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Chiharu Shiota
Japan, 1972
Heir of Ana Mendieta and a whole generation of feminist artists form the early 70’s, Shiota works with her body as an intervention space, realizing performances that deal with our link with the earth, the past and the memory.
Well known for her installations with thread as main material, her symmetric tangles captivate the spectator at first sight, creating feelings that go between safety and fear, fascination and ugliness, while awakening memories, and both absence and existence as philosophical matters.
The presence and absence of her body is the thread running through her work, and ultimately is what makes it possible to understand her confrontation with the question of defining the artwork, the artistic subject and the public, the interior and exterior space.
In Shiota’s philosophy the true artwork is created only when the expectations for familiar artistic forms of expression are abandoned in favor of a perception of things that get by without any attributions of meaning.
She has exhibited at institutions such as Gropius Bau, Mori Art Museum, Jameel Art Centre, Gottesborg Museum, The Art Gallery of South Australia, Louisiana Museum, Kiasma, Hayward Gallery, Fundación Sorigué, Palazzo Reale Milano, The Museum of Kyoto, Maison Rouge, MONA Museum, and Mattress Factory, among others.
She represented Japan at the 56th edition of the Venice Biennale. Additionally, she has designed the scenography for the opera Matsukaze alongside Sasha Waltz and for Tristan and Isolde at KielTeater.
Her work is part of collections such as the National Museum of Modern Art, Tokyo, Fundación Sorigué, Centre Georges Pompidou, and Kiasma, among others.
Chiharu Shiota
Strange Home
2026
Metal frame, thread
180 x 80 x 54 cm
Chiharu Shiota – Portfolio 2026
Jordi Teixidor
Spain, 1941
Considered as one of the most important representatives of the Spanish Abstraction, and National Prize of the Arts, Jordi Teixidor identifies himself with the modern tradition and critical thought, translating to his work a doubtful and critical spirit, developing abstraction and a work that is rational, genuinely Apollonian, superbly balanced, strictly contained with regard to expressive elements.
The modernity of Jordi Teixidor is reflexive and his paintings don’t look for satisfaction, but require the spectator to think, denying a narrative reading.
More than a tour de force abput the possibilities of the abstraction at the present time, his work must be understood as an aesthetic and intelletual reflection on the limits of painting, as a search after the non painting, as the unattainable desire of making the final picture, or, what it is the same, the non- picture, but also as the personal expression of a feeling of ethical-political failure.
Through his use of black, Teixidor has formalized a solemn sequence of images that make up one of the most outstanding tragic expressions in contemporary Spanish painting.
He has participated in the Venice Biennale and has exhibited at institutions such as the Guggenheim Museum in New York, the Spanish Academy in Rome, the Museo Nacional Centro de Arte Reina Sofía, UNAM Museo de Arte Contemporáneo in Mexico City, and IVAM, among others.
His work can be found in collections such as the Guggenheim Museum in New York, Museo Nacional Centro de Arte Reina Sofía, Instituto Valenciano de Arte Moderno, Fundación Juan March, Colección Banco de España, Colección Stuveysan, Museo Patio Herreriano, Centro Atlántico de Arte Moderno, SFMoMA, Fundación La Caixa, and the Berkeley Art Museum.
Jordi Teixidor
Untitled 1470
2013
Oil on canvas
155 x 190 cm
Jordi Teixidor
Untitled 1626
2025
Oil on canvas
120 x 120 cm
Jordi Teixidor
Untitled 1602
2021
Oil on canvas
210 x 210 cm
Jordi Teixidor – Portfolio 2026
Moris
Mexico, 1978
Moris’s work centers on themes that address representation, social and subjective will, urban issues, and marginal cultures—topics often taken for granted in conventional societies. Informed by continuous fieldwork, the subjects Moris explores have been part of his life since childhood and are deeply relevant to both his personal and professional development.
The street and social space serve as his research lab: a site for data collection and clues, as well as the analysis of visual cultures and vernacular aesthetics. By observing, integrating, and learning from various social codes of marginalized classes in Mexico City—their dialects and semiotics, survival strategies, and informal use of aesthetics to make routine life more humane and dignified—Moris crafts the core values of his practice.
He has participated in the São Paulo and Havana Biennials, and in group exhibitions at Fundación Jumex in Mexico, the Fontanals-Cisneros Collection in Miami, ARTIUM in Vitoria, and MUSAC in León. He has also held solo exhibitions at the Museum of Contemporary Art in Los Angeles, Museo Carrillo Gil, Sala Siqueiros in Mexico City, and Stadtgalerie Saarbrücken in Germany.
His work is included in the collections of the Museum of Modern Art (MoMA) in New York, Pérez Art Museum in Miami, Fundación Jumex, CIFO Fontanals Cisneros, ARTIUM, MOCA Los Angeles, Museo Amparo in Puebla, Museo de Arte Moderno in Mexico City, Museum of Contemporary Art San Diego, the Isabel and Agustín Coppel Collection in Mexico City, the Celia Sredni Birbragher Collection in Bogotá, the David Chipperfield Collection in London, the Tiroche DeLeon Collection in Israel, among others.
Moris
Sangriento ladronzuelo
2021
Collage, concrete and transfer on canvas
200 x 150 cm
Moris
Un escupitajo a la muerte II
2025
Collage, enamel and transfer on canvas
78 x 60 cm
Moris
Palimpsesto, panóptico, patíbulo 2
2025
Transfer, ink, enamel and collage on canvas
200 x 160 cm
Moris
La sombra que vemos al mirar atrás. Naufragio II
2025
Transfer, ink, enamel and collage on canvas
213 x 150 cm
Moris
Lo que la pobreza escupió 4
2025
Transfer, ink, enamel and collage on canvas
220 x 180 cm
Moris
Lo que la pobreza escupió
2025
Transfer, ink, enamel and collage on canvas
220 x 180 cm
Moris
¡Estampado! (de la serie ‘Amenazada’)
2023
Collage and concrete on canvas
38.5 x 29 cm
Moris
Saña (‘Amenazada’ series)
2023
Collage and concrete on canvas
38.5 x 29 cm
Moris
¡Trágico! (‘Amenazada’ series)
2023
Collage and concrete on canvas
38.5 x 29 cm
Moris
Mal Paso (‘Amenazada’ series)
2023
Collage and concrete on canvas
38.5 x 29 cm
Moris
Salvaje (‘Amenazada’ series)
2023
Collage and concrete on canvas
38.5 x 29 cm
Moris
Amenazada (‘Amenazada’ series)
2023
Collage and concrete on canvas
38.5 x 29 cm
Rafael Grassi
Switzerland, 1969
In his works, Rafael Grassi reconciles a deep attachment to pictorial material with a taste for creating an illusion of perspective and deceptive figuration. Figures serve as a starting point that gradually decomposes, freeing itself from preconceived meanings and generating a pictorial surface full of paradoxes and chromatic diversity.
Formal analogies, paradoxes, and linguistic contaminations are some of the notions evoked in his painting. Photographic images act as an initial reference, triggering a process of successive manipulation and metamorphosis that preserves the trace of a decaying image. In this transformation, formerly narrative elements emancipate themselves on the canvas, reclaiming an autonomy freed from meaning.
Grassi holds a degree in Fine Arts from the Complutense University of Madrid. Since the 1990s, he has exhibited in galleries and art centers across France, Switzerland, Spain, and Italy. His solo exhibitions have taken place in institutions such as the Centre d’Art de Dompierre, the Fond d’Art Contemporain de Montluçon, the Colegio de España in Paris, Palazzo Mezzabarba in Pavia, and the Valérie Larbaud Cultural Center in Vichy.
His works are part of collections such as Fundació Banc Sabadell, Fundació La Caixa, Olor Visual, the Italian Ministry of Culture, FRAC Auvergne, Collection Passimessa Clermont-Ferrand, the Spanish Ministry of Foreign Affairs, the Collection Municipale d’Art Contemporain de Vitry-sur-Seine, the Contemporary Art Collection of the Canton of Zurich, the Peter Nobel Collection, the PRISA Collection, and the Helga de Alvear Collection.
