Manuel Antonio Domínguez, whose project is firmly committed in observing how the male image is constructed, reflects on “la relación estable” on the structural classification of society, organized around gender roles and their Established models. With this 16-metre-long drawing, his most ambitious work both formal and conceptual, leaves the spectator’s ability to interpret the scenes, with creations that do not have a definitive meaning beyond a subjective look. The artist, whose meticulous technique deals with a figurative and narrative world, presents to us in this frieze his personal, intimate and everyday universe full of details that make the contemplation of his pieces.

“la relación estable” direct reference to those Assumptions that are assumed by default and are not discussed, assuming that any appearance is a faithful representation of deeper and more complex intangible aspects. Ideas and beliefs assumed, whose foundations, as opposed to the title, are staggered to the gaze of Manuel Antonio Domínguez and the spectator himself. In this way, in his work the dogmas are volatilized and the individual or social certainties jump through the air.

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The paintings streamline the particular psychology and ideology of institutional color palettes. The works explore large format canvasses using oil paint. Gradients, transparencies and color interference’s predominate, as well as harmonious combinations. Wondering thru illusory spaces, perhaps bureaucracy-free and creating a heaven for optimism. For the artist “Letters from Paradise” summarizes several years trying to figure out “the good life” in a foreign country. Carrazana allow herself the freedom to use governmental Dutch color codes from her own perspective as a foreigner. The work’s provocation lies in its seeming open-endlessness, its refusal to assert a closure of meaning and the possibility to expand a private experience into a public one.

The presented paintings appropriate and re-articulate the meticulous design of the Dutch government, reaching out to the government-wide corporate identity. These works are a culmination of Yaima’s previous works; from “Declaration letters” taken from designs of the Ministry of Justice, Tax and Customs Administration (Belastingdienst), and documents regarding her immigration status in the Netherlands, to “Foreign Affairs”, inspired by a wide range of bureaucratic sources. For “Foreign Affairs”, Carrazana appropriates the color palette used by this Ministry for its graphic communication.

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The first group exhibition of Portuguese art of the 21st century to be presented in the United States, Second Nature is both a portrait of recent artistic production in Portugal and an exploration of the relationship between human culture and the environment. Working in media ranging from watercolor to photography to video, artists in the exhibition consider the tension between the concept of an untouched natural world -a popular subject in art history- and the ways humans have dominated and reshaped the environment using modern technology.

The exhibition brings together works created over the past two decades by sixteen artists from different generations, each of whom employs modern technology and materials to capture, filter, and reinvent the natural world, thereby generating a “second nature.”

All of the works are drawn from the EDP Foundation Art Collection, the collection of contemporary Portuguese art that comprises the MAAT’s permanent collection.

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Levante is a confusing term that seems to coincide with the geographic and mental space in which Ricardo cases works: the Mediterranean coast and, more specifically, the Valencian Community and Murcia. All the projects of the photographer Alicante are conceived and developed in this place and have in common the photographic analysis of a spot and its circumstances, of the symbology that creates a culture and the evolution of a landscape.

“Estudio elemental del Levante”, curated by Horacio Fernandez, collects the Ricardo Cases’s work since 2010, when it changes its residence from Madrid to Valencia, and includes series like “Paloma al aire”, “El porqué de las naranjas”, “Podría haberse evitado”, “Estudio elemental del Levante ” and “Agrios huertos, azules limonares “.

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One of the leitmotiv that animate the Juan Carlos Bracho’s work is the reflection on the error as part of any creative process and the transformative possibilities that ideas can experience when being carried into practice. His work, always linked to automated processes, repetitive and to a minimum vocabulary of graphic and chromatic resources, reveals to us this time a drive and a passion for the color that does not leave paradoxical-mind the severity, the rigour and the forcefulness that characterizes the whole of his work.

“Campo de color” is part of the project “Otra vida futura”, work entirely developed in OgamiPress within its line of work in which the graphic is approached from a contemporary perspective linked to the processes

"The Black" is one of the 100 multipages that compose the project "I Want It All"; Monochromes of 198 x 198 cm elaborated individually gluing between eighty and eight A4 printed with a home printer.

"I want it All" is definitely a round trip-with all the loss and profit that this implies-from the manual to the mechanical; From the analogue to the digital and from the abstract to the concrete and a deep reflection on the color and the mental construction of the landscape from the most radical abstraction. At the end of the day the emotional links we establish with the colors depend on what we project, as happens with the landscape in our memory.

Macla, Mamua, Bismuto, Vicario is the title of the intervention that Karlos Martinez B. and Javier Arbizu will perform specifically for the Casa Huarte in Madrid, whose objective is to explore the boundaries between bodies and architecture, as well as reflect on the Human scale and its relationship with objects.

This site specific will take place in the famous Casa Huarte, designed in 1966 by José Antonio Corrales and Ramón Vázquez Molezún, considered as an icon of modern architecture, during the day of February 17th, 2018 (from 11.00 to 19.00 hours).

The intervention is produced by the Editorial Poodle, in collaboration with the Oteiza Museum and is related to the exhibition project that both artists will present at the Oteiza Museum next June, as a result of the Hazitegia program, dedicated to the promotion Of the artistic production around the work and the aesthetic thought of Jorge Oteiza and promoted in collaboration with the Center for Contemporary Art of Huarte.

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The artists selected for this project, Eder Santos (Belo Horizonte, Brazil, 1960), Juan Carlos Bracho (the Line, 1970) and Blanca Gracia (Madrid, 1989), draw a broad generational arc that defines the lines of action of the Gallery Ángeles Baños: Tender Bridges with Portugal and Latin America, the national media careers and betting on emerging artists.

The work of these three artists has a personal and recognizable language. However, his proposals find common points in his reflection on the cultural heritage that defines us as individuals and as a society-religion, myth, landscape-and his works can be interpreted as mantras, Oracio, pleas or hymns of worship That induce the spectator to a state of inner contemplation. Some works that meditate on the beauty of the images stored in our memory, and whose meaning project what we are and how we recognize each other individually and collectively.

In the case of Eder Santos and Juan Carlos Bracho, reaching this state is linked to personal or appropriate rituals, repetitive and mechanical processes, while Blanca Gracia immerses the spectator in a sort of hypnosis induced by echoes and reflections of his own Conscience.