2. Carlos
Alonso,
Cantabria,
1923-‐París,
1994
Angel
Alonso
is
a
French
painter
of
Spanish
origin,
born
in
1923
in
Laredo
in
Cantabria.
For
Alonso
the
only
important
thing
was
the
accomplishment
of
his
work
as
a
farmer
plowing
his
fields.
The
unique
source
of
his
inspiraNon
was
nature.
For
him,
the
land
was
the
most
beauNful
landscapes,
observed
with
the
changing
pace
and
colours
of
the
seasons.
Also
he
worked
the
land
itself.
Echo
of
the
land
surfaces,
the
color
should
be
an
expanse,
the
color
is
landscape.
Refusing
any
arNfice
which
creates
depth
and
all
shades
of
tone,
he
seeks
the
color
as
it
is,
in
its
most
extreme
tension,
and
not
as
it
appears
to
us.
The
Beauce’s
landscapes
which
surrounded
his
studio,
the
stridency
of
a
flint,
the
squeal
of
a
white
which
erupts,
the
wetness
of
humidity,
the
seed
furrow
printed
in
the
drought
of
rough
land,
the
darkness
leT
by
the
burned
fields,
are
the
experiences
of
his
painNngs.
He
used
a
limited
number
of
colors:
orange
cadmium,
lead
yellow,
Veronese
green,
blue,
and
especially
white
and
black;
these
two
colors,
irradiaNng
the
works
of
the
end,
and
idenNfy
their
deep
antagonism.
In
1996
and
1997,
the
works
of
Alonso
are
exhibited
in
the
Marcelino
BoNn
FoundaNon
(Spain),
in
the
Cervantes
InsNtute
(Paris),
and
in
the
Círculo
de
Bellas
Artes
(Madrid).
The
Reina
Sofia
Museum
buys
several
major
works
of
Alonso.
René
Metras,
one
of
the
most
important
galleries
in
Barcelona,
dedicated
a
solo
exhibiNon
in
late
1999
(small
formats
from
1984
to
1994).
The
Galerie
Guislain
–
Etats
d’art
exhibits
works
of
Alonso
at
Art
Paris
2002.
In
2003,
a
solo
exhibiNon
at
the
gallery
includes
works
from
the
late
50s
unNl
1994.
3. Angel
Alonso
(1923-‐1994)
Sin
Título,
1988
Técnica
Mixta
sobre
madera
57
x
35
cm
(22.44
x
13.78
inches)
signed
and
dedicated
"
a
ma
femme
-‐
Noël
1988"
€
8,500
Angel
Alonso
Sin
Tituló
,
1989-‐1991
Técnica
Mixta
sobre
madera
55
x
46
cm
(21.65
x
18.11
inches)
on
verso
€
8,000
4. Angel
Alonso
(1923-‐1994)
Desastre
XI,
1991
Tecnica
Mixta
71
x
52
cm
(27.95
x
20.47
inches)
al
verso
€
9,000
5. Angel
Alonso
(1923-‐1994)
Sin
Título,
1990
Tecnica
mixta
sobre
tela
133
x
132
cm
(52.36
x
51.97
inches)
€
22,000
6. Polly
Apfelbaum,
Pennsylvania,
1955
Colour
is
the
key
element
in
Polly
Apfelbaum’s
work,
both
visually
and
structurally.
Her
floorbound
installaNons
–
which
incorporate
hundreds
of
pieces
of
velvet,
hand-‐dyed
in
bold
hues
and
oTen
arranged
in
sprawling
configuraNons
that
appear
to
be
organically
inspired
–
defy
categories
of
art-‐making.
Like
abstract
painNngs
that
melted
off
the
wall
and
formed
vibrant
puddles,
her
arrangements
of
irregularly
shaped
rounds,
diamonds
and
ovals
coalesce
with
the
physical
presence
of
sculpture,
while
maintaining
painNng’s
sense
of
vibrancy.
Selected
ExhibiNons:
2014
Perez
Art
Museum,
Miami;
2013
Second
That
Emo.on
a
solo
exhibiNon
at
Mumbai
Art
Room,
Mumbai;
2012
Planiverse,
Galerie
nächst
St.
Stephan
Rosemarie
Schwarzwälder,
Austria;
2012
Fla6erland:
Funkytown,
D’Amelio
Gallery,
NY;
2012
Flatland:
Color
Revolt,
Hansel
&
Gretel
Picture
Garden,
NY;
2011
Double
Nickels
on
the
Dime
a
solo
exhibiNon
at
Benevento,
L.A;
2010
Mini-‐
Hollywood,
a
solo
exhibiNon
at
Yellowstone
Art
Museum,
Montana;
2010
Anything
Can
Happen
in
a
Horse
Race,
a
solo
exhibiNon
at
Milton
Keynes
Gallery,
Milton
Keynes;
2007
Love
Sculpture,
a
solo
exhibiNon
at
Frith
Street
Gallery;
2007
Comic
Abstrac.on:
Image
Breaking,
Image
Making,
a
group
exhibiNon
at
The
MoMA,
New
York;
2003
Polly
Apfelbaum,
a
touring
solo
exhibiNon
at
InsNtute
of
Contemporary
Art,
Philadelphia;
Contemporary
Arts
Center,
CincinnaN;
Kemper
Museum
of
Art,
Kansas
City
11. Polly
Apfelbaum
Wavy
Gravy
,
2007
Marker
auf
Kunstsamt
150
x
115
cm
USD
16.500
incl
10%
12. Carlos
Bunga,
Portugal,
1976
Bunga
creates
process-‐oriented
works
in
different
formats
ranging
from
installaNons,
sculptures,
and
painNngs,
to
performances,
videos
and
drawings,
all
of
which
seek
to
intervene
the
immediate
environment
within
the
architectural
space.