Rafael Grassi
Forms of Life
2022
Oil on canvas
230 x 180 x 5 cm
Rafael Grassi
Flirt
2021
Oil on canvas
100 x 80 x 4 cm
Rafael Grassi – Portfolio 2026
Clara Sánchez Sala
Spain, 1987
“Writing is trying to know what we would write if we wrote”
Marguerite Duras, Écrire, Gallimard, 1993
As an echo of the artistic practice of Clara Sánchez Sala, this quote by Marguerite Duras accompanies her entire production to date. If for Duras writing is an intention, for Sánchez, the act of creating is an attempt that takes place in the impossible meeting of past and present.
The artist constantly remembers and measures her favorite trips, the time that elapses between autobiographical events and history. From this poetics of intimacy, she not only recreates her personal history, but also plays with temporal imbalances to awaken a feeling of estrangement from her personal environment.
Clara’s works are indications that point to the heuristic effect of distance. The artist thus places the viewer in the archaeologist’s situation, seeing the pieces as riddles that she cannot directly identify. Sánchez regularly uses this distancing process to question what is seen and what is known, and thus underline the idea of impermanence and incompleteness.
She has participated in exhibitions at the Museum of Abstract Art in Cuenca, Centro de Arte Dos de Mayo, Fundación MARSO, Fundación Otazu, La Laboral, EACC, and Centro Cultural Conde Duque.
Her work is part of collections such as the Centro de Arte Dos de Mayo, Colección DKV, Kells Collection, and Fundación Otazu, among others.
Clara Sánchez Sala
Tous les revêtements de la maison
2025
Photograph on wooden platform
100 x 200 x 4 cm
Clara Sánchez Sala – Portfolio 2026
Arnulf Rainer
Austria, 1929-2025
His commitment to the search for new pictorial approaches, accompanied by his performative work and extensive written documentation, enshrined Arnulf Rainer as one of the most influential artists of his generation. Always exalting the body language implied by painting, the artist emphasised the earliest forms of human expression and, in the 1970s, began to photograph himself, creating a link between the theatrical and the graphic as a means of expression.
Close to Viennese Actionism and exploring gesture through performance, he expanded his practice to video and started painting with his hands, a method that accompanied him throughout his career.
Primarily interested in automatism and in the desire to disrupt conventional communication in order to recover the richness of human expression, Rainer based his expressiveness on the concealment of images by other artists as well as of his own self-portraits, reaching abstraction and an almost total obscuration of form. In this sense, his body of work consistently sought to free itself from its own limitations, even exceeding, through the very shape of the canvases, conventional standards.
In 1978 he represented Austria at the Venice Biennale and received the Grand Austrian State Prize. From 1981 he was a member of the Academies of Fine Arts in Berlin and Vienna. In that same year he received the Max Beckmann Prize in Frankfurt, and in 1989 he was awarded the International Photography Prize in New York.
Among the museums that dedicated retrospectives to him are the Albertina Museum, the Stedelijk Museum, the Solomon R. Guggenheim Museum, the Alte Nationalgalerie, the Kunsthalle Bern, and the Kunstverein Hamburg.
In 2009 the Arnulf Museum opened in Baden, Austria.
Arnulf Rainer
Landschaft
1991-92
Pastel and oil on paper on wood
73 x 102 cm
Exhibition: 2016- Arnulf Rainer. Farbenfest. NF/NIEVES FERNANDEZ, Madrid.
Arnulf Rainer
Rosa Blüten
1996
Tempera on cardboard on wood
103,5 x 73,5 cm
Exhibition: 2024 – Arnulf Rainer. Rot, Blau, Gelb. NF/NIEVES FERNANDEZ, Madrid.
Arnulf Rainer
C13. (‘Face Farces’ series)
1970-75
Mixed media on photograph on wood
50,5 x 63 cm
Exhibition: 2020 – Arnulf Rainer. Visages. NF/NIEVES FERNANDEZ, Madrid.
Arnulf Rainer – Portfolio 2026
Tamara Arroyo
Spain, 1972
Tamara Arroyo’s body of work reflects a persistent inquiry into the habitability of spaces. She questions the «domestication» of the modern inhabitant and the consumption of certain formal elements and objects within contemporary living spaces. The autobiographical references in her work serve to articulate a discourse on both individual and collective memory.
Through her recurring engagement with images of the spaces she appropriates, the city and public space emerge as privileged settings of everyday life, marked by their distinctive identities and vast creative potential.
