For this last edition of ARCO Madrid, we were especially excited to present the artist from the gallery Peter Halley as a special guest in our Artist Project space, with a solo show that connects his past stages with his most recent work. In this exhibition, ARCO visitors were able to analyze in detail the artist’s most emblematic piece, which we will talk about in depth in this blog: «Exploding Cell» (1983).
The first steps towards digital art
Firstly, it is essential to know that «Exploding Cell» is the artist’s only moving image work. In fact, Halley‘s skill in creating this animated work has made him a pioneer of digital art at a time when it was unthinkable to consider any other type of art than manual. Let’s remember that the first PCs, as we know them today, were born in the 1980s. Therefore, Halley demonstrates with his ingenuity and his revolutionary artistic proposal for that decade, characterized by being premature in the technological field, that the horizons of art are inscrutable.
«Exploding Cell» in the Artist Project space at ARCO Madrid
What does «Exploding Cell» represent?
«Exploding Cell» shows, in a two-minute animation, a horizon of cells lined up from left to right. Below these appear a black duct illuminated by a glowing gas that escapes through a chimney before the cell turns red and explodes, leaving a considerable amount of ash that flickers with a stroboscopic effect. Aware of the social context of the time, this work has been enshrined as an allegory for the threat of nuclear destruction caused by the greatest geopolitical conflict of that era: the Cold War.
“The idea had something to do with Cold War politics and the threat of nuclear destruction. Initially, the exploding cell had to do with the end of civilization. But the exploding cell narrative quickly became part of my work. As time went on, the narrative became less and less important to me, and eventually I began to focus solely on the icon of the explosion. The more I think about it, the more I become convinced that the explosion is also a central image of our culture. It goes back a hundred years to the beginning of modern warfare and terrorism. I have used the image of the explosion over and over again in my digital wall prints, in contrast to the cells and prisons that appear in my paintings.”
Considering the story behind this animation, the cells seen in «Exploding Cell», as the artist explains, represent confinement, but also allude to order, a classical order that does not change. On the other hand, the explosion that gives its name to the title of the work is synonymous with change and refers to a transformation between a harmonious state and an altered one. This juxtaposition of concepts presents two opposing attitudes, confronting each other in order to win. The dichotomy between order and change is the contrast that Peter Halley wanted to reflect in this digital artwork in order to show in a simpler way the horrors that a strategic war like the Cold War plunged both East and West.
An award-winning work
Such is the prestige of this work that during this edition of ARCO Madrid, «Exploding Cell» has been recognized with the ARCO/Beep Award for electronic art. This award aims to promote research, production and exhibition of art linked to new digital technologies or electronic art as such. The ARCO/Beep Award has already generated a collection of more than 120 works by 86 different artists, becoming an initiative that is an international reference.
XIX ARCO/Beep Award of Electronic art
If you want to know more about «Exploding Cell» you can download below the dossier about the work, or you can contact us and ask for more information about it.
ARCO Madrid is an obligatory annual event that we have been attending for more than 30 years, but this year we were not satisfied with doing things the same way as always. In this edition, we opted for a new way of participating that was more sustainable, and we assumed our responsibility towards the environment.
Waste reduction
One of the most significant challenges we face as exhibitors at fairs is the transportation and packaging of artwork. Not only is this process crucial to ensure the safety of the pieces, but it can also generate a lot of waste, especially plastics.
This year, we set out to address this challenge differently, with a focus on sustainability and waste reduction. One of the first steps we took was to replace traditional plastic packaging with recycled cardboard boxes and blankets. Previously, paintings and sculptures used to be wrapped in bubble wrap for protection during transport. However, this year, we made a cardboard box specifically for each of the paintings and carefully packed the sculptures with blankets. This simple choice allowed us to significantly reduce our plastic footprint and still ensure the safety of the works. In addition, by using recycled cardboard, we are supporting the circular economy and encouraging more sustainable practices throughout our supply chain.
Reusing resources: the second life of carpeting
In addition, we had the opportunity to reuse the carpet that covered part of the fair. This carpet, which would otherwise have been discarded at the end of the event, was a valuable source of material for us. Thanks to the collaboration with the ARCO organization, they allowed us to take this carpet and give it a second life. Now, this recycled carpet is being used to wrap our sculptures during transport. Its soft, cushioned texture provides excellent protection for the artworks, ensuring that they arrive at their destination in perfect condition.
