work is a direct heir to the modernist tradition, understood as a process of purification of what is not substantial to the pictorial medium (that is, imitation or the literary). Starting from the division established by Lessing between artes del espacio and artes del tiempo, the critic Clement Greenberg built a sense of modernity linked to the specificity of the medium, which would be reflected in the abstract expressionists of the 1950s. These, in their search for a purely visual experience, hypothetically would be beyond the narrative, the time and, therefore, the time of life. In his rereading of that canonical modernism, Rubén Rodrigo also attends to the achievements that were devalued: for example, the symbolic intention, the stage presence, the record of time or the transcendental dimension of the image. He also works with diptychs, polyptychs or extensive series, an option with which he dislodges the apparently insurmountable imperative of the "last painting" represented, for example, by Ryman's white paintings or Reinhardt's black ones.
In his latest projects, abstract appropriation allows him to hold an interpretive exercise on various chapters of the tradition, from a humble position and open to constant discovery. Thus, El Greco is interested in looking at what constitutes his extravagant rarity, and that will be the subject of numerous historical and critical reviews, especially since Cossío's controversial monograph in 1908. Among his modern fidelities, American Abstract Expressionism and other nearby poetics are inescapable references, as is (neo) figurative painting. by Francis Bacon. "
VAT not included
Cobalt, 2017
Oil on canvas.
Ruben Rodrigo Silguero
Measurements: W 162 x H 220
Training
1999-2004 BA Fine Arts. University of Salamanca
2016 VEGAP Proposed Plastic Arts Grant
2005-2006 Grant from the Antonio Gala Foundation for young creators
Individual expositions
2019 The Light and the Fury. Fernando Pradilla Gallery. Madrid
2018 The Light and the Fury. DA2 Domus Artium 2002. Salamanca
2017 Sumi_RGB. Castellana 22. Madrid
(Remember) Take out the Trash. Only Project. Dating House. HybridFest. Madrid
2016 Hyena Skin. Factory. Madrid
2014 Shades of Ash. Valverde Gallery Space. Madrid
Collective exhibitions (Selection)
2018 Mars. Castellón International Art Fair. Only Project. Nape Space
Illustrated Nepotism II. Carolina Jaén.
2017 Otra Puta Bienal Más. Gallery 6 + 1. Madrid
End of season. Gallery 3 ° —4. Madrid
#StickersArt. PAC. Print 2017. Madrid
VEGAP2016 Proposals. Circle of Fine Arts. Madrid
View Lounge I. Madrid
Dialogues Artbanchel. Ship6. Madrid
Posmandanga. Fallow. Madrid.
2016 100 ° —100. The Makers. Madrid
II FAC (Art Fair in my House). Cobeña. Madrid
Heimlich. Micro-residences in bed. Room AF#5. Madrid
2015 Illustrated Nepotism. Fernando Pradilla Gallery. Madrid
Iberencontros 2015. Castelo Branco. Portugal
Awards, Workshops and Scholarships
2016 VEGAP Proposals 2016. Plastic Arts. Madrid
2005-2006 Antonio Gala Foundation. Scholarship for Young Artists. Cordova
2004 Summer Course in San Lorenzo de El Escorial with Juan Genovés. Madrid
Pablo Ruiz Picasso Workshop with Soledad Sevilla at the Unión Fenosa Museum of Contemporary Art. MACUF. Corunna
2003 First Prize. VII Edition of the San Marcos Prize of the University of Fine Arts
Salamanca arts. Palace of the Salina.
2002 Art, body and technology. With Orlán and David Nebreda. Salamanca.
VAT not included
(Pollença 1964)
"Untitled No. 61". 1999
Positive photograph on paper attached to table
Unique piece
Susy gomez He was born in Pollença in 1964. He studied Fine Arts in Barcelona. His exhibition at the Fundació Miró in Barcelona in 1993, marked the beginning of an upward and prominent career within the generational scene to which he belonged. In 1995 he joined the Salon de los 16 and his work could be seen at Whitechapel in London, which was followed by numerous exhibitions inside and outside of Spain. In 1999-2000 he held the first exhibition at the IVAM in Valencia, curated by Enrique Juncosa. The exhibition was titled “Some things I called mine” and in it its clear ascription to international, post-minimalist and post-conceptual languages, explorers and analytics of the creative process and its plasticity through the relationship between work and space was perceived.
