Viewing Room / Viewing Room / ARCOmadrid 2024 (6-10 February)

ARCOmadrid 2024
6 – 10 February
Stand 9C14
Ifema Pav. 9, Madrid

Carlos Bunga 
Ignasi Aballí
Joana Escoval
João Louro
João Pimenta Gomes
Susanne S. D. Themlitz

 
At ARCOmadrid 2024 GALERIA VERA CORTÊS presents a stand plan conceived as six solo projects, featuring works by Carlos Bunga, Ignasi Aballí, Joana Escoval, João Louro, João Pimenta Gomes and Susanne S. D. Themlitz. The booth layout is composed of different walled spaces resembling small exhibition rooms, where each artist creates a presentation of new and earlier works encouraging an in-depth experience of their practice and recent projects
 
 

CARLOS BUNGA
 
Carlos Bunga (b. 1976 Porto) lives and works near Barcelona. He creates process-oriented works in various formats: sculptures, paintings, drawings, performances, video, and above all in situ installations, that refer to and intervene in their immediate architectural surroundings. He creates process-oriented works in various formats: sculptures, paintings, drawings, performances, video, and above all in situ installations, that refer to and intervene in their immediate architectural surroundings. While often using ordinary, unassuming materials such as packing cardboard and adhesive tape, Bunga’s work involves a highly developed degree of aesthetic care and delicacy, as well as a conceptual complexity derived from the inter-relationship between doing and undoing, between unmaking and remaking, between the micro and the macro, between investigation and conclusion.

Carlos Bunga, Ponto de Fuga #11, 2024. Acrylic on cardboard. 5 x 5 x 4 cm. Unique
Carlos Bunga, Ponto de Fuga #11, 2024. Acrylic on cardboard. 5 x 5 x 4 cm. Unique

Carlos Bunga, Ponto de Fuga #11, 2024. Acrylic on cardboard. 5 x 5 x 4 cm. Unique

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Carlos Bunga, Landscape #10, 2024. Latex, glue and leaves on wood. Diptych: 200 x 300, 6 x 5 cm (total). Unique
Carlos Bunga, Landscape #10, 2024. Latex, glue and leaves on wood. Diptych: 200 x 300, 6 x 5 cm (total). Unique

Carlos Bunga, Landscape #10, 2024. Latex, glue and leaves on wood. Diptych: 200 x 300, 6 x 5 cm (total). Unique

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Carlos Bunga, Crate Painting #7, 2024. Latex paint and glue on wooden box. 96,7 x 133 x 25,5 cm. Unique
Carlos Bunga, Crate Painting #7, 2024. Latex paint and glue on wooden box. 96,7 x 133 x 25,5 cm. Unique

Carlos Bunga, Crate Painting #7, 2024. Latex paint and glue on wooden box. 96,7 x 133 x 25,5 cm. Unique

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Straddling the divide between sculpture and painting, Bunga’s deceptively delicate works are characterized by an intense study of the combination of color and materiality, while at the same time emphasizing the performative aspect of the creative act.

Carlos Bunga, Rolling Painting #5, 2024. Latex and glue on blanket. 143 x 21 (diameter) cm. Unique
Carlos Bunga, Rolling Painting #5, 2024. Latex and glue on blanket. 143 x 21 (diameter) cm. Unique

Carlos Bunga, Rolling Painting #5, 2024. Latex and glue on blanket. 143 x 21 (diameter) cm. Unique

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Carlos Bunga, Crate Painting #8, 2024. Latex paint and glue on wooden box. 96,7 x 133 x 25,5 cm. Unique
Carlos Bunga, Crate Painting #8, 2024. Latex paint and glue on wooden box. 96,7 x 133 x 25,5 cm. Unique

Carlos Bunga, Crate Painting #8, 2024. Latex paint and glue on wooden box. 96,7 x 133 x 25,5 cm. Unique