Committed to a sustainable future in the art world
The art world faces significant challenges in terms of sustainability. From the intensive use of resources in the production of artworks to the generation of waste during packaging and transportation, many practices in the industry are not environmentally friendly. In addition, the organization of exhibitions and art events can have a significant impact in terms of energy consumption and waste generation. However, as awareness of the importance of sustainability grows, so does the number of individuals and organizations within the art world that are committed to more environmentally friendly practices. With measures such as the reuse of materials and the adoption of renewable energy, efforts are being made to make the art world more sustainable.
We understand that every small action counts when it comes to protecting our planet, and we are committed to doing our part as members of the artistic community. By taking concrete steps to reduce our environmental impact and promote more sustainable practices, we are taking a step in the right direction towards a greener and more prosperous future.
In short, our experience at ARCO this year was not only about exhibiting art, but also about doing so in a way that respects and protects the environment. We are proud to have taken significant steps toward more sustainable packaging, and we hope this initiative will inspire others in our industry to adopt more responsible practices.
The countdown has begun. ARCO Madrid is just around the corner and from Galeria SENDA we are finishing all the details so that this year we can show you in our stand, 9B23, the latest creations of our beloved artists of the house.
For our thirty-first participation in ARCO, one of the most influential fairs on the international scene, we have invited those who are pillars of our identity and history as a gallery, as well as new young and emerging proposals.
This year we are very happy to show you part of Jordi Bernadó‘s new photographic project, “LAST & LOST“. This series of eight photographs, shown in a solo exhibition at Galeria SENDA and part of a larger project, question the ecological and philosophical challenges of the present, dealing with issues such as sustainability, the relationship between technology and nature, the horizons of our future or the role that democracy will play in the fight against new environmental threats. The photographs in “LAST & LOST” portray lost places, endangered ecosystems, areas rendered unfit for habitation due to pollution, and life forms struggling to survive in practically barren landscapes. The artist becomes, then, a witness and spectator of ecological catastrophes in an ambiguous state between existing and not being able to be; just surviving.
Jordi Bernadó. Old Tjikko, Mörkret, Sweden (S 6.2)cc (2022) UV printing on methacrylate, mounted on dibond., 180 x 240 cm
Another of the artists that backbone and shape the personality of our gallery is Jaume Plensa, the famed sculptor from Barcelona with an unparalleled international projection. For this edition of ARCO Madrid, Plensa presents his work based on contradictions: light and darkness, the trace of the past and the opening towards the future, natural contradictions and the creations of man’s hand, the immensity of noise and the most intimate spheres of silence.
Jaume Plensa. Who Are You? VI (2016) Bronze, 38 x 15 x 15 cm
In contrast, Anthony Goicolea shows us that art can mean brutality, capturing in his plastic works the different prisms and perspectives of social issues such as gender, culture or traditions. Goicolea pours into his artwork his personal and family history, marked by being born Cuban, being gay and practicing the Catholic religion in the south of the country in the early seventies. These factors forged his awareness of social constructions, such as regional traditions or rituals, and how these elements influence and define our identities. In this edition of ARCO, Goicolea will show works in graphite and on oil, where visitors will be able to find themselves in front of subjects that could well be taken from theatrical performances or novels.
Anthony Goicolea. The Magician’s (2023) Oil on canvas, 127 x 254 cm
Another artist invited to exhibit at our stand at ARCO Madrid is the Chilean Sandra Vásquez de la Horra. Through a multiplicity of techniques ranging from three-dimensional pieces, charcoal, watercolor and wax; Vásquez de la Horra traces bodies that she conceives as geographical entities. These bodies, now territories, are divided into two planes: the physical-terrestrial and the mystical. In the physical aspect, the artist narrates with her work the political charge of the people’s resistance against the Chilean dictatorship. On the other hand, in the mystical aspect, Vásquez de la Horra takes the concept of the seven planes or chakras to dialogue in unison between the universe and the Earth.
Sandra Vásquez de la Horra. Las Cholitas (2024) Graphite and watercolor on waxed paper, 106 x 77 cm
It is also characterized by the creation of unique and fantastic forms, Evru Zush. With a mix of techniques and disciplines, Zush presents his “Naga” series, made up of creatures that seem to come out of a science fiction movie.