Medidas: W 180 x H 240 cm
VAT not included
"No title"
Resin on wood
Fernando de Ana
If there is an art gene, Fernando de Ana (Talavera de la Reina, 1979) and a graduate in Fine Arts, carries it with him. Since he was born he has been surrounded by oil and pencils, spatulas and turpentine. He belongs to the third generation of a saga of artists that began at the beginning of the 19th century with his great-uncle, José Pérez, painter and first director of the Cádiz Museum of Art, and continued with his father, Juan Carlos Jiménez, also a painter and Doctor. in Fine Arts.
If his ancestors delighted in light and still lifes, Fernando de Ana has also wanted to explore other more contemporary languages, working first as an illustrator - he has received several international awards - and as a cartoonist, to later soak up design and the avant-garde Dutch, a pioneer country in this field, where he combined his artistic work with that of art director for more than a decade. His work has been exhibited in Prague, Bologna, Amsterdam or London, among other cities and has been selected and awarded in different art competitions.
From that transversality of influences and from that symbiosis of classic and avant-garde references, now comes his maturity as an artist. Away from his comfort zone, the artist opts for his own language in which emotions prevail over the metallic. His way of being in the world beats in his work: human relationships marked by sex, loneliness and melancholy, anxiety as a catalyst for art, obsessions spinning in a spiral, repetition of patterns, morbid agitated with tenderness infinite, the frustrated Innocence that still breathes, moving it as a motor. Fernando de Ana's work responds to a mature creative process, built over several decades exploring different formats, where material, meaning and feeling go in the same direction. 'Forbbiden carnal', his elegant series in resin and neon, has already become an exponent by combining without complexes an apparently cold material with geometric limits with the warmth and sensuality of light, in such a way that it has achieved that both elements exchange natures.
The author undresses through this meticulous technique and tells us about his inner world, his contradictions and his fears, all crossed by Eros and Thanatos, pleasure and pain, contradiction as the very genesis of life. Each work of 'Forbbiden Carnal' shows an aspect of sentimental relationships, an instant in the relationship with the other, always complex and necessary: the arrow of first eye contact, one's own vulnerability, seduction as a totem and motor, lies and the decadent, the caress as an antidote to loneliness. Nothing better than resin, color and the symbiosis of geometry with neon to express this entire sensitive universe, which not only seeks to connect with the beauty and the terrible of the viewer, but to seduce him as well.
W 150 x D 7 x H 150
VAT not included
Resin on wood with neon
Fernando de Ana
If there is an art gene, Fernando de Ana (Talavera de la Reina, 1979) and a graduate in Fine Arts, carries it with him. Since he was born he has been surrounded by oil and pencils, spatulas and turpentine. He belongs to the third generation of a saga of artists that began at the beginning of the 19th century with his great-uncle, José Pérez, painter and first director of the Cádiz Museum of Art, and continued with his father, Juan Carlos Jiménez, also a painter and Doctor. in Fine Arts.
If his ancestors delighted in light and still lifes, Fernando de Ana has also wanted to explore other more contemporary languages, working first as an illustrator - he has received several international awards - and as a cartoonist, to later soak up design and the avant-garde Dutch, a pioneer country in this field, where he combined his artistic work with that of art director for more than a decade. His work has been exhibited in Prague, Bologna, Amsterdam or London, among other cities and has been selected and awarded in different art competitions.
