Art gallery located in Switzerland, specialized in painting and photography. Space for purchase original artwork by international artists. Artist portfoios they,re welcome. ImagineYmaG'ART, always looking for art.

My site is made up of two subject matters, which are villages and cities.The majority of these cities and villages are inspired by middle-eastern architecture and life. My villages tend to be almost all my imagination, while the city ones often have a real existing landmark. However this landmark I make richer and more intricate then it is in the real world. I also sometimes paint fantasy paintings, however it remains having the same style as my primitive art paintings

Custom, commissioned wall mounted Wire Sculptures for commercial and residential locations made out of heavy steel wire, ranging from one to 100 feet wide. - Llegir més

Through the Collection and the exhibition/activities calendar, the MACBA hopes to construct a critical memory of Art of the latter half of the 20th century, with two objectives: to oppose rhetoric and hegemonic forces which tend to mythologize the local-national while exploiting cultural institutions as active agents of tertiary economics in urban centres; and to present alternatives for the insufficiencies of the dominant museum model, which is generally based on the universalist myth of the original work presented as spectacle.

Working from the concept that there is no “public;” only “publics” consisting of specific and differentiated groups, the museum ceases to be a mere producer of exhibitions and becomes a purveyor of different services for different subjects. The exhibition is then an experience on a par with that of workshops, conferences, audiovisual activities, publications, etc. All of these experiences are defined by a series of discursive lines which lend thematic coherence.

The history of the Museum of Contemporary Art (MACBA) goes back to 1959 when art critic Alexandre Cirici Pellicer championed the idea of creating a museum of contemporary art in Barcelona. Cirici and Cesáreo Rodríguez Aguilera headed a group which began to gather together a collection which would serve as the foundation of the future museum; an active platform for irradiating contemporary art. As various willing parties united to decide upon a definitive location for the new museum, the aforementioned group began a series of exhibitions - twenty three in total - of contemporary artists such as Moisès Villèlia, Antoni Bonet, Àngel Ferrant, Jean Fautrier, Albert Ràfols Casamada, Romà Vallès, Jordi Curós, Josep Maria de Sucre, and August Puig, among others. However, in February of 1963 the inauguration of the exhibition “Art and Peace,” which had clear political motives, made evident the existing limits of permissiveness, ending Cirici and Aguilera’s venture. A portion of the collection remaining in the museum was sent to the Victor Balaguer Museum in Vilanova i la Geltrú.

In 1985 Joan Rigol, the then Cultural Councillor of the Generalitat, took up the idea of a contemporary art museum, which he shared with other figures of importance within Barcelona’s cultural ambience, then headed by art coordinator Pep Subirós. The text of the Cultural Pact, created through a consensus of both active administrations and promoted by Rigol, ratified the creation of a consortium made up of the Generalitat and the Barcelona City Council, deciding to house the museum in the old Casa de la Caritat (Charity House). However, a few months later a change of the Council’s leadership put a hold on the project. In 1986 the Barcelona City Council, headed by Pascual Maragall, proposed that American Architect Richard Meier take on the project of constructing the new museum’s edifice and the City Council’s Cultural Department hired critics Francesc Miralles and Rosa Queralt to write the future museum’s definitive mission statement.

Finally, in 1987 the MACBA Foundation was established, presided over by empresario Leopoldo Rodés who pioneered private initiative in the project. In April of 1988, the new museum was born from the creation of the MACBA Consortium which integrated the Generalitat de Catalunya, the Barcelona City Council, and the MACBA Foundation. In accordance with its statutes, the two public administrations that form a part of the consortium contribute the necessary resources to maintain the museum’s basic functions, while the MACBA Foundation is responsible for generating the capital necessary to establish the permanent collection. The objective of the consortium is the MACBA’s creation and organization. The MACBA opened to the public on November 28th, 1995.

The MACBA, designed by American architect Richard Meier, has a longitudinal floor plan with a 120 x 35 m base, in which a circular piece that serves to articulate exhibition space, is vertically inserted, passing through all four floors.

Richard Meier’s architecture is clearly based on rationalism and alludes to the masters of Modern Architecture, particularly Le Corbusier, by combining straight and curved lines to establish a dialogue between interior space and exterior illumination which filters into the galleries through large skylights.

Every floor of the MACBA is bathed in natural light, as Meier uses it to both define and generate space. To make this possible, Meier separated some of the supports from the façade. This same concept determines the atrium space, which is designed as a vertical gallery, parallel to the main façade, which filters and distributes light into the different parts of the building while communicating interior and exterior space through ramps that allow access to all floors and a hall which leads the visitor to the galleries.

In September of 2006 the Convent dels Àngels (nº 7 Àngels Street) became the Capella MACBA. Featured in the catalogue of Barcelona's Historical-Artistic Architectural Heritage, this space includes the convent's Gothic temple, constructed in the latter part of the 15th century with a Latin cross floor plan and finished with a central vault. The Peu de la Creu Chapel, constructed from 1568 to 1569, is the only Renaissance Chapel in Barcelona. This buttressed structure shares a wall with the chapel and was built in the 1980s by Lluís Clotet and Ignacio Paricio to reinforce the architectural ensemble.

El Museo de Arte Contemporáneo se ubica en el histórico Cuartel del Conde Duque, obra de principios del siglo XVIII del arquitecto Pedro de Ribera. Al igual que otros museos de arte contemporáneo, nacionales o extranjeros, se ha utilizado un edificio histórico para albergar las colecciones de arte contemporáneo del Ayuntamiento de Madrid con arreglo a un programa de rehabilitación integral del edificio para usos y servicios culturales.

La colección del Museo de Arte Contemporáneo está formada fundamentalmente por pintura y obra gráfica, aunque también están representadas la escultura, la fotografía y el dibujo.

Situada en la segunda planta del Museo, la colección permanente está estructurada de manera cronológica y subdivida en apartados.

Bajo el epígrafe Nuevos creadores: figuración y abstracción se ha reunido una amplísima nómina de artistas que representan, con lenguajes muy variados,un amplio abanico de tendencias y estéticas. En el ámbito abstracto pueden verse obras de Alejandro Corujeira, Alberto Reguera, Xavier Grau o Amaya Bozal. Lo figurativo está representado con obras de, entre otros, Juan Carlos Savater, Sigfrido Martín Begué, Abraham La Calle, Dis Berlin o Fernando Bellver.

El realismo -o mejor los realismos- está representado en sus múltiples vertientes: íntima, urbana, fantástica o escenográfica. Abren el recorrido Amalia Avia e Isabel Quintanilla.

La iconografía urbana madrileña está representada con obras de Daniel Quintero, José Manuel Ballester, Félix de la Concha o Menéndez Morán. Jesús María Lazkano y Carlos Díez Bustos ofrecen ejemplos del realismo aplicado a lo escenográfico y fantástico. Luis Mayo aporta una visión un tanto metafísica de algunos enclaves madrileños.

A la Nueva figuración y abstracción de los 80 se le dedican cuatro salas con una nutrida nómina de artistas que reflejan con amplitud el riquísimo panorama artístico madrileño posterior a la abstracción informalista y las tendencias neofigurativas. De entre ellos cabe destacar la presencia de Eduardo Arroyo, Juan Genovés, Alfonso Fraile y Eduardo Úrculo. La Nueva figuración madrileña está muy bien representada con obras de su momento de Juan Antonio Aguirre, Carlos Alcolea o Manolo Quejido.

La abstracción de esos años está representada con Alfonso Albacete, Ángel Campano, Juan Navarro Baldeweg, Santiago Serrano o Enrique Quejido. La vertiente más conceptual está representada por Eva Lootz y Adolfo Schlosser. Ejemplos de la fluida interrelación de obras y artistas de este periodo, pero con obras realizadas en la década siguiente se pueden citar, entre otros, a Luis Gordillo, Manolo Valdés, Darío Villalba o Bonifacio.

La Sala dedicada a Juan Manuel Díaz-Caneja recoge un conjunto significativo de paisajes de los años 70 y 80, personalísima visión pura y desornamentada del paisaje castellano de Tierra de Campos, en los que Caneja supo alcanzar una magistral síntesis entre los postulados vanguardistas y la corriente figurativa autóctona.

Con los Maestros de la abstracción se rinde homenaje a un grupo de artistas iniciadores en nuestro país de la pintura abstracta en sus distintas modalidades. En esta sala se pueden ver obras de madurez de Lucio Muñoz, Manuel Rivera, Fernando Zóbel, Gustavo Torner o Salvador Victoria.

La Escuela de Madrid, continuadora de la Escuela de Vallecas, que tuvo en Benjamín Palencia y en el escultor Alberto Sánchez sus fundadores, ambos presentes en la colección, está representada con obras de Francisco Arias, Gregorio del Olmo, Álvaro Delgado, Andrés Conejo y Agustín Redondela.

El recorrido de la exposición permanente comienza con las vanguardias históricas con obras de Francisco Bores, Benjamín Palencia, José Caballero, Daniel Vázquez Díaz e Hipólito Hidalgo de Caviedes.