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Carlos Bunga, Ponto de Fuga #1, 2024. Acrylic on cardboard. 5 x 5 x 4 cm. Unique
Carlos Bunga, Ponto de Fuga #1, 2024. Acrylic on cardboard. 5 x 5 x 4 cm. Unique

Carlos Bunga, Ponto de Fuga #1, 2024. Acrylic on cardboard. 5 x 5 x 4 cm. Unique

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Carlos Bunga, Ponto de Fuga #12, 2024. Acrylic on cardboard. 5 x 5 x 4 cm. Unique
Carlos Bunga, Ponto de Fuga #12, 2024. Acrylic on cardboard. 5 x 5 x 4 cm. Unique

Carlos Bunga, Ponto de Fuga #12, 2024. Acrylic on cardboard. 5 x 5 x 4 cm. Unique

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Solo exhibition
 
Carlos Bunga
Performing Nature
Curated by Sandra Guimarães
 
Museu Helga de Alvear
25 January – 12 May 2024
 
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Carlos Bunga, Inhabit Color, performance at Museo Helga de Alvear, January 2024.

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Carlos Bunga, Performing Nature, exhibition view at Museo Helga de Alvear, 2024. Carlos Bunga / Photo: Joaquín Cortés
Carlos Bunga, Performing Nature, exhibition view at Museo Helga de Alvear, 2024. Carlos Bunga / Photo: Joaquín Cortés

Carlos Bunga, Performing Nature, exhibition view at Museo Helga de Alvear, 2024. Carlos Bunga / Photo: Joaquín Cortés

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Carlos Bunga, Performing Nature, exhibition view at Museo Helga de Alvear, 2024. Carlos Bunga / Photo: Joaquín Cortés
Carlos Bunga, Performing Nature, exhibition view at Museo Helga de Alvear, 2024. Carlos Bunga / Photo: Joaquín Cortés

Carlos Bunga, Performing Nature, exhibition view at Museo Helga de Alvear, 2024. Carlos Bunga / Photo: Joaquín Cortés

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Carlos Bunga, Performing Nature, exhibition view at Museo Helga de Alvear, 2024. Carlos Bunga / Photo: Joaquín Cortés
Carlos Bunga, Performing Nature, exhibition view at Museo Helga de Alvear, 2024. Carlos Bunga / Photo: Joaquín Cortés

Carlos Bunga, Performing Nature, exhibition view at Museo Helga de Alvear, 2024. Carlos Bunga / Photo: Joaquín Cortés

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IGNASI ABALLÍ 
 
Aballí (b. Barcelona, 1958) graduated with a BA in Fine Art from the University of Barcelona, city where he lives and works. He is one of the most renowned Spanish artists of his generation, having presented participated in several solo exhibitions, namely at the Museo Nacional Centro de Arte Reina Sofía, Madrid (2015), Pinacoteca do Estado de São Paulo, Brazil (2010), Fundação de Serralves in Porto (2006), Pinacoteca do Estado de São Paulo, Brazil (2010), amongst others. Aballí represented Spain in the 59th Venice Biennale in 2022, and has taken part in the 52nd Venice Biennale (2007), the 8th Sharjah Biennial (United Arab Emirates, 2007), the 11th Sidney Biennial (1998), the 4th Guangzhou Triennial (2012), and the 13th Cuenca Bienal (Ecuador, 2016). He was awarded the Joan Miró Prize in 2015.

Ignasi Aballí, Wrong Paintings, 2004-2023. Acrylic, oil, adhesive vinyl and dust on canvas. 4 x (25 x 30 cm). Unique
Ignasi Aballí, Wrong Paintings, 2004-2023. Acrylic, oil, adhesive vinyl and dust on canvas. 4 x (25 x 30 cm). Unique

Ignasi Aballí, Wrong Paintings, 2004-2023. Acrylic, oil, adhesive vinyl and dust on canvas. 4 x (25 x 30 cm). Unique

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Eight paintings made with eight different types of canvas prepared to be painted on. Eight tones, textures and materials that are shown without intervening on them, the step prior to being painted.
The work proposes reflection on action: what can be painted on these canvases that are waiting to be activated? The supports themselves here become the finished work and are displayed as a sample book open to all possibilities. Eight monochrome “paintings” that, in fact, contain no paint at all.
This work is related to an earlier one by the artist, titled Waste (2000), in which the paint was left to dry inside the pots without producing anything with it.