Although
he
oTen
uNlizes
ordinary
and
unpretenNous
materials,
his
works
demonstrate
a
high
level
of
aestheNc
and
conceptual
complexity
derived
from
the
interrelaNon
between
doing
and
undoing,
transience
and
permanence,
large-‐scale
and
small-‐scale,
search
and
conclusion.
Carlos
Bunga
(Portugal,
1976)
lives
and
works
in
Barcelona.
ATer
compleNng
studies
in
Fine
Arts
at
Escola
Superior
de
Arte
e
Design
in
Caldas
da
Rainha
(Portugal),
Bunga
auracted
internaNonal
auenNon
with
his
work
at
Manifesta
5
Contemporary
Art
Biennial
in
San
SebasNán,
Spain
(2004).
Since
then
he
has
been
awarded
with
Fundación
Marcelino
Bown’s
scholarship
for
visual
arts
(Spain,
2006),
and
has
had
solo
shows
at
Fundaçao
Serralves,
Porto,
Portugal
(2012);
Hammer
Museum,
Los
Angeles,
California
(2011);
Miami
Art
Museum,
Miami,
Florida
(2009);
and
Museo
de
Arte
Contemporáneo
de
Vigo,
Spain
(2009).
His
group
exhibiNons
include:
University
Art
Museum,
Santa
Barbara,
California
(2012);
Warsaw
Museum
of
Modern
Art,
Warsaw,
Poland
(2009);
Museu
d’Arte
Contemporani
de
Barcelona
(MACBA),
Barcelona,
Spain
(2009);
Insituto
Valenciano
de
Arte
Moderno
(IVAM),
Valencia,
Spain
(2009);
New
Museum,
New
York,
NY
(2007);
Justus
Lipsius
Building,
Brussels,
Belgium
(2007);
ArNsts
Space,
New
York,
NY
(2005);
and,
as
part
of
Farsites/inSite_05,
at
San
Diego’s
Museum
of
Art,
California
(2005).
Bunga’s
work
has
also
been
acquired
by
major
insNtuNonal
collecNons
such
as
New
York’s
Museum
of
Modern
Art;
Fundaçao
Serralves,
Porto,
Portugal;
Hammer
Museum,
Los
Angeles,
California;
Fundación
Cisneros,
Caracas;
and
Museu
d’Art
Contemporani
de
Barcelona
(MACBA)
in
Barcelona,
Spain.
14. Carlos
Bunga
Construcción
pictórica
#9,
2013
cardboard,
latex
paint
and
wood
45-‐1/4
x
45-‐1/4
x
5
inches
115
x
115
x
13
cm
CBU020
9,000
€
ex
tax
15. Carlos
Bunga
Construcción
pictórica
#10,
2013
cardboard,
latex
paint
and
wood
45-‐1/4
x
45-‐1/4
x
5
inches
115
x
115
x
13
cm
CBU019
9,000
€
ex
tax
16. Carlos
Bunga
Future
Anterior
#8,
2013
latex
paint
on
silver
bromide
print
32-‐1/4
x
29-‐1/2
inches
82
x
75
cm
(framed)
CBU011
7,000
€
ex
tax
Carlos
Bunga
Future
Anterior
#3,
2013
latex
paint
on
silver
bromide
print
32-‐1/4
x
29-‐1/2
inches
82
x
75
cm
(framed)
CBU006
7,000
€
ex
tax
17. Secundino
Hernandez,
Madrid,
1975
Secundino
Hernández
lives
and
works
in
Berlin
and
Madrid.
Hernandez
works
in
a
realm
of
quotaNons
and
references
to
the
history
of
painNng,
creaNng
writer-‐like
composiNons.
In
many
ways,
he
brings
forward
noNons
of
modernism.
Note
:
there’s
a
tension
here
between
form
and
content
and
its
hierarchies
are
on
the
verge
of
collapse:
are
these
painNng
or
abbreviaNons
of
painNngs?
Are
these
formalist
hieroglyphic
structures?
Or
simply
caricatures
of
the
20
century
“isms”?
The
woven
structure
of
his
novel-‐like-‐
painNngs
acknowledges
his
idols
openly:
the
starry
constellaNons
of
Miro
and
deconstructed
female
figures
of
cubism,
the
vaporous
mirages
of
Dali,
and
the
fever
dreams
of
the
last
Magriue
painNngs
(La
période
vache,
in
1948).
For
Secundino,
the
work
is
a
mental
structure:
painNng
is
a
form
of
thought,
painNng
is
a
form
of
re-‐wriNng.
18.
19. Secundino
Hernández
UnNtled
(SH.14.16)
2014
gouache,
oil,
acrylic
and
alkyd
on
canvas
180
x
140
cm
Selling
Price
in
Spain
(taxes
included):
22.000
€uros
20. José
Dávila,
México,
1974
José
Dávila
is
one
of
the
most
promising
contemporary
laNn
American
arNsts.