Evru Zush. Serie Naga(2018) Graphite on paper, 24.7 x 9.7 cm
In addition, we will have the presence of the Valencian Elena del Rivero, an established artist who, from New York, continues to produce her artistic projects. Elena Del Rivero‘s work is divided into two lines: a historical one, exploring the collective pain of loss, and a personal one, focused on the construction of existential pillars.
Elena del Rivero. Flying Letter #24(2011-2014) Drawing, 73 x 54.6 x 21.5 cm
Stephan Balkenhol will also participate in ARCO Madrid with his wooden work “Man with pink tie“. Balkenhol has managed over the years to establish himself as an artist who perseveres to reintroduce figurative sculpture in the current contemporary scene. His polychrome works are characterized by the contrast between the splinters and shavings that Balkenhol leaves when he effusively carves the raw material of his creations, wood, and the polished areas of the same.
Stephen Balkenhol. Man with pink tie (2022) Carved wood, 120 x 95.5 x 11.7 cm
Another artist of monumental carvings that joins ARCO is Madrid-born Gonzalo Guzmán. The artist presents in this edition of ARCO his new sculptural project through which Guzmán has tried to explore the inner self using lucid dreams as tools of inspiration and self-knowledge to create works that challenge our belief system. This is why his sculptures represent the metallic structures that appear in his dreams and explore the possibility of reproducing the sublime of the subconscious in reality.
Gonzalo Guzmán. Menhir_06(2023) Stainless steel, 275 x 100 x 60 cm
Committed to seduce the eye with the works he creates in order to invite reflection, Gino Rubert represents experiences and emotions through a fusion of artistic disciplines. With a complex technique that mixes the collage of photographs and everyday materials with acrylic and oil, the artist represents the figure of the new woman and the new man, their functions, dysfunctions, conflicts and rhetoric.
Gino Rubert. La Barana (2024) Mixed/canvas, 55 x 46 cm
Yago Hortal maintains a close relationship between the artwork itself and the action painting itself. For Hortal, the canvas is part of a performance in which the artist consciously creates spontaneous color forms in an infinite range, expressing passion and vivacity. The paint seems to come out of the canvas, provoking the desire to want to touch it.
Another artist who stands out for his spectacular composition is Xavi Bou. With his well-known series “Ornitographies“, a chronophotography project that reveals the invisible patterns that birds trace in the sky when they fly, Bou creates a balance between art and science and, in turn, builds a series of works loaded with visual poetry that hypnotize viewers.
Xavi Bou. ORNITOPGRAPHY #275 (2018-2019) Digital print on Hahnemühle Fine Art Pearl 285 gr/m2, 140 x 200 cm
Peter Halley will be in our Artist Project space as an artist, with a solo show that connects his past stages with his most recent work. In this exhibition visitors will be able to analyze in detail the artist’s most emblematic piece: “Exploding Cell” (1983). The animation that represents this computer is directly inspired by the Cold War and its ravages.
This year we will also be able to enjoy the work of multidisciplinary artist Glenda León, both in our general program and as a guest in the special session entitled “La orilla, la marea, la corriente: un Caribe oceánico“, an exhibition space within ARCO with 23 guest artists that will be curated by Sara Hermann, chief curator of the Centro Cultural Eduardo León Jimenes (Dominican Republic), and Carla Acevedo-Yates, from the Museum of Contemporary Art Chicago.
Glenda León. Sueño concreto de Miró (2022) Concrete and acrylic, 20 x 20 x 7 cm
We look forward to seeing you in the corridors of ARCO enjoying the art that will be condensed these days in Madrid and that, of course, we can meet at stand 9B23 of the gallery. If you want to be surprised with a wide and rich gallery proposal in disciplines, you will always have a corner where you can escape from the overwhelming atmosphere that a fair as imposing as ARCO can cause. SENDA will always be a space, the path, where you can find yourself again.
In the framework of Jordi Bernadó‘s exhibition LAST & LOST, Galeria SENDA will host a dialogue between Hilde Teerlinck and Giulia Sonetti on Monday 11th March at 7 p.m. on some of the main reflections of the exhibition.
What are the philosophical and ecological challenges of the present? What role does art have in creating sustainable alternatives? What should or can the societies of the future look like?
LAST & LOST explores the notion of loss. Or, rather, the way we relate to a world we recognize less and less. The climate crisis, the crossroads of digitalization, democratic setbacks, etc., configure a paradigm rooted in uncertainty and fear. Also, inevitably, crossed by glimmers of hope. Bernadó approaches this double condition – uncertainty and hope – and captures it in a series of eight pieces, exhibited at Galeria SENDA.