Ignasi Aballí, Sin pintar (Unpainted), 2024. Different canvases for painting, wood. Eight pieces of 50 x 50 cm each. Unique
Ignasi Aballí, Sin pintar (Unpainted), 2024. Different canvases for painting, wood. Eight pieces of 50 x 50 cm each. Unique

Ignasi Aballí, Sin pintar (Unpainted), 2024. Different canvases for painting, wood. Eight pieces of 50 x 50 cm each. Unique

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Ignasi Aballí, Corrección (Correction) II, 2024. Tipp-Ex correction fluid on prepared cotton canvas in black, wood. 100 x 100 cm. Unique
Ignasi Aballí, Corrección (Correction) II, 2024. Tipp-Ex correction fluid on prepared cotton canvas in black, wood. 100 x 100 cm. Unique

Ignasi Aballí, Corrección (Correction) II, 2024. Tipp-Ex correction fluid on prepared cotton canvas in black, wood. 100 x 100 cm. Unique

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This work follows the same principle as the work carried out in 1997 entitled Correction (2001). If in that case the Tipp-Ex correction fluid was applied to a 100 x 100 cm mirror to cancel its ability to reflect what was around it, in this case it is applied to a canvas for paintings prepared in black. In fact, this work would be a mixture of the aforementioned Correction and Big Mistake (1998), which consisted of covering with Tipp-Ex a black square of 100 x 100 cm previously painted on the wall.
 
As in these previous works, the white background has been restored, considered the most neutral and correct to paint on. The original black background has been “corrected” to be able to start the process again on a neutral white. An action to correct and erase alleged errors carried out with a product specially manufactured for this purpose, which is normally used to correct texts in order to start over on the blank page.
 
It is a work that refers to the history of recent painting: to Malevich’s Black Square on a White Background and White on White or monochrome painting in general by authors such as, for example, Robert Ryman.

A collection of four hundred slides, make up this work. All of them are related to the history of art, from prehistory to contemporary art. The casual mixture of all of them proposes an art history that, from an academic point of view, could be considered inadmissible: the images are completely mixed and do not follow a chronological order, they are all poorly placed and the color and its definition have been altered due to a long exposure to sunlight.
 
It is a collage of works from chance encounters, which proposes a new reading of the art of the past, far removed from the orthodox classification that would be proposed from a classical point of view.

Ignasi Aballí, History of Art, 2024. 400 slides, light box. 112 x 112 cm. Unique
Ignasi Aballí, History of Art, 2024. 400 slides, light box. 112 x 112 cm. Unique

Ignasi Aballí, History of Art, 2024. 400 slides, light box. 112 x 112 cm. Unique

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Ignasi Aballí. Diptych Lápiz Rojo / Línea Roja. 2018. Collage (newspaper clippings) on paper. 32,5 x 22,5 x 3 cm each (framed)
Ignasi Aballí. Diptych Lápiz Rojo / Línea Roja. 2018. Collage (newspaper clippings) on paper. 32,5 x 22,5 x 3 cm each (framed)

Ignasi Aballí. Diptych Lápiz Rojo / Línea Roja. 2018. Collage (newspaper clippings) on paper. 32,5 x 22,5 x 3 cm each (framed)

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Ignasi Aballí. Diptych Classificar/Pensar. 2018. Collage (newspaper clippings) on paper. 32,5 x 22,5 x 3 cm each (framed)
Ignasi Aballí. Diptych Classificar/Pensar. 2018. Collage (newspaper clippings) on paper. 32,5 x 22,5 x 3 cm each (framed)