Jose
Davila’s
artworks
depart
from
a
sense
of
temporality,
indeterminateness,
and
incerNtude.
OTen
using
duplicaNon
strategies,
he
produces
interferences
between
the
intrinsic
meaning
of
ordinary
objects
or
materials,
dismantling
relaNonships
between
form
and
content.
The
intersecNon
points
between
architecture,
spaNal
structures,
construcNon
materials
and
the
utopian
idealism
that
conNnually
generates
them
has
been
a
working
ground
for
Davila.
In
the
objects
he
duplicates
or
captures
photographically,
he
has
never
tried
to
offer
an
equivalent
representaNon;
they
are
never
idenNcal
to
the
real.
One
can
find
a
circular
seducNon
in
which
it’s
easy
to
mark
the
differences
between
the
original
and
the
duplicated.
He
is
interested
in
the
parody
of
it
as
a
tool
for
criNque
and
reflecNon.
Jose
Dávila
is
co-‐founder
and
co-‐director
of
the
OPA,
Office
for
Art
Projects
in
Guadalajara,
Mexico.
Public
CollecNons:
Albright-‐Knox
Art
Gallery,
Buffalo,
USA;
ARTIUM,
Centro-‐Museo
Vasco
de
Arte
Contemporáneo,
Vitoria;
Biedermann
Museum,
Donaueschingen;
Boston
Fidelity
Investment
Group,
Boston;
ColleccNon
Patrick
Charpenel,
Guadalajara;
CollecNon
Cisneros,
New
York
/
Caracas;
CollecNon
Coppel,
Mexico;
CollecNon
ICART,
Miami;
CollecNon
InhoNm,
Brumadinho,
Brazil;
CollecNon
Krauss,
New
York;
CollecNon
Levinas,
Washington
DC;
CollecNon
Michael
Lynne,
New
York;
CollecNon
Ninah
and
Michael
Lynne,
New
York;
CollecNon
Pereira,
Sao
Paulo;
Comunidad
de
Madrid,
CollecNon
of
Art,
Madrid;
Deutsche
Bank
CollecNon,
New
York;
FondaNon
Luis
Augusto
Teixeira
da
Freitas,
Lisbon;
FondaNon
Rozenblum,
ArgenNna;
JUMEX
CollecNon,
Mexico;
MALBA
-‐
Museo
de
Arte
LaNnoamericano
de
Buenos
Aires,
Buenos
Aires;
MUAC
-‐
Museo
Universitario
de
Arte
Contemporáneo,
Mexico
City;
MUDAM
-‐
Musée
d'Art
Moderne,
Luxembourg;
Museo
Amparo,
Puebla;
Museo
Nacional
Centro
de
Arte
Reina
So‚a,
Madrid
21. Jose
DávilaPrinciple
of
understanding
2013
Stainless
steel
and
automoNve
enamel
paint
195
x
189
x
179
cm
USD
43.000
excl.
VAT
22. Jose
Dávila
The
Rules
of
AuracNon
2013
Stainless
steel
and
automoNve
enamel
paint
218
x
390
x
600
cm
USD
67.000
excl.
VAT
23. Jose
Dávila
Nobody
knew
what
happened
when
I
was
away
2013
Stainless
steel
and
automoNve
enamel
paint
205
x
350
x
161
cm
USD
36.000
excl.
VAT
24. José
Lerma
(b.
1971
in
Spain)
lives
and
works
in
Chicago,
IL.
Upcoming
and
recent
solo
exhibiNons
include
La
Bella
Crisis
(2014),
Museum
of
Contemporary
Art
Detroit,
Detroit,
MI;
Robusto
Parasite,
(2014),
Roberto
Paradise,
San
Juan,
PR;
BMO
Harris
Bank
Chicago
Works:
José
Lerma
(2013),
Museum
of
Contemporary
Art
Chicago,
Chicago,
IL;The
Creden.alist
(2012),
Museum
of
Contemporary
Art
Raleigh,
Raleigh,
NC;
I
am
Sorry
I
am
Perry
(2010),
Andrea
Rosen
Gallery,
New
York,
NY;
El
Pendéjo
(2009),
Galerie
Loock,
Berlin,
Germany;
José
Lerma
(2005),
Xavier
Huƒens
Gallery,
Brussels,
Belgium.
Recent
group
exhibiNons
include
Paper
(2013),
Saatchi
Gallery,
London,
United
Kingdom
(catalogue);
The
System
of
Objects
(2013),
curated
by
Andreas
Angelidakis,
Deste
FoundaNon,
Athens,
Greece
(catalogue);
On
PainNng
(2013),
Centro
AtlanNco
de
Arte
Moderno,
Gran
Palma,
Canarias,
Spain
(catalogue).
Select
public
and
insNtuNonal
collecNons
include
Milwaukee
Art
Museum,
WI;
Saatchi
CollecNon,
London;
Museum
of
Fine
Arts
Houston
Houston,
TX;
Chazen
Museum
of
Art,
WI;
A.
De
La
Cruz
CollecNon,
Puerto
Rico;
Colección
Berezdivin,
Sancturce,
Puerto
Rico;
Dakkis
Joannou
CollecNon,
Athens,
Greece.