Through various formal approaches, her works explore how our surroundings and architecture influence us, distinguishing between lived, experiential, and existential spaces—those that operate on an unconscious level.
The artist emphasizes different intellectual states that arise in our relationship with our immediate environment, such as the emotional need for a sense of belonging to a place or the importance of peripheral vision, which integrates us into space. The latter allows us to notice details and situations that might otherwise go unnoticed, shifting us from mere spectators to active recipients of new stimuli.
She has exhibited at institutions such as Museo Centro de Arte Dos de Mayo, La Casa Encendida, Matadero Madrid Centro de Creación Contemporánea, CentroCentro, Es Baluard Museu, the Royal Academy of Spain in Rome, and the Instituto Valenciano de Arte Moderno, among others.
Her work is part of the collections of Museo Nacional Centro de Arte Reina Sofía, Centro de Arte Dos de Mayo, Museo de Arte Contemporáneo de Madrid, Colección DKV, and Colección Banco Sabadell.
Tamara Arroyo
Untitled
2026
Iron and ceramics
143 x 108 x 42 cm
Tamara Arroyo – Portfolio 2026
Pipo Hernández Rivero
Spain, 1966
The works by Pipo Hernandez Rivero propose questions on “universally accepted cultural truths”. Built with images and ideas based on modern culture, his works move in the fields of cultural suspicion.
Pointing out to the complex possibilities for painting in the 21st century, his body of work offers a pictorial reconsideration from formal and conceptual structures, which references underlie a sense of failure to the cultural avant-gardes. At the same time, demonstrating that the discoursive standardizing results in the exclusion of voices.
Mixing painting with all sorts of materials and introducing texts in languages that are unconventional to the Western paradigm, his works place us at politically disturbed environments, confronting the viewer with an unsolved dialogue and pushing towards rethinking notions of identity and value.
He has exhibited at the Centro Atlántico de Arte Moderno, Fundación MARSO, Museo de Arte de Pereira, ARTIUM Museoa, Centro de Arte La Recova, Círculo de Bellas Artes de Tenerife, Fundación Otazu, Museum of Fine Arts Budapest, Centre del Carme Cultura Contemporània, Prague Art Museum, and the Contemporary Art Hall of Tenerife. He has also participated in biennials such as the Havana Biennial, the Canary Islands Biennial, and the Dakar Biennale.
His works are part of the collections of TEA Tenerife Espacio de las Artes, Centro Atlántico de Arte Moderno, ARTIUM Museoa, Museo de Arte Contemporáneo del País Vasco, Fundación MARSO, Colección Galila Barzilaï, Kells Collection, Olor Visual, and MUDO Istanbul.
Pipo Hernández Rivero
“Algún día todo esto será tuyo- revisitado”
2024
Wood, plastic, oil and canvas
248 x 205 x 6 cm
Pipo Hernández Rivero – Portfolio 2026
Gareth Nyandoro
Zimbabwe, 1982
Gareth Nyandoro is noted for his large works on paper, which often spill out of their two-dimensional format and into installations that include paper scraps and objects found in the markets of Harare, where he lives and works. The artist’s chief source of inspiration is the daily landscape of the city and its residents, both within the local milieu and the larger cultural panorama of Zimbabwe. Inspired by his training as a printmaker, and derived from etching, the artist’s distinctive technique, Kucheka cheka, is named after the infinitive and present tense declinations of the Shona verb cheka, which means ‘to cut’.
He has exhibited at institutions such as Palais de Tokyo, Quetzal Art Centre, Rijksakademie, and Zeitz MOCAA, among others.
His work is part of collections such as MoMA New York, Zeitz MOCAA, Fondation Sindika Dokolo, Instituto Inhotim, Rachofsky Collection, SAM Art Projects and the National Gallery of Zimbabwe.
Gareth Nyandoro
Bhero vendor
2024
Ink on paper mounted on board
124 x 124 x 5 cm
Gareth Nyandoro
Baseball cap stall
2024
Ink on paper mounted on board
124 x 247 x 5 cm
Gareth Nyandoro
Runner
2024
Ink on paper mounted on canvas
65 x 50 cm
Gareth Nyandoro – Portfolio 2026