Hilde Teerlinck and Giulia Sonetti will meet under the umbrella of these photographs to bring the reflections of LAST & LOST to new grounds and conclusions from their fields of knowledge.
Teerlinck is an art curator and director of the Han Nefkens Foundation. Her curatorial line has been characterized by a strong international accent. In 2022, she curated the Belgian Pavilion at the Venice Biennale, with the artist Francis Alÿs. Previously, she has been the artistic director of the Mies van der Rohe Pavilion in Barcelona, the director of the Centre Rhénan d’Art Contemporain (CRAC Alsace) in Altkirch and the director of the FRAC (Fonds régional d’art contemporain) in Nord-Pas-de-Calais (Dunkerque). In 2015, she was one of the four curators of “Beaufort Outside the Borders”.
Giulia Sonetti, transdisciplinary researcher at University Polytechnic of Barcelona – and member of the Postdoc Academy for Transformational Leadership (Robert Bosch Stiftung Foundation, Berlin) will talk with her. She organizes science workshops across Europe, and designs and implements national, EU FP7 / H2020 research projects with inter/transdisciplinary approaches, university campus sustainability management strategies and transformative education methods. Currently, she is the director and principal investigator of the project “TrUST -Transdisciplinarity for Urban Sustainability Transition“.
ART MEETS APOLO is an exhibition program where different installations by local artists are presented in the spaces of Barcelona’s legendary concert hall. The site-specific project ART MEETS APOLO seeks to explore the intersection between club culture and contemporary art, generating a meeting point between an environment characterized by agitation and chaos, and another associated with stillness and observation.
The initiative of Sala Apolo has been conceived in collaboration with LAB 36, Galeria SENDA, and Screen Projects (LOOP Barcelona). This strategic alliance amplifies the scope and purpose of ART MEETS APOLO, fosters exchange between artists and audiences, and promotes the artistic diversity present in Barcelona’s cultural panorama and the dialogue between disciplines. The works are exhibited in the common spaces of the halls for months, allowing concertgoers and club attendees to enjoy this unique fusion of art and nightlife.
Artist Pedro Torres experiments with the concepts of time, distance, memory, and language. In his installation for Sala Apolo, he displays moving images and site-responsive elements inspired by scientific theories and approaches to the study of the brain. Thus, he finds his center in the nucleus accumbens, a set of neurons in the brain linked to sensations of pleasure, fear, aggression, and addiction.
The installation, distributed across three channels, uses devices based on persistence of vision to immerse the audience in a sensory and reflective experience. Through this work, Torres invites the audience to explore the depths of the human mind and to question the very nature of perception and reality.
Mónica Rikić develops an artistic practice centered on creative and electronic coding. She combines non-digital objects to create interactive projects, robotic installations, and handmade devices that transcend mere functionality.
In the context of Apolo, her creation «PSYCHOFLAGE» is composed of electronic modules reminiscent of a balloon endowed with an artificial intelligence system that shapes its behavior: inflating and deflating them and altering their internal luminosity. This playful approach transforms the Hall into a space of multicolored psychedelic fantasy.
The installation consists of 10 recycled aluminum bas-reliefs, surrounded by a tricolor stainless steel mesh and framed by a cord of LED lights. Through this proposal, the artist examines human attraction to the fruits of his technical labor and the fascination with the machines and materials that cover them, which he describes as “the skin of the machine”.
Fito Conesa is a multidisciplinary artist who works with visual and sound elements. For his creation for ART MEETS APOLO, he has chosen the bathrooms as the setting. There, one can listen repeatedly to «La Fito. Singing as a possible cure», three sound reinterpretations inspired by Paco España, Marifé de Triana, and Bambino.
The sound installation pays homage to the voices of “the rascally Barcelona” linked to transvestism. Most of them migrated from southern Spain to Barcelona to make a living and ended up working in the Music Halls on the margins of society. Thus, Fito Conesa rescues these silenced and ignored figures from the past who have contributed significantly to the formation of the city’s character.
«VERS(U)S» BY ADA MORALES AND CARLA PUIG
Ada Morales and Carla Puig are two young artists united under the nickname “A C” (I see), in relation to the resources of light and installation with which they work. Their works are based on light and for ART MEETS APOLO it has not been less. For this initiative they have created «Vers(u)s», two audiovisual installations where they explore atmospheric phenomena to create a dialogue between industry and nature. To do this, they highlight the value of light and its temperature, and give it volume with smoke.
This art installation is part of the initiatives with which La Roca Village celebrates its 25th anniversary through the global philanthropic program DO GOOD with The Bicester Collection. For 12 months, various activities will be carried out in support of the rights of women and girls, raising awareness and mobilizing funds for UNICEF Spain and its projects for the eradication of child marriage through education.
Jordi Bernadó in front of the portrait of Nada Al-Ahdal in La Roca Village
Is the face the mirror of the soul? Under this reflection, photographer Jordi Bernadó reinterprets the concept of portraiture with an exceptional installation at the Village, capturing the essence of the protagonists in a unique and challenging way. Each portrait shows the person with their back turned and in a setting that they themselves have chosen as “their place in the world“. This singular approach invites the viewer to reflect on their identity and the meaning of image in our society.
“I am very happy to collaborate with La Roca Village on this special occasion and that my ID Project exhibition can be seen at the Village with a montage that enhances the photographs and also challenges the viewer. This exhibition features people that I have found inspiring. What they all have in common is that, in some way, they have tried to change the world. And together with La Roca Village and the DO GOOD project we all want to contribute to bring about a change.”
Interactive action for visitors to the Village: We are all heroes
In the era of the selfie and self-expression, «ID Project – Through the mirror» challenges visitors to La Roca Village to actively participate in the exhibition. The action is based on a challenge where visitors can take a picture of themselves in front of Jordi Bernadó‘s chosen portrait, thanks to the installation’s set of mirrors. By doing so, this selfie will be part of a conversation that goes beyond the boulevards of the Village, joining the reflection on identity and authenticity of social networks.
This large-format installation decorating the streets of the Village represents a unique opportunity to explore the essence of prominent personalities and discover the reflection of our own identity. La Roca Village invites its visitors to be part of this living exhibition, to question their own perception, and to contribute to the well-being of those who need it most around the world.
On the occasion of the inauguration of Robert Mapplethorpe Hunted Obsession, “Soundtrack for Robert Mapplethorpe” will be performed, a musical session and performance by Javier Panera*. This event will discuss Robert Mapplethorpe’s relationship with some of the most important musicians of the 20th century, whom he portrayed on the covers of his albums. Panera will immerse us in the atmosphere of New York in the 60s and 70s through the commentary on these covers while its songs will serve as the soundtrack of the exhibition.
*Researcher in audiovisual culture and relationships between visual arts and pop music, professor at the University of Salamanca and former director of DA2 of Salamanca
Currently, the work of Catalan sculptor Jaume Plensa can be seen in numerous venues around the world, including the exhibition at La Pedrera in Barcelona from March 31st through July 23rd, 2023. However, beyond this exhibition, Plensa‘s work is diverse and complex, and deserves an in-depth review. In this article, we want to explore his work beyond his current exhibition in Barcelona, and highlight his time in our gallery over the years.
From March 31st, at La Pedrera, you will be able to discover the most intimate and unknown Plensa in an exhibition that, for the first time, reveals the influence that literature, language and the alphabet have had on his work.
Installation of Jaume Plensa’s work at La Pedrera
This exhibition is a unique opportunity to delve into the most particular work of this internationally renowned sculptor. With a career spanning from the late twentieth century to the present, Jaume Plensa has stood out for his work on the human figure, where he often fuses matter, words and music in a constant dialogue. This exhibition, curated by Javier Molins, will show some of the artist’s most representative pieces, as well as his evolution over the years.
Jaume Plensa during the installation of his work at La Pedrera
From Galeria SENDA, having exhibited the sculptor’s work on more than one occasion, we are thrilled that the city of Barcelona receives it in such an honorable way. It makes us especially excited to remember his passage through the gallery, which never goes unnoticed.
At the end of 2016, Jaume Plensa held his first exhibition at Galeria SENDA: «El Bosc Blanc», after 7 years without exhibiting in Barcelona, his hometown. Plensa presented a work that confronted what is shown with what is hidden, the past with the future, the natural construction with the creation by the hand of man, and the sound vibration with silence.
Gallery view, 2016
Gallery view, 2016
The exhibition consisted of various sculptures of young, female faces representing individuality within the social collectivity. The white pieces, “Lou“, “Duna” and “Isabella“, seemed to float on the floor and were complemented by graphite drawings on the wall. Plensa sought for the viewer to connect with the pieces and find their own path through the works placed in the space.