All
history
is
born
from
a
sea
of
personal
narraNves.
José
Lerma’s
work
finds
inspiraNon
from
his
own
autobiography
and
an
interest
in
long-‐lost
historical
figures,
a
dialogue
that
he
chooses
to
have
within
the
context
of
painNng
and
painNng’s
relaNonship
to
history.
Portraiture
as
an
arNsNc
genre
has
a
long-‐standing
lineage
with
memorializing
civic
and
poliNcal
leaders,
communicaNng
narraNve
through
the
likeness
of
a
person
and
adding
to
that
likeness
a
symbolic
stamp
of
status.
It
is
within
this
pla„orm
or
portrait
painNng
and
historical
significance
that
Lerma
finds
windows
of
opportunity
to
expand
on
conversaNons
of
contemporary
poliNcal,
economical
and
civic
discussion,
creaNng
work
that
is
conscious
of
how
the
present
is
always
conNngent
on
the
past
and
how
art
and
history
share
parallel
lines
of
innovaNon
and
progression.
The
core
of
this
body
of
work
consists
of
seven
portraits
depicNng
Mayer
Amschel,
Guule
Schnapper
and
their
five
sons
who
leT
Frankurt
Judengasse
in
the
18th
century
and
established
an
internaNonal
banking
dynasty
and
the
genesis
of
the
Rothschild
Empire.
Though
rooted
within
different
countries
and
economies,
the
five
branches
of
the
Rothschild
banking
system
remained
connected
in
a
web
of
joint
support
and
success.
Lerma
approaches
the
portraits
themselves
in
a
conceptual
process
similar
to
this
interconnecNon
by
painNng
each
portrait
on
reflecNve
glass-‐less
mirror,
with
each
member
of
the
family
iniNally
represenNng
a
different
color
wheel,
and
building
the
painNngs’
composiNons
and
paleues
based
on
each
other’s
reflecNons
when
the
portraits
are
placed
within
the
same
environment.
This
process
results
in
a
spectrum
of
color
within
each
work
in
what
Lerma
calls
a
“display
of
chromaNc
incest”,
a
poeNc
gesture
on
the
collecNve
rise
of
the
family’s
economic
and
poliNcal
legacy.
The
percentage
reflects
the
minimum
requirement
of
liquid
assets
the
United
States’
financial
insNtuNons
are
required
to
hold
by
law
in
order
to
operate.
A
CriNcal
Analysis...
presents
a
contrast
to
the
interacNon
the
portraits
have
with
each
others’
reflecNons,
instead
of
borrowing
from
the
impressions
of
each
piece
to
build
on
the
final
composiNons,
the
fountain
completes
itself
through
the
illusion
of
a
whole
in
the
mirrors,
creaNng
a
kaleidoscopic
effect.
The
installaNon
is
acNvated
through
performance
in
which
water
sounds
are
made
by
parNcipants
standing
within
the
structure
as
sculptural
elements
of
the
fountain
itself.
José
Lerma,
Spain,
1971
25.
26. JOSE
LERMA
b.
1971
Nathan,
2014
acrylic
and
pigmented
silicone
on
glass-‐less
mirror
72"
x
60"
$30,000
27. JOSE
LERMA
b.
1971
Salomon,
2014
acrylic
and
pigmented
silicone
on
glass-‐less
mirror
72"
x
60"
KGG
-‐
3972
$30,000
28. JOSE
LERMA
b.
1971
James,
2014
acrylic
and
pigmented
silicone
on
glass-‐less
mirror
72"
x
60"
KGG
-‐
3975
$30,000
29. Jaume
Plensa,
Barcelona,
1955
Jaume
Plensa
(Spanish,
b.1955)
is
one
of
the
world's
foremost
sculptors
working
in
the
public
space,
with
over
30
projects
spanning
the
globe
in
such
ciNes
as
Chicago,
Dubai,
London,
Liverpool,
Nice,
Tokyo,
Toronto,
and
Vancouver.
Over
the
past
25
years,
the
arNst
has
produced
a
rich
body
of
work
in
the
studio
and
the
public
realm.
By
combining
convenNonal
sculptural
materials
(glass,
steel,
bronze,
aluminum)
with
more
unconvenNonal
media
(water,
light,
sound,
video),
and
frequently
incorporaNng
text,
Plensa
creates
hybrid
works
of
intricate
energy
and
psychology.
From
his
delicately
textured,
inNmate
works
on
paper—like
his
2005-‐06
series
of
ethnographic
portraits
that
resemble
worn,
19th
century
photographs—to
monumental
outdoor
sculptures
like
Nomade
(2007)
and
a
range
of
cityscape-‐altering
public
projects
like
the
Crown
Fountain
in
Chicago
(2000-‐05),
Plensa's
work
takes
many
forms.
Plensa's
work
is
invested
in
evoking
emoNon
and
sNmulaNng
intellectual
engagement.
By
posing
conceptual
dualiNes
in
his
work
(inside/outside,
front/back,
light/dark),
Plensa
seeks
to
connect
with
his
viewers
on
an
intuiNve
level.
OTen,
the
viewer
parNcipaNon,
or
the
object/viewer
relaNonship,
is
what
completes
Plensa's
work.
