Fernanda Fragateiro’s work is characterized by a keen interest in re-thinking and probing modernist practices. Fragateiro frequently employs the method of repurposing already-existing and symbolically layered material, such as second-hand books and magazines, in order to fashion complex yet delicate work that is criss-crossed by an intricate web of inner references to art theory and architectural history.
Born in Lisbon, 1962, Fernanda Fragateiro lives and works in Lisbon, Portugal. Fragateiro has exhibited widely in museums, biennials and galleries, and will have an upcoming solo exhibition at Museu Internacional de Escultura Contemporânea, Santo Tirso, PT. Select exhibitions include the Museu da Guarda, PT (2018); Fernanda Fragateiro: from archives to matter to construction, Museum de Arte, Arquitectura e Tecnologia MAAT, Lisbon, PT, The Reserve of Things in Their Latent State, Fundação Eugénio de Almeida, Évora, PT, Curar e Reparar, Anozero, Bienal de Arte Contemporânea de Coimbra, Mosteiro de Santa Clara-a-Nova, curated by Delfim Sardo e Luiza Teixeira de Freitas, PT, Conversation Piece, Galleria Nazionale d’Arte Moderna e Contemporanea, Rome, IT (2017); Beyond the Supersquare, curated by María Ines Rodríguez, Bronx Museum, NY, Koldo Mitxelena Kulturunea, San Sebastián, MX (2014); Centre Calouste Gulbenkian, Paris (2013); Modern Art Centre, Calouste Gulbenkian Foundation, Lisbon (2012); Dublin Contemporary (2011); and Let’s talk about houses: when art speaks architecture, curated by Delfim Sardo, Lisbon Architecture Triennale (2010).
Public collections include the Fundación Marcelino Botín, Santander; IVAM, Valencia; Museo Reina Sofía, Madrid, ES, Centro Cultural de Belém, Lisbon; Centro Galego de Arte Contemporánea, Santiago de Compostela; Serralves Foundation, Porto; Fundación La Caixa, Barcelona; Culturgest, Lisbon and Künstlerwerkstatt, Munich.
Marco Maggi’s work refers to the blindness generated by information processed in a global era. The more we know, the less we understand. For him, drawing is a language that requires continual learning. It is both a dialogue between the self and the material as well as a discipline. His works on paper are meticulously detailed, expressing the accumulative and meditative nature of time. These works depict delicate and subtle of shadows, in an infinite play with surface and depth. Maggi’s drawings and sculptures encode the world.
Born in Montevideo, Uruguay in 1957, Marco Maggi lives and works in New Paltz, NY. His work has been exhibited extensively throughout the United States, Europe, and Latin America in galleries, museums, and biennials. His work is currently on view in Paper is not guilty at Museo Brasileño de Escultura (MUBE), São Paulo, BR, and will be featured at Museo de Arte Contemporáneo Buenos Aires (MACBA), Buenos Aires and the Museo de la Cudad, Cuenca, EC this Autumn.
He represented Uruguay at the 56th Venice Biennale in 2015 and his first monograph was published on this occasion. In 2013, he received the Premio Figari (Career Award), UY. Selected exhibitions include Nasher Sculpture Center, Dallas, TX (2018); New York Public Library, New York, NY; Mercosul Biennial (2017); East Wing Biennial, Courtauld Institute of Art at Somerset House, London, UK; 3rd Bienal de Montevideo, Palacio Legislativo, UY; Currier Museum of Art, Manchester, NH (2017); Kemper Museum of Contemporary Art, Kansas City, MO (2015); The Morgan Library & Museum, New York, NY (2015); Instituto Tomie Ohtake, Sao Paulo, BR (2012); NC-arte, Bogota, CO (2011).
Public collections include Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles, CA; Whitney Museum of American Art, New York; Art Institute of Chicago; The Drawing Center, New York; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Museum of Fine Arts, Boston; Fine Arts Museums of San Francisco; Walker Arts Center, Minneapolis; Museum of Latin American Art, Long Beach; El Museo del Barrio, New York; Cisneros Collection, New York; and Daros Foundation, Zurich.
Martí Cormand’s work attests to the coalescence of time, or rather, of an intangible past that can only be grasped in the present through intuition. According to the artist, our present reaffirms the concept of an "eternal return," the idea that our existence is cyclical in nature instead of linear. Arranged in a museological display, qualities of transparency, density, light, shadow, and extreme precision are applied to either bring the works to a point of self-consciousness, or to articulate the oblivion of the subjects. These images also become a byproduct of entangled temporality in cyberspace, where Cormand often derives his source material. A new series of paintings titled Welcome shows fragments of words on yellow elements floating in the ocean.
Born in Barcelona in 1970, Martí Cormand lives and works in New York. Select exhibitions include: Josée Bienvenu Gallery, NY (2018); Galería Cayón, Madrid (2014); Galería Casado Santapau, Madrid, (2014); Josée Bienvenu Gallery, NY (2013); Algo de esto, Jugada a 3 bandas (Ja3b), Galeria etHall, Barcelona (2013); False Documents and Other Illustrations, Portland Museum of Art, Portland, Maine (2010 - 2011); Arranz-Bravo Foundation, Hospitalet de Llobregat, Barcelona (2010); Galerie Lelong, New York (2010); Aldrich Emerging Artist Award Show, Aldrich Contemporary Art Museum, Ridgefield, CT (2007); Villa Arson, Nice (2006).