I M A I N L Y F O C U S O N P A I N T I N G , I N S T A L L A T I O N , A N D P E R F O R M A N C E . . . X I N Y U E L U O M I X E D M E D I A P A I N T I N G Xinyue Luograduated witha BA from SichuanFine Arts Institute andis currently studyingfor an MA in Contemporary Art Practice atthe University ofEdinburgh. At this stage,her work isprimarilygroundedin identity andtime, withfeminism becomingamajor source ofthoughtinthe artist's research. Luohasbeenobsessed withexploringmaterials intranslucent or transparentmedia, whose openqualities arepowerful symbols offemininity. The artist also likes toburn, splice, andoverlap symbolicmedia to create a sense of space betweenthe real andtheunreal. | 99 58 59
Ri c ar d o G o m e s w a s b o r n i n C o v i l h ã , S e r r a d a E s t r e l a , i n 1 9 8 5. F r o m a v e ry y o u n g ag e , h e s h o w e d gr e a t s e n s o ry , c r e a t iv e , an d v i s i o n ary c ap a c i ty. D u r i n g h i s s tu d i e s , h e d i s c o v e r e d i n t e gr a t iv e th e r ap i e s , p s y c h o th e r ap y , e m o t i o n al b e h av i o r , n e u r o s c i e n c e , ar t th e r ap y , s y s t e m i c m o v e m e n t s , an d ar c h e typ e s. B y b r i n gi n g t o g e th e r al l th e s e i n gr e d i e n t s an d h i s d e s i r e t o t r an s fo r m l iv e s , Ri c ar d o d e c i d e d t o u s e Ar t a s a h i gh ly b e n e v o l e n t an d t r an s fo r m a t iv e t o o l. H e u s e s o i l p a s t e l t o c r e a t e t o n e s , t e x tu r e s , an d s h ap e s i n th e d i gi t al m e d i u m , wh e r e e v e ry th i n g c o m e s t o l i fe an d gai n s d i m e n s i o n an d o r i gi n al i ty. | 100 w w w . s ao r a f a e l g a l l e r i e s . c o m R I C A R D O G O M E S 6 0
RICARDO GOMES RICARDO GOMES R I C A R D O G O M E S R I C A R D O G O M E S | 101 61
A R I S T A 2 0 9 9 A R I S T A 2 0 9 9 A R I S T A 2 0 9 9 A R I S T A 2 0 9 9 ARISTA 2099 Arista2099, Eloy Carrera's artistic name, is an expressionist artist born in Vigo, Spain. | 102
digital art. Arista2099's work is influenced by cubism, literature, comics, and street art. Interested in mythology, religions, symbolism, classic, and contemporary art, as well as new myths, Arista2099 portrays the evolution of the human species and the future towards which we are headed. He transfers these themes to canvases or the world of crypto art. Social realism, the power of the will, where everything is lost, and myths are recurring elements in Arista2099's work, in which undoubtedly, indomitable characters are his favorites. Currently, Arista's work is dedicated to combining digital production and the NFTs market with traditional work elaboration. | 103 62 63
BETWEEN NFT'S AND CRYPTOCUBISM: I N TE R VIEW WI T H EL O Y C A R R E R A ( A R I S T A 209 9 ) B Y S Í LVI A R A P O S O Although the kinetic fascination of media art was already mirrored in the avantgardes of the early 20th century with the advent of futurism, “Young Nude” (1967), the first widely famous digital artwork, was only created in the 1960s by the specialist in computer science Kenneth C. Knowlton. A photograph of a nude young woman was transformed into a pixelated image on a computer, revolutionizing the idea of the historical muse and 21st century art. This paved the way for conceptual artists such as Allan Kaprow with the work “Hello”, an artistic “event”, where a group of people interacted through television monitors. In 1980 computer animation erupts with a significant impact on aesthetics and artistic production; and Adobe leads the design software market, providing programs such as Photoshop and Illustrator, tools that are essential to contemporary creators, becomes autonomous, no longer needing a physical referent. Added to this are interactivity, immersion and virtual reality. The digital universe, forged to expand knowledge, has now become extremely difficult to map. At the beginning of 2021, crypto art that uses NFT's as a means of validation, a register of non-fungible tokens in the decentralized blockchain system, - the same type of decentralized database used by cryptocurrencies-, experienced growth vertiginous, reaching the cultural and artistic mainstream. The "non-fungibility" of NFT's refers to the fact that they are not interchangeable with each other and assume a kind of notarial deed that values them as financial assets, Digital art revolutionized the way art could be created, distributed and visualized, with the emergence of digital image editing, streaming, 3D printing, video mapping, augmented reality, virtual reality and artificial intelligence. PAGE 104 INTERVIEW OPINIION