Ignasi Aballí. Diptych Classificar/Pensar. 2018. Collage (newspaper clippings) on paper. 32,5 x 22,5 x 3 cm each (framed)

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JOANA ESCOVAL
 
Joana Escoval (1982) lives and works in Lisbon. Her practice circumscribes both visual and aural in the form of sculpture, collective walks, video installations, and printed matter. Her works are passages, open-ended invisible paths. The rhythm and fluidity of the elements she uses in her work are temporarily suspended in time, and will eventually follow their natural transition and transmission into other states of matter, keeping their new-found charges and vibrations from when they were sculptures.
 
Whichever form they’re found in (mostly metals compounded or purified, mixed as alloys or mixed with other materials), these elements are charged with energies that unite beings and objects, the material and the spiritual. Escoval blurs the borders between what we are so used to calling “nature” and “culture,” and emphasises instead how everything is entangled and connected, seeing “nature” and its cycles beyond a western point-of-view—and most of all seeing it as something that is not separate from us.
 
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Joana Escoval, Becoming sound I, 2024. Brass, air, wave motions. Approx. 115 x 30 x 40 cm. Unique
Joana Escoval, Becoming sound I, 2024. Brass, air, wave motions. Approx. 115 x 30 x 40 cm. Unique

Joana Escoval, Becoming sound I, 2024. Brass, air, wave motions. Approx. 115 x 30 x 40 cm. Unique

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Joana Escoval, Winter Sun, 2024. Indian ink, human hair, flowering Lavender water. 200 x 160 x 3 cm. Unique
Joana Escoval, Winter Sun, 2024. Indian ink, human hair, flowering Lavender water. 200 x 160 x 3 cm. Unique

Joana Escoval, Winter Sun, 2024. Indian ink, human hair, flowering Lavender water. 200 x 160 x 3 cm. Unique

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Our bodies are bathed in and surrounded by vibrations. The vibrations that we can see are called light.

Joana Escoval, Becoming sound I, 2024. Brass, air, wave motions. Approx. 115 x 30 x 40 cm. Unique
Joana Escoval, Becoming sound I, 2024. Brass, air, wave motions. Approx. 115 x 30 x 40 cm. Unique

Joana Escoval, Becoming sound I, 2024. Brass, air, wave motions. Approx. 115 x 30 x 40 cm. Unique

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Joana Escoval, Becoming sound I, 2024. Brass, air, wave motions. Approx. 115 x 30 x 40 cm. Unique
Joana Escoval, Becoming sound I, 2024. Brass, air, wave motions. Approx. 115 x 30 x 40 cm. Unique

Joana Escoval, Becoming sound I, 2024. Brass, air, wave motions. Approx. 115 x 30 x 40 cm. Unique

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Our bodies are bathed in and surrounded by vibrations. The vibrations that we can hear are what we call sound.

Joana Escoval, Early morning Sun, 2024. Indian ink, human hair, water, earth. 200 x 150 x 3 cm. Unique
Joana Escoval, Early morning Sun, 2024. Indian ink, human hair, water, earth. 200 x 150 x 3 cm. Unique

Joana Escoval, Early morning Sun, 2024. Indian ink, human hair, water, earth. 200 x 150 x 3 cm. Unique

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Our bodies are bathed in and surrounded by vibrations. The vibrations that we can see are called light.

Joana Escoval, Centre, 2024. Brass, air. Approx. 127 x 63 x 40 cm. Unique
Joana Escoval, Centre, 2024. Brass, air. Approx. 127 x 63 x 40 cm. Unique

Joana Escoval, Centre, 2024. Brass, air. Approx. 127 x 63 x 40 cm. Unique

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Energetic space between the internal and the external processes. Physical and non physical nourishment helps adjusting to the dense physical world.