At the end of 2020, he returned to present a new exhibition «La Llarga Nit» at Galeria SENDA, in which he praised the mysterious time of the night, capable of inspiring the soul of poets. The works in the exhibition presented sleeping and silent figures, with a lyrical and contemplative dimension. Plensa suggests that, by having to stop the machinery of doing, humanity is putting into function the machinery of thinking, generating new ways of living in the world. The exhibition included suspended sculptures, works on paper, among other works.
Gallery view, 2020
Gallery view, 2020
In addition, beyond the exhibitions, Plensa accompanied us on two occasions last year. The first time he participated with Javier Molins in a talk that took place at the gallery on the occasion of the presentation of the book “Artists in the Nazi camps”. In this talk, Plensa and Molins shared their reflections on the work of artists who were victims of the Holocaust and its importance in the history of art. The second occasion was also in 2022, when he participated in another talk together with photographer Jean-Marie del Moral and journalist Màrius Carol during the presentation of the book «Interior, 2022» by By Publications. In this #SENDATalks, they shared their experiences and reflections on art and creativity in today’s world.
However, even further back in time, in 2017, German sculptor Stephan Balkenhol and Jaume Plensa met on the gallery’s mezzanine to talk about «Sculptures and Public Space» in a dialogue about their trajectory and their interest in promoting sculpture as a value for society and culture.
We are grateful to have been able to witness Plensa‘s unwavering commitment to contemporary art and the opportunity to present his work in a gallery in his own city.
Last Wednesday, La Central Llibreria de Barcelona was the setting for the presentation of the latest monograph by Jordi Bernadó , “Project ID”. The event, in collaboration with the Museu Nacional De Catalunya and the SENDA Gallery, with the participation of the journalist Sergio Vila San Juan.
Jordi Bernadó is a photographer with a cosmopolitan and curious vision, a tireless traveler who has left his mark on the world of photography contemporary. One of his latest works, ID Project , was exhibited at the MNAC during the summer of 2022, and has become in the central axis of a publication that explores the complete work of this artist.
What makes Bernadó’s work so interesting is his “relational” approach. Instead of simply capturing images of his subjects, Bernadó acts as an intermediary between the subject and the audience, asking the subject to choose the place where he wants to be photographed. The result is a stage inhabited by a single person, whose identity is not revealed in the image, but in the accompanying text, written by Laura Ferrero.
This approach creates a territory of social experimentation and offers an alternative to the uniformity of human behavior. Instead of simply observing the subjects, Bernadó involves them in the creative process and makes them full participants in the final result. It is an approach that seeks to establish a relationship of trust between the photographer and the subject, and that allows the final image to be a truer and more authentic representation of the person being photographed.
Alejandro Castellote, for his part, carries out an acute and multifaceted analysis of Bernadó’s career, exploring the different readings that can be made of his work and his artistic approach. The publication, co-published with the MNAC in Barcelona and in collaboration with the Senda gallery in Barcelona, is a work that not only explores the work of an artist, but also delves into the very nature of photography and its ability to connect with the world around us.
During the presentation, Bernadó explained this “relational” approach and how this technique allows him to involve his subjects in the creative process and create more authentic and true images. He also spoke of his love of travel and exploration, and how it has influenced his work. It was an opportunity to discover the work of a unique artist in the world of contemporary photography. “ID Project” is a monograph that not only explores Bernadó’s work, but also delves into the very nature of photography and its ability to connect us with the world around us.
A peek into Elena Del Rivero‘s studio in the heart of the East Village reveals walls adorned with her latest works of art and several unfinished pieces, each a testament to his artistic prowess.
Valencian artist Elena Del Rivero was kind enough to invite us into her studio in the heart of the East Village , share with us their latest work and pamper ourselves with a cup of tea. As we sat and drank, we talked about the latest art trends in New York, her life in the city, and her relationship with Spain. Each turn of the conversation shedding new light on the vicissitudes of her singular artistic career.
Elena’s visit was not only an opportunity for us to catch up on the latest happenings in the art world, but also to learn about her ongoing projects. Before leaving the studio, Del Rivero shared with us his latest project, “Home Address,” a tribute to the suffragette movement that was presented the next day at New York City Hall for International Women’s Day.
