taipei.en.pr
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
Endless Line [CS/C 220714]
2022
Thread on canvas
180 x 120 cm
100.000 €
Chiharu Shiota
State of Being
2019
Thread on metal
35 x 62 x 134 cm
80.000 €
Chiharu Shiota
Connected to the Universe [CS/D 241127]
2024
Thread on canvas
41,3 x 30,1 cm
14.400 €
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
Nuevas normas para una retaguardia
2025
Wood, oil, plastic and canvas
94 x 144 cm
7.000 €
Daniela Libertad
Mexico, 1983
The works by Daniela Libertad in drawing, photography and video, explore the several relations among geometric forms, objects and her own body, the perceptions on what is intangible, mystical and their connections with everyday life.
The artist investigates also on how sculptural dynamics are constructed and deposited into objects, in an effort to understand the relations of weight, tension and balance among materials, shapes and objects.
Her body of work pushes into tension the perceptions of what is both intangible and habitual. By using different media, the artist allows her work to confront immaterial elements and geometrical forms with common objects and her own body, exploring both the mystical and ethereal features of these components, and concrete aspects such as weight, density and touch. In these tension exercises, the artist unsettles the mixture between apparently opposite fields, between physical and mental or abstract and figurative, towards a stage of precarious balance between parts that, ultimately, inform us on a fragile and banal condition of our apprehension of day-to-day poetry.
She has exhibited at institutions such as Museo Ex-Teresa Arte Actual, Museo de la Ciudad de México, Akershus Kunstsenter, Kunstverein Wiesbaden, El Espacio23, Museum of Human Achievement, University of Maryland, VITA ROSEN, and Cine Tonalá Bogotá, among others.
Her work is part of the collections of Jorge Pérez, Fundación MARSO, and Fundación Otazu.
Daniela Libertad
Dibujo tejido 8
2021
Crayon on paper
351 x 106 cm
15.500 €
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
La Dame à la Licorne. À mon seul desir
2025
Makeup on silk
130 x 135 cm
6.000 €
Clara Sánchez Sala
Vidriera
2023
Resine, paper and lipstick
70 x 50 cm
4.000 €