similar in purpose to traditional certificates of authenticity. The NFT's were then played on a board that intended to free itself from the trafficking of curatorial influence and be a kind of cry from the Ipiranga of artists marginalized by the conventional art market, as well as a more accessible and democratic model for artists to monetize their art. The standard business model asserted itself as an auction and quickly millionaire auctions captured the attention of the press and then the world discovered that Ethereum has a high energy cost. This behemoth of light whose transactions consume 0.5% of the world's produced energy, surpassing all of Google's operations, raises some important questions about the environmental harm of crypto-assets and crypto-art. Unlike other legal instruments traditionally adopted in the field of culture, the mere NFT does not carry out any transfer of intellectual property or reproduction rights, which makes the adhesion of artists and creators to this system the real reason that allows to give authority to the NFTs. Even though initiatives such as BurntBanksy (2021) , which consisted in the “transformation” of physical works into NFTs through digitization and subsequent destruction of the originals, accentuate the ability of the NFT to patrimonialize the artwork in which the art subsists eternally, pure and untouched on the blockchain, The truth is that the consistency of the NFT as a sign is completely subsidiary to the material connections that keep its referent accessible. If the file to which the NFT refers for some reason is misplaced, the NFT is reduced to an incoherent record on the blockchain. Furthermore, the authenticity of the artworks runs the serious risk of being left to the uncertainty of highly volatile markets, manipulated in their absence. The supposed neutral network that Blockchain provides to the art world is, in fact, fully integrated with corporate interests, under the control of mining agents. So we decided to share these and other questions in an interview with digital and NFT artist Arista2099. INTERVIEW > PAGE 105 INTERVIEW OPINION
NFTs and Crypto Art are the highlights of your collections in the art world hosted at NFT platforms like NiftyGateway. When did you become interested in digital art and NFT’S? Everything was the consequence of a logical process of evolution, which I call the path of the artist. That process began with what we could call traditional art, where cubism, comics, and oil paints were part of the style and form that I tried to use to express myself. I soon realized that somehow this use of media, let's say, analogue, limited my ability to express myself and did not give me the adequate speed to get out of my mind, pregnant with constant ideas, the realities that I wanted to show and get out to the public. world and that made the task of creating a constant struggle between my ability to create mentally and the reduced speed to carry them out and give them life. Thanks to my comic teacher, Daniel Docampo, I entered into what was a revolution in my way of understanding art, digital painting. After that and after a few months of combining oil painting with digital production, I understood what my path was, especially when in September 2022, the SÃO RAFAEL Galleries in Lisbon signed me up, which was interested in my digital production for later, give me the opportunity and confidence to represent myself. That first step led to the second, when in October and thanks to a great Spanish NFT artist named Javier Arrés, I contacted THEARTMARKETHUB, who gave me that first opportunity on the NIFTY GATEWAY platform, with the first series of NFTs that were marketed, called CUBISH ALICE. I also had in that series the special collaboration of Gala Mirissa, PAGE 106 INTERVIEW OPINION
who together with Javier Arrés, is another of the great names of the NFT in Spain. A different interpretation of the Alice in Wonderland story, which was well received and made possible other series with a different theme. Always keeping in mind that for a new artist in the NFT to venture directly into NIFTY is a privilege. What are the main subjects that you explore in your digital art, and what inspired you to focus on these themes? Within the different themes that I handle, there is generally one that is common to all the works that I produce. It deals with the representation not so much of the body, but of the spirit of what I want to represent, the soul. For me, it turns out to be the most fundamental part of the human being, and to this I add a series of its own characteristics in which I believe, the main one being the absence of gender in them. I don't think our spirit can be defined in these aspects, but in my view there is a complementarity between the different genders, which only after birth and depending on the circumstances, is shown and revealed to the world. If you add to that my belief in reincarnation and that basically everything is energy and there is a primal source that we all go to at PAGE 107 INTERVIEW OPINION some point, then you have a basic idea of what matters to me. This reflection that I came to, together with my interest in the future of the human being, its evolution and the answer to the basic questions of who we are and where we are going, make up a large part of my philosophy of life. S: Could you tell us more about the NFT collections “sport’s deos”? I confess that the edition with idols of sport was a collection that impressed me a lot… and I really love. I know you also launched the "fashion museum" collection, is fashion a topic that interests you? What led you to launch this collection» about brands like Bally, Chanel, Nike or Levi’s? I am very interested in the world of fashion, especially in relation to what I do. Both fashion and painting are different superior manifestations of the human race, of art. Fashion is absolutely fantastic, since its works are really art in movement, authentic palpable 3D, collage in movement, which together with the person who wears it, is an absolute everyday performance, of which we are unaware and that not only fulfills the basic function of dressing, but also adorning, improving, showing, giving color and life to