 
 
 
 
JOÃO LOURO
 
João Louro’s work descends from minimal and conceptual art, with special attention to avant-garde movements of the early twentieth century.
It draws out a topography of time, with references that are personal but mainly they are generational. With regular recourse to language as a source, as well as the written word, he seeks a review of the image in contemporary culture, starting out from a set of representations and symbols from the collective visual universe
 
Minimalism, conceptualism, Pop culture, structuralism and post-structuralism, authors such as Walter Benjamin, Guy Debord, Georges Bataille and Blanchot as well as artists like Donald Judd and the ever-present Duchamp, form the  reference lexical universe  of the artist.

João Louro, Cover #44 (Another Time by W. H. Auden), 2024. Acrylic paint raw canvas. 113 x 88 x 5 cm. Unique
João Louro, Cover #44 (Another Time by W. H. Auden), 2024. Acrylic paint raw canvas. 113 x 88 x 5 cm. Unique

João Louro, Cover #44 (Another Time by W. H. Auden), 2024. Acrylic paint raw canvas. 113 x 88 x 5 cm. Unique

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João Louro, Blind Image #242, 2024. Acrylic and plexiglas. 180 x 180 x 6 cm. Unique
João Louro, Blind Image #242, 2024. Acrylic and plexiglas. 180 x 180 x 6 cm. Unique

João Louro, Blind Image #242, 2024. Acrylic and plexiglas. 180 x 180 x 6 cm. Unique

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Je t’aime moi non plus, 2022, Bicyles united on the same from wheel, 265 x 90 x 42 cm. Unique
Je t’aime moi non plus, 2022, Bicyles united on the same from wheel, 265 x 90 x 42 cm. Unique

Je t’aime moi non plus, 2022, Bicyles united on the same from wheel, 265 x 90 x 42 cm. Unique

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Estudo para Natureza-morta #01, 2022, Acrylic and Graphite on Arches paper, 400 g, 31,5 x 32,2 cm (framed). Unique
Estudo para Natureza-morta #01, 2022, Acrylic and Graphite on Arches paper, 400 g, 31,5 x 32,2 cm (framed). Unique

Estudo para Natureza-morta #01, 2022, Acrylic and Graphite on Arches paper, 400 g, 31,5 x 32,2 cm (framed). Unique

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Estudo para Natureza-morta #02, 2022, Acrylic and Graphite on Arches paper, 31,5 x 32,2 cm. Unique
Estudo para Natureza-morta #02, 2022, Acrylic and Graphite on Arches paper, 31,5 x 32,2 cm. Unique

Estudo para Natureza-morta #02, 2022, Acrylic and Graphite on Arches paper, 31,5 x 32,2 cm. Unique

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João Louro, Cover #45 (ASel by W. H. Auden), 2024. Acrylic paint raw canvas. 113 x 88 x 5 cm. Unique
João Louro, Cover #45 (ASel by W. H. Auden), 2024. Acrylic paint raw canvas. 113 x 88 x 5 cm. Unique

João Louro, Cover #45 (ASel by W. H. Auden), 2024. Acrylic paint raw canvas. 113 x 88 x 5 cm. Unique

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JOÃO PIMENTA GOMES
João Pimenta Gomes (Lisbon, 1989) is a visual artist and musician who lives and works in Lisbon. Pimenta Gomes studied Music Production, Photography and Drawing and is an invited lecturer in Sound and Image at the Escola das Artes da Universidade Católica do Porto.
 
His practice draws on references from the musical field and explores the relationships between space and the body through the manipulation of modular synthesisers, images, videos and objects. His works create experiences which explore the proximity and tensions between the analogical and the digital, the sensorial and the conceptual. Through performances and live events the artist expands these experiences to the audience who, by coming in contact with the works, observes the process of creation of the musical idea and sonic composition, making their body – its approximation, removal or modelling – a central element in the creation of the works.