The
winner
of
many
naNonal
and
internaNonal
awards,
Jaume
Plensa
has
had
solo
exhibiNons
at
the
Yorkshire
Sculpture
Park,
West
Breuon,
UK;
Nasher
Sculpture
Center,
Dallas;
InsNtut
Valencia
d'Art
Modern,
Spain;
the
Musée
Picasso,
AnNbes,
France;
the
Arts
Club
of
Chicago;
Frederik
Meijer
Gardens
and
Sculpture
Park,
Grand
Rapids,
Michigan;
Museo
Reina
Sofia,
Madrid
and
Galerie
NaNonal
du
Jeu
de
Paume,
Paris
among
many
others.
He
lives
and
works
in
Barcelona
30.
31. Jaume
Plensa
Timekeeper
II,
2013
Stainless
steel
and
stone
20
7/8
x
12
1/2
x
20
1/2
inches
(53
x
32
x
52
cm)
$95,000
32. Laura's
World
I,
2013
Marble
72.5
x
27.5
x
26.4
inches
(184
x
70
x
67
cm)
33. Pablo
Rasgado,
Mexico,
1984
Pablo
Rasgado
reconfigures
material
from
everyday
life
into
new
abstracNons.
Much
of
his
past
work
has
been
made
from
painted
public
walls,
some
extracted
from
busy
city
streets,
others
from
temporary
museum
exhibiNons.
SomeNmes
the
walls
have
poliNcal
or
social
content.
SomeNmes
they
simply
contain
an
image
that
the
arNst
wants
to
capture
and
present
in
a
new
way.
Whatever
the
source,
Rasgado
seeks
to
represent
a
frozen
moment.
In
the
case
of
the
Unfolded
Architecture
painNngs,
they
represent
specific
moments
within
a
museum’s
history
and
indeed
in
art
history.
Pablo
Rasgado
(born
Zapopan,
Jalisco,
Mexico,
1984)
has
had
solo
exhibiNons
at
Steve
Turner
Contemporary
(2011,
2012
&
2013);
ArraNa
Beer,
Berlin
(2012);
and
Museo
Experimental
El
Eco,
Mexico
City
(curated
by
Tobias
Ostrander,
2011).
His
work
has
also
been
featured
in
solo
exhibiNons
at
Zona
Maco,
Mexico
City
(Steve
Turner
Contemporary,
2012);
Art
Basel
Miami
Beach
(ArraNa
Beer,
2012)
and
will
next
be
in
the
Solo
Projects
Focus
LaNn
America
at
ARCO
Madrid
(February,
2014).
Rasgado’s
work
has
also
been
featured
in
important
museum
group
exhibiNons
includingOther
People’s
Problems:
Conflicts
and
Paradoxes,
Herzliya
Museum
of
Contemporary
Art,
Tel
Aviv
(2013);
Noise,
Ex
Magazzini
di
San
Cassian,
Venice
(2013);
When
AVtudes
Became
Form
Becomes
AVtudes,
CCA
Waˆs
InsNtute
for
Contemporary
Arts,
San
Francisco
(curated
by
Jens
Hoffman,
2012);Los
Irrespetuosos,
Carrillo
Gil,
Mexico
City
(curated
by
Carlos
Palacios,
2012);
and
Lost
Line:
Contemporary
Art
from
the
Collec.on,
Los
Angeles
County
Museum
of
Art
(2012).
He
is
currently
a
recipient
of
the
Bancomer
MACG
Fellowship.
34.
35. Pablo
Rasgado
ATerimage
(Repaired
Broken
Mirror
#1),
2014
Welded
steel,
mirror,
filters
and
fluorescent
light
19
1/2
x
19
1/2
inches
(49.5
x
49.5
cm)
U$
15,000
36. Pablo
Rasgado
ATerimage
(Repaired
Broken
Mirror
#3),
2014
Welded
steel,
mirror,
filters
and
fluorescent
light
19
1/2
x
19
1/2
inches
(49.5
x
49.5
cm)
U$
15,000
37. Pablo
Rasgado
ATerimage
(Repaired
Broken
Mirror
#2),
2014
Welded
steel,
mirror,
filters
and
fluorescent
light
19
1/2
x
19
1/2
inches
(49.5
x
49.5
cm)
U$
15,000
40. Angela
de
la
Cruz,
Spain,
1965
At
first
glance,
de
la
Cruz's
painNngs
appear
to
have
been
vandalised
or
flagrantly
abused.
Mangled
stretchers,
slashed
canvases,
twisted
and
violated,
are
hung
on
the
wall
like
macabre
trophies,
and
yet
it
is
this
deliberate
and
systemaNc
desecraNon
of
the
canvases,
which
informs
the
end
result.
EmoNonally
raw,
yet
canny
and
sharply
ironic,
de
la
Cruz
confronts
the
'problem'
with
painNng
by
incorporaNng
its
very
destrucNon
into
the
work
itself.
"The
moment
I
cut
through
the
canvas
I
get
rid
of
the
grandiosity
of
painNng."Violent,
unapologeNc
and
oTen
darkly
humorous,
her
work
unabashedly
exposes
a
visceral
emoNonalism,
breaking
the
barriers
of
the
established
norms
of
painNng.
Implicit
is
the
sense
that
a
scene
of
freneNc
violent
acNvity
has
just
taken
place
leaving
in
its
wake
the
strangely
paradoxical
feeling
of
spent
energy
and
a
sense
of
calm;
a
visual
catharsis.