From that transversality of influences and from that symbiosis of classic and avant-garde references, now comes his maturity as an artist. Away from his comfort zone, the artist opts for his own language in which emotions prevail over the metallic. His way of being in the world beats in his work: human relationships marked by sex, loneliness and melancholy, anxiety as a catalyst for art, obsessions spinning in a spiral, repetition of patterns, morbid agitated with tenderness infinite, the frustrated Innocence that still breathes, moving it as a motor. Fernando de Ana's work responds to a mature creative process, built over several decades exploring different formats, where material, meaning and feeling go in the same direction. 'Forbbiden carnal', his elegant series in resin and neon, has already become an exponent by combining without complexes an apparently cold material with geometric limits with the warmth and sensuality of light, in such a way that it has achieved that both elements exchange natures.
The author undresses through this meticulous technique and tells us about his inner world, his contradictions and his fears, all crossed by Eros and Thanatos, pleasure and pain, contradiction as the very genesis of life. Each work of 'Forbbiden Carnal' shows an aspect of sentimental relationships, an instant in the relationship with the other, always complex and necessary: the arrow of first eye contact, one's own vulnerability, seduction as a totem and motor, lies and the decadent, the caress as an antidote to loneliness. Nothing better than resin, color and the symbiosis of geometry with neon to express this entire sensitive universe, which not only seeks to connect with the beauty and the terrible of the viewer, but to seduce him as well.
Measurements: W 240 x D 150 cm
VAT not included
"No title"
Resin on wood
Fernando de Ana
If there is an art gene, Fernando de Ana (Talavera de la Reina, 1979) and a graduate in Fine Arts, carries it with him. Since he was born he has been surrounded by oil and pencils, spatulas and turpentine. He belongs to the third generation of a saga of artists that began at the beginning of the 19th century with his great-uncle, José Pérez, painter and first director of the Cádiz Museum of Art, and continued with his father, Juan Carlos Jiménez, also a painter and Doctor. in Fine Arts.
If his ancestors delighted in light and still lifes, Fernando de Ana has also wanted to explore other more contemporary languages, working first as an illustrator - he has received several international awards - and as a cartoonist, to later soak up design and the avant-garde Dutch, a pioneer country in this field, where he combined his artistic work with that of art director for more than a decade. His work has been exhibited in Prague, Bologna, Amsterdam or London, among other cities and has been selected and awarded in different art competitions.
From that transversality of influences and from that symbiosis of classic and avant-garde references, now comes his maturity as an artist. Away from his comfort zone, the artist opts for his own language in which emotions prevail over the metallic. His way of being in the world beats in his work: human relationships marked by sex, loneliness and melancholy, anxiety as a catalyst for art, obsessions spinning in a spiral, repetition of patterns, morbid agitated with tenderness infinite, the frustrated Innocence that still breathes, moving it as a motor. Fernando de Ana's work responds to a mature creative process, built over several decades exploring different formats, where material, meaning and feeling go in the same direction. 'Forbbiden carnal', his elegant series in resin and neon, has already become an exponent by combining without complexes an apparently cold material with geometric limits with the warmth and sensuality of light, in such a way that it has achieved that both elements exchange natures.
The author undresses through this meticulous technique and tells us about his inner world, his contradictions and his fears, all crossed by Eros and Thanatos, pleasure and pain, contradiction as the very genesis of life. Each work of 'Forbbiden Carnal' shows an aspect of sentimental relationships, an instant in the relationship with the other, always complex and necessary: the arrow of first eye contact, one's own vulnerability, seduction as a totem and motor, lies and the decadent, the caress as an antidote to loneliness. Nothing better than resin, color and the symbiosis of geometry with neon to express this entire sensitive universe, which not only seeks to connect with the beauty and the terrible of the viewer, but to seduce him as well.
W 150 x D 7 x H 150
VAT not included
Obra "Situ Acciones II" de Dionisio González, 2001
Acrylic/siliconized photography
Measurements: 80 x 80 cm
VAT not included
Obra «Situ Acciones III» de Dionisio González, 2001
Acrylic/siliconized photography
Measurements: 80 x 80 cm