Current exhibition: João Pimenta Gomes, Últimos Sons. 22 February – 26 March
Current exhibition: João Pimenta Gomes, Últimos Sons. 22 February – 26 March

Current exhibition: João Pimenta Gomes, Últimos Sons. 22 February – 26 March

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João Pimenta Gomes, Tríade Maior – Unfold, 2023. Thon Rack Case, Sound Mono (4h), Video Color 4.00”, loop. 47 x 54 x 27 cm. Unique
João Pimenta Gomes, Tríade Maior – Unfold, 2023. Thon Rack Case, Sound Mono (4h), Video Color 4.00”, loop. 47 x 54 x 27 cm. Unique

João Pimenta Gomes, Tríade Maior – Unfold, 2023. Thon Rack Case, Sound Mono (4h), Video Color 4.00”, loop. 47 x 54 x 27 cm. Unique

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SUSANNE S. D. THEMLITZ
 
Susanne S. D. Themlitz (Lisbon, 1968) lives and works in Cologne and Lisbon.
Visual Arts Studies between 1987 and 1995 at Ar.Co. (Lisbon), Royal College of Art (London) and the Kunstakademie Düsseldorf.

Both hands half-closed in front of my eyes, 2023, oil and stamp ink on primed canvas, 207,5 x 297,5 cm. Unique
Both hands half-closed in front of my eyes, 2023, oil and stamp ink on primed canvas, 207,5 x 297,5 cm. Unique

Both hands half-closed in front of my eyes, 2023, oil and stamp ink on primed canvas, 207,5 x 297,5 cm. Unique

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Susanne S. D. Themlitz, Poema (Poem), 2023. Oil and stamp ink on primed canvas. 277,5 x 214,5 cm. Unique
Susanne S. D. Themlitz, Poema (Poem), 2023. Oil and stamp ink on primed canvas. 277,5 x 214,5 cm. Unique

Susanne S. D. Themlitz, Poema (Poem), 2023. Oil and stamp ink on primed canvas. 277,5 x 214,5 cm. Unique

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Susanne S. D. Themlitz, Adormecer na neve, acordar num pântano (Fall asleep in the snow, waking up in a moor), 2023. Oil and stamp ink on primed canvas. 299 x 212,5 cm. Uniqu
Susanne S. D. Themlitz, Adormecer na neve, acordar num pântano (Fall asleep in the snow, waking up in a moor), 2023. Oil and stamp ink on primed canvas. 299 x 212,5 cm. Uniqu

Susanne S. D. Themlitz, Adormecer na neve, acordar num pântano (Fall asleep in the snow, waking up in a moor), 2023. Oil and stamp ink on primed canvas. 299 x 212,5 cm. Uniqu

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JOIN US FOR THE BOOK LAUNCH OF “MOMENT MONUMENT”
Thursday, 7 March at 4pm at the our booth 9C14
 
 
Ed. Susanne S. D . Themlitz. Published by Sistema Solar / Documenta
 

Susanne S. D. Themlitz, Moment Monument, 2024. Book ed. by Documenta/ Sistema Solar
Susanne S. D. Themlitz, Moment Monument, 2024. Book ed. by Documenta/ Sistema Solar

Susanne S. D. Themlitz, Moment Monument, 2024. Book ed. by Documenta/ Sistema Solar

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Susanne S. D. Themlitz, Moment Monument, 2024. Book ed. by Documenta/ Sistema Solar
Susanne S. D. Themlitz, Moment Monument, 2024. Book ed. by Documenta/ Sistema Solar

Susanne S. D. Themlitz, Moment Monument, 2024. Book ed. by Documenta/ Sistema Solar

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Susanne S. D. Themlitz, Moment Monument, 2024. Book ed. by Documenta/ Sistema Solar
Susanne S. D. Themlitz, Moment Monument, 2024. Book ed. by Documenta/ Sistema Solar

Susanne S. D. Themlitz, Moment Monument, 2024. Book ed. by Documenta/ Sistema Solar

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