She
has
been
nominated
for
2010
Turner
Prize
Shortlist.
Angela
de
la
Cruz
lives
and
works
in
London,
UK.
41.
42. Angela
de
la
Cruz
Bloated
3
(Blue)
2012
Oil
on
aluminium
163
x
65
x
42
cm
ed.unique
GBP
60,000.00
43. Angela
de
la
Cruz
Loose
Fit
XXXI
(Dark
Blue)
2004
Oil
on
canvas
110
x
108
x
38
cm
GBP
28,000.00
44. Angela
de
la
Cruz
Deflated
(Yellow)
2010
Oil
on
canvas
153
x
180
cm
GBP
28,000.00
45. Angela
de
la
Cruz
Half
VerNcal
(Recycled)
2004-‐2011
Oil
on
canvas
180
x
28
x
32
cm
ed.unique
GBP
35,000.00
46. Florian
&
Michaël
QUISTREBERT,
b.
France,
1982,
1976
Through
painNng,
photography
and
video,
the
work
of
Florian
and
Michael
Quistrebert
(b.
1982&1976
in
Nantes,
France)
blend
formal
references
of
Modernism
with
occult
symbolism.
Reminiscent
of
ConstrucNvism
or
Futurism,
their
composiNons
confront
geometrical
abstracNon
with
rough
aestheNcs,
quesNoning
progressivism
and
transcendence
through
their
main
substances,
light
and
shadow.
The
‘Bleach
Series’,
based
on
the
acNon
of
bleaching
black
fabric,
develop
abstract
composiNons
in
washed-‐out
claire-‐obscure
through
a
technical
process
that
recalls
photograms.
Yet
unlike
photography,
the
bleach
process
used
in
the
Quistrebert
Brother’s
works
engages
a
reversed
exposure.
Geometrical
forms
emerge
from
dark
to
light
as
if
painted
in
negaNve.
The
brothers
have
been
shortlisted
at
the
Duchamp
Prize
this
year.
Recent
solo
exhibiNons:
2013
God
2.0,
Galerie
Julieue
Jongma,
Amsterdam,
ArNssima,
Present
Future,
w.
Galerie
Julieue
Jongma,
Torino;
2012
Laure
et
Jane
Dumond,
Crèvecoeur,
Paris,
Amnesic
CisenmA,
Ellen
de
Bruijne
Projects,
Dolores,
Amsterdam
;
2011
ArNssima,
New
Entries,
with
Crèvecoeur,
Torino,
Screening,
Black
Room,
40mcube,
Rennes,The
Furthest
Point,
Car
projects,
Bologna;
2010
Mary-‐u-‐wanna,
Crèvecoeur,
Paris,
Brothers
of
the
Shadow,
Envoy
Enterprises,
NYC,
The
Eighth
Sphere,
Zoo
Galerie,
Nantes,
Ex
Futuro,
Domaine
Départemental
de
Chamarande,
France.
Works
in
public
collecNon:
Fonds
NaNonal
d’Art
Contemporain
(FNAC),
France;
Fonds
Regional
d’Art
Contemporain
(FRAC)
des
Pays
de
la
Loire;
Domaine
départemental
de
Chamarande
(Conseil
général
de
l’Essonne)
47. Florian
&
Michaël
Quistrebert
Stripe
Pain.ng
9
2013,
acrylic,
plaster
and
flip-‐flop
painNng
on
wood
panel,
63
x
46
cm
5
000
€
48. Florian
&
Michaël
Quistrebert
In
2011,
sprayed
bleach
on
black
linen,
55
x
38
cm
9
000
€
49. Florian
&
Michaël
Quistrebert
White
Gradient
S1E2
2012,
gesso
on
wood,
170
x
120
cm
12
000
€
each
50. Florian
&
Michaël
Quistrebert
Big
Black
Canvasless
Round
Pain.ng
2010,
acrylic,
200
x
200
cm
14
000
€
51. Sergio
Sister,
b.
Sao
Paulo,
1948
His
work
stands
at
the
edge
between
painNng
and
sculpture.
The
painNngs
are
supports
derived
from
found
structures,
from
systems
designed
to
serve
other
needs.
The
Caixas
(crates
or
boxes),
Ripas
(strips)
and
Pontaletes
(posts)
appropriate
the
names
of
the
manufactured
products
from
which
they
are
derived.
Sergio
Sister’s
work
relates
to
the
US
tradiNon
of
minimalism
and
to
the
Neo-‐Concrete
movement
of
the
1960’s
in
Brazil.
Many
bridges
can
be
drawn
between
Sister’s
auempts
to
incorporate
three-‐dimensional
space
and
Mira
Schendel’s
Sarrafos
or
Willys
de
Castro’s
Objectos
AcNvos.
Made
of
wooden
beams
dressed
in
canvas,
Castro’s
Objectos
AcNvos
invesNgated
surface
and
depth
through
subtle
color
dislocaNons.
Sergio
Sister
studied
painNng
at
the
Armando
Álvares
Penteado
FoundaNon,
in
São
Paulo
in
the
1960’s.
He
undertook
graduate
studies
in
social
sciences
and
post-‐graduate
studies
in
poliNcal
science
at
the
University
of
São
Paulo.
In
1970,
he
was
arrested
for
poliNcal
reasons.