“THE PATH OF MY RESOLVE HAS STEEL RAI LS THROUGH WHICH MY SOUL RUNS. ” Arista2099' s favorite quote by Captain Ahab from Moby Dick. | 108
the street and to everyday life. You can't go around the world with an NFT or an oil painting, to work or shopping, but if you can wear Air Jordans, Levis or Ballys and say with this, I give brushstrokes and color to the street! There is so much to say…what to say about Coco Chanel? Of course I believe that over the years it will become popular imagination as a possible deity of fashion or elegance and that is just to say one, there are so many... Are there any collections that you have a special fondness for? Maybe the “cubish alice” collection because i know it was your first drop for Nifty Gateway… Maybe the "cubish alice" collection because I know it was your first release for Nifty Gateway.. It is true, Alice is a work for which I have a lot of love. My own project where I tried to give a twist to an old story, but I think…possibly the work I am most fond of is TWO and LASER BEAMS. Let's see, hardly anyone likes it, I know, but since I'm not going to love a painting that deals with the amalgamation of a couple, united against misfortune through the use of laser beams (laughs) it also contains a multitude of symbolist information , which is another of the characteristics that define my work. PAGE 109 INTERVIEW OPINION Who is your favorite artist(s)? What about their style resonates with you? And do you have a favorite NFT artist? Well…Goya and Cezanne, El Greco…bufff undoubtedly Picasso, I admire Hokusai…. Do you know that he aspired to express everything with a simple stroke? I was looking for that kind of simple complexity, that impossible achievable… master!! did you know? I admire innovators and those five are all-time top references. Contemporaries I am fascinated by Francis Bacon, his work resonates very strongly in mine and there are many people who pointed it out to me, Lucian Freud is beastly, I currently admire Jenny Saville. What about her style that resonates with you? The ability they have to express beyond the physical... they delve into the soul of the person or thing... I admire that. I am shaken by Bacon's portraits, Picasso's dolorosas, El Greco's absolutely modern figures, Goya's early expressionism, Hokusai's philosophy. And do you have a favorite NFT artist? Know? The other day I commented on something that I didn't like very much... I said that currently there isn't an NFT artist
who is going to be the pinnacle or surpass the greats of traditional art... but I don't doubt that someone like PAK, in 10 years will be in the art books and that its evolution will possibly bring it closer to or equal to those that I mentioned, but currently there is a gap, which will narrow more and more until we no longer speak of two different arts, if not of different techniques. How did you come up with your specific style, the “cryptocubism”? My style is the one that I took from traditional to digital art, applied to new technologies. It is true that I am noticing a strong evolution that partly scares me, since it takes over what I do without being almost aware of it. I notice a move away from cubism in favor of a certain abstraction of the human form…let's see where it takes us. How has your style evolved over the time? The evolution is being continuous as I said in the previous question. I am now at a time when digital collage amuses me a lot, with personal painting and adding simple geometric figures, picking up influences PAGE 110 INTERVIEW OPINION from Russian constructivism, strongly present in his posters from the Soviet era. Could you walk us through your creative process and how you approach each project? Basically I paint what motivates me…I lost a lot of money for not accepting commissions!!!! I establish a theme… having several different series open and I begin by making several sketches with a Bic pen, I did 20 or 30 times (the Bic is very important). When I have the sketch that I want, I digitize it and transfer it to the Procreate program with which I work on the iPad Pro and from there, almost always leaving traces of the digital sketch, I work on it patiently... until the work comes out and I am satisfied. What message do you hope to convey through your work? It is something very basic… beyond the bodies, we are undifferentiated energy, there are no genders, there are no differences, we come and go from the same matrix and we are to be part of something else. I propose humility and search for knowledge and evolution.