While
detained
for
19
months
at
the
Tiradentes
Prison,
in
São
Paulo,
Sister
auended
painNng
workshops
held
at
the
insNtuNon.
In
2002,
the
monograph
Sérgio
Sister
was
published
by
the
ediNons
Casa
da
imagem,
with
essays
by
Alberto
Tassinari,
Lorenzo
Mammì
and
Rodrigo
Naves.
His
work
has
been
shown
extensively
throughout
Brazil
and
is
included
in
major
public
collecNons
such
as
the
Museu
de
Arte
Moderna,
the
Pinacoteca
do
Estado
in
São
Paulo
and
the
Museu
de
Arte
Moderna
in
Rio
de
Janeiro.
52.
53. Sérgio
Sister
Uma
entrada,
2008
Oil
on
canvas
and
aluminum
180
x
250
cm
unique
artwork
54. Sérgio
Sister
Caixa
#
220,
2013
Oil
on
wood
38
x
24.5
x
8.5
cm
unique
artwork
57. Jason
MarNn,
London,
1970
Jason
MarNn
lives
and
works
in
London.Taking
inspiraNon
from
both
Minimalism
and
Abstract
Expressionism,
Jason
MarNn
makes
painNngs
about
paint:
its
materiality,
sculptural
presence
and
transformaNve,
alchemical
nature.
The
energy
of
MarNn’s
process
is
palpable
in
the
rich
swathes
of
color
applied
in
thick,
fluid,
overlaid
brushstrokes.
Light
plays
across
the
sculpted
surface
echoing
the
dynamism
and
vigor
of
its
creaNon.
In
addiNon
to
oil
on
aluminum
or
stainless
steel
painNngs,
MarNn
also
works
in
pure
pigment
-‐
vividly
intense,
richly
emoNve,
these
jewel-‐like
painNngs
resonate
and
dominate
space.
The
Ntles
of
MarNn's
works
invite
contemplaNon
and
emphasize
their
inherent
narraNve
but
their
meaning
is
mutable.
58.
59. Jason
MarNn
Crusoe
2012
Oil
on
aluminium
120
x
90
cm,
47.2
x
35.4
in
GBP50000
60. Jason
MarNn
Corinthian
2011
Oil
on
aluminium
195
x
195
cm,
76.8
x
76.8
in
GBP85000
Jason
MarNn
Breijinho
2012
Pure
pigment
on
aluminium
(alizarin
violet)
178
x
158
cm,
70.1
x
62.2
in
GBP75000
61. Fernanda
Laguna,
Buenos
Aires,
1972
Fernanda
Laguna
is
one
of
the
most
influenNal
arNsts
of
her
generaNon
in
ArgenNna,
In
2001,
in
the
midst
of
the
worst
economic
crisis
in
ArgenNna’s
history,
Laguna
co-‐founded
the
now
legendary
arNst-‐run
gallery
Belleza
y
Felicidad
(Beauty
and
Happiness),
which
for
many
years
was
the
cauldron
of
emerging
art
and
literature
in
Buenos
Aires.
She
then
moved
the
gallery
to
a
shantytown
in
the
outskirts
of
the
city,
where
it
evolved
into
an
experimental
art-‐based
educaNon
program
for
the
local
youth.
Laguna
also
co-‐started
Eloisa
Cartonera,
a
publishing
cooperaNve
which
brings
together
well
established
writers
and
the
"cartoneros"
who
make
a
living
collecNng
discarded
cardboard
from
the
garbage.
It
was
awarded
The
Claus
Prize
in
2012.
The
black
biomorphic
shapes
–that
someNmes
act
as
humans–
are
one
of
the
recurring
tropes
in
her
work,
as
are
the
slashes
and
carved
shapes
that
appear
on
the
surface
of
the
canvas.
Laguna
deliberately
refers
to
pictorial
tradiNons
linked
to
abstract
surrealism
and
to
metaphysical
painNng,
adding
a
twist
of
humor
and
a
sense
of
the
contemporary.
In
the
installaNon
presented
at
ARCO
she
explore
the
contrast
between
the
raw
and
direct
realism
of
her
wriNng,
which
exposes
her
sexuality
and
emoNons
and
the
dreamy
playfulness
of
her
painNngs
and
drawings.
Fernanda
Laguna
was
included
in
the
“Best
of
2012”
list
in
Ar„orum
magazine,
selected
by
curator
So‚a
Hernandez
Chong
Cuy
who
described
her
as
"undoubtedly
one
of
the
most
interes.ng
visual
ar.sts
in
the
Americas".
She
par.cipated
in
the
2013
edi.on
of
the
Mercosul
Biennial,
in
Porto
Alegre,
Brazil
and
will
parNcipate
in
the
2014
Cuenca
Biennial,
Ecuador.
Laguna’s
works
are
in
the
collecNons
of
MALBA
(Museum
of
LaNn
American
Art
of
Buenos
Aires),
the
Patricia
Phelps
de
Cisneros
CollecNon,
NYC
and
in
many
important
private
collecNons
in
ArgenNna.
63. Fernanda
Laguna
Amor
y
fuego
sobre
el
año
nuevo
2013
Acrylic
on
canvas
DypNque,
68
x
55
cm
64. Raúl
Cordero,
b.
La
Habana,
1971
A
conceptual
approach
is
evident
in
the
painNngs
by
Raúl
Cordero.
In
our
day,
film
has
become
more
important
than
individual
“staNc”
documents,
being
both
an
omnipresent
phenomenon
of
our
current
percepNon
and
historically
significant
for
example
parNcularly
in
the
filmic
documents
of
the
different
recent
revoluNons.
In
Cordero’s
work,
therefore,
filmic
sequences
gel
into
blurred
sNlls
overlaid
by
signs
and
ciphers,
and
someNmes
even
by
real
objects
(in
one
case
spectacles,
for
example)
or
an
apparently
alien
text.
This
arNst’s
interest
in
when
exactly
a
work
begins
and
which
processes
and
ideas
it
progresses
through
on
its
way
to
being
an
artwork,
also
finds
expression
in
the
markings,
layers
and
references
to
other
media
and
foreign
artworks
which
graphically
extend
and
complete
the
frame
of
reference
of
his
works.
Raúl
Cordero
lives
and
works
in
Mexico
City.
65. RAÚL
CORDERO
UnNtled
(Dead
Facebook
Members),
2011
oil
and
polyester
resin
on
canvas
189.3
x
239.5
cm
(74
1/2
x
94
1/4
in.)
signed
and
dated
verso
M36.RAC.12363.M
22'000.00
USD
66. RAÚL
CORDERO
UnNtled
(Great
Mambo
Skills),
2011
oil
and
polyester
resin
on
canvas
99
x
110
cm
(39
x
43
1/4
in.)
signed
and
dated
verso
12'000.00
USD
67. RAÚL
CORDERO
NATURAL
LIGHT
LANDSCAPE
II,
2013
oil
on
canvas
174.4
x
144.4
cm
(68
5/8
x
56
7/8
in.)
signed
and
dated
verso
16'000.00
USD
68. Fernanda
Fragateiro,
b.
Portugal,
1962
The
work
of
Fernanda
Fragateiro
(MonNjo,
Portugal,
1962)
explores
space
in
its
various
phenomenological
manifestaNons
-‐-‐
architectu-‐ral,
sculptural,
private,
public,
temporal,
socially
determined,
gender-‐defined
–
via
works
of
sculpture,
installaNon
and
outdoor
interven-‐Nons.
Fragateiro’s
work
is
characterized
by
a
keen
interest
in
re-‐thinking
and
probing
modernist
pracNces,
a
pursuit
which
she
effects
via
subtle
alteraNons
of
exisNng
landscapes
and
objects
in
order
to
reveal
buried
stories
of
construcNon
and
transformaNon.
While
varying
widely
frequently
in
scale
and
drawing
on
a
wide
range
of
reference
material,
Fragateiro’s
work
maintains
a
strong
signature
style,
born
of
a
meNculous
minimalist
aestheNc
of
form,
color
and
surface
texture.
But
while
this
precise
formalist
quality
is
oTen
hard-‐edged,
the
work
itself
in
its
final
form
is
not
closed
or
hermeNc
-‐-‐
to
the
contrary,
Fragateiro's
exploraNons
extend
beyond
the
limits
of
the
object
and
embrace
the
fullness
of
the
space
in
which
the
both
the
object
and
that
object's
viewer
exist.
Fragateiro
frequently
employs
the
method
of
repurposing
already-‐exisNng
and
symbolically
layered
material
-‐-‐
such
as
silk
threads
found
in
a
German
factory,
second-‐hand
books
and
magazines,
discarded
architectural
maqueues,
or
rubble
produced
during
Portugal’s
construcNon
boom
-‐-‐
in
order
to
fashion
complex
yet
delicate
work
that
is
criss-‐crossed
by
an
intricate
web
of
inner
references
to
art
theory
and
architectural
history.
Lives
and
works
in
Lisbon.
69. Common
Front
/
Frente
común
2013
Acero
inoxidable
pulido,
cuadernos
de
notas
con
impresiones
de
chorro
de
Nnta
sobre
papel
procedentes
del
libro
“LaNn
American
Architecture
since
1945”,
cat‡logo
de
la
primera
exposici—n
de
la
arquitectura
moderna
en
LaNnoamerica,
de
Henry
Russell
Hitchcock,
MoMA,
1955
/
Polished
stainless
steel,
notebooks
with
inserts
of
inkjet
prints
on
paper
from:
“LaNn
American
Architecture
since
1945”,
catalogue
of
the
first
exhibiNon
of
moden
architecture
in
LaNn
America,
by
Henry
Russell
Hitchcock,
MoMA
1955
118
x
467,5
x
31
cm
71. Not
Abstract
#7"
2014"
Acero
inoxidable
pulido
y
libros
hechos
a
mano
con
cubiertas
de
tela
/
Stainless
steel
and
handmade
notebooks
with
fabric
covers
77
x
115
x
61
cm
72. Ground
Layer
"
2013
"
Acero
inoxidable
pulido
y
libros
/
Polished
stainless
steel
and
books
"
183,6
x
10
x
38
cm
74. For inquiries please contact:
F
l
a
v
i
a
M
a
s
e
t
t
o
F
i
n
e
A
r
t
s
Flavia Masetto
flavia@flaviamasettofinearts.com
+54 91158023411
Sarah Jane Bruce
sjb@sjbfineartservices.com
+1-323-656-2858