If you could collaborate with one artist who would it be? Ummmm…by theme I would say that the NFT artist Trevor Jones, I identify with his theme and I respect his work a lot. Javier ARRÉS would also be another, I met him personally two months ago, I admire his work for its complexity and perfectionism. What is your biggest piece sold? Well, I think Cubis'h Alice, I love her, but she's not the best. The energy costs associated with trading in the NFT market have been alarming. There are seasonal blackouts in countries from Iran to Abkhazia due to cryptocurrency miners continuing to grow exponentially with multi-million dollar NFT transactions and industry growth. What is your position as an NFT artist regarding the environmental impact of this new digital market? It's not just an NFT problem really…it's a crypto problem in general. As people and residents of this plant it is essential that "green" energy measures be established for this new technological revolution that will soon be present in the different areas of PAGE 112 INTERVIEW OPINION our lives. The Blockchain technology will arrive, yes or yes, but as consumers and participants we have the responsibility to demand increasingly economical models at the energy level. Fortunately, great advances are already being made in this regard, such as the Ethereum Merge update, where consumption was reduced by more than 99%. But this is not the time to be complacent, we have to demand more. We must be aware that those of us who believe that this technology will be what the Internet was in the 90s, know that we are possibly at 5% of the future use it will have. We are fully aware that no artist started creating NFTs on Ethereum because they wanted to destroy the planet. While gallery owners know that technological advancement is an asset to art and we believe that the NFT market will be able to function perfectly outside of cryptocurrency transactions, paying NFT in dollars or euros can significantly reduce environmental impact. This is precisely the way in which transactions are handled in NIFTY, and it is certainly a simple method and, above all, it
allows the adoption of NFT art to increase as it is much easier to acquire works, you simply need a credit card. Blockchain philosophy proposes a decentralized economy model, where each one is the main person responsible for their crypto assets, but I understand and understand that it is necessary to facilitate and coexist between different payment styles. PAGE 113 INTERVIEW OPINION Are there any upcoming artworks and drops that your fans and collectors can look forward to? The mind is always on :) Ok, currently three: A series I call Hearts that deals with hurt love, unrequited generosity and pain, another that tries to establish its own mythology of the struggle between bull and bear markets of the crypto world, establishing an analogy with the stages of Jesus Christ in the New Testament, but with its own crypto characteristics and where through the collage various characters are established that represent the transition from the Bear Market to the Bull Market. Third I am preparing a series on eroticism of couples of different sexes, which I call Through the lock. 64
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Ildikó Baranyi | 1 1 5 Ildikó Baranyi is a Bucharest-based Hungarian photographer. Ildikó has always been creative, but it was only at the age of forty that she decided to pursue a career as a photographer. Since then, she has only seen the world through photography. The artist also worked in the area of information technology for fifteen years, as the managing director of a small company. At the age of 60, she started creating images using artificial intelligence. The artist was awarded the Dachstein Strasse (2010) by Photo Natura and the Karbobruliganto (2009) by the Hungarian Cultural Institute of Fine Arts. "I am now 60 years old and I’m creating digital images using artificial intelligence." 65 66
KEVIN TRINH N E O N / A I A R T I S T Exhibited at the Westfield World Trade Center, Phillips, and Sotheby's in New York, the magic of fireplay ignites in Kevin Trinh's work, as the power of art is the fire of our existential quest. His artistic practice is an attempt to make sense of our senseless and chaotic world, an invitation to participation and dialogue. The experimentation of materials using gold leaf, acrylic, and oil, together with the fracture and destruction of the canvas by means of void spaces and burning, is a metaphor in this liberating investigation. The ashes of the elusive self are observed in the phantom image reflection on the gold surfaces. Trinh's recent work explores the complexity that mediates our body and the exterior - the exteriorization of our body and the internalization of our exterior. | 1 1 6 WWW.SAORAFAELGALLERIES.COM 67 68
A TRUE ARTIST IS NOT ONE WHO IS INSPIRED BUT ONE WHO INSPIRES OTHERS. Salvador Dalí | 11 7
RAQUEL GRALHEIRO Raquel Gralheiro was born in Viseu, Portugal, in 1969. She holds a Degree in FBAUP – Fine Arts and a Bachelor's Degree in Drawing from the Superior School of Art of Porto, Portugal. She has exhibited her works since 1999 in Portugal, Spain, Poland, Belgium, Greece, the United Kingdom, Brazil, and Argentina. Awarded with Júlio Resende Prize and the Amadeu Sousa Cardoso Prize (Portugal), Raquel Gralheiro's ironist work explores the intersection of art and the decorative to offer a critical perspective. The notion of excess, conveyed through minute details and a profuse range of hues, is central to interpreting Gralheiro's critical tendency. Her work constitutes a sharp critique of objectification, both from the individual and particularly of women, by directly implicating them in relation to superficial poses and adornment. Gralheiro's women go beyond C O L L AGE / MIXED TE CHNI Q UE conventional expectations, as they are often masked by layers of acculturation, creating complex meanings. Her canvas is always a means to represent the figure as an element that contrasts with various standards, as if someone were living on the wallpaper, the sofa's pattern, or the poster. | 1 1 9 70 69 71 "T H EY AR E N O T WOME N , T H EY AR E IMP O SSIBLE C H ARAC TE R S, F R OM T H E BEGI N N I N G, IMP O SSIBLE T O R EAC H A N D T H EY AP P EAR I N T H E IMAGE AS I D EAL R EFE R E N C ES, AR C H ETY P ES N OW R E V ISE D I N C O N TEMP O RAR Y D RAP E R Y." (V A L TE R HUG O MÃ E A B O UT GR A LHEI R O 'S WO R K)
BUILDING BRIDGES TO SUCCESS PAGE 120 INTERVIEW OPINIION Gillian Anderson Price was born in Manhattan, New York to parents who were both antiques dealers and interior designers. Growing up in this environment, she developed a lifelong passion for antiques and design, but ended up developing a broader career as Head of Partnerships in various institutions and galleries. Having started in entrepreneurship, she channels her unique understanding of powerful partnerships to pioneer artistic collaborations, promote new voices, and source products globally. After transitioning to partnership development as a consultant and later as the Head of Corporate Development for The Serpentine Galleries, Gillian leveraged her background to exceed fundraising and partnership goals. Gillian's experience also includes being the Head of Partnerships for START Art Fair, Parallel Contemporary Art or The Global Eye Programme. Let's find out a little more about the work she develops... INTERVIEW > With a strong background in Corporate Development and Partnerships, how do you foster long-term relationships with partners and maintain these relationships over time? What strategies do you use to ensure these relationships are beneficial for all parties involved? Absolutely, you've highlighted two critical aspects for ensuring partnerships achieve longevity: Listening to the Partner's Needs and Wants; Effective communication is the foundation of any successful partnership; Understanding your partner's goals, challenges, and expectations is essential for A Q&A WITH GILLIAN ANDERSON PRICE ON PARTNERSHIP DEVELOPMENT
PAGE 121 INTERVIEW OPINIION building a strong and lasting relationship. Actively listening to their needs and wants enables me to tailor my approach and solutions to address their specific requirements. Some other key elements that contribute to successful and long-lasting partnerships include Mutual Benefit, a successful partnership should be a win-win situation for both parties. Each partner should derive value and benefits from the collaboration, ensuring that it remains mutually rewarding and sustainable; Open and Honest Communication: Transparency and honesty are crucial for maintaining trust and resolving issues promptly; Encourage open dialogue to address any concerns or changes in circumstances that may arise during the partnership; Flexibility and Adaptability: Business landscapes are constantly evolving. Being adaptable and flexible allows both partners to adjust their strategies and offerings to accommodate changing needs and market conditions; Continuous Improvement: I always strive for constant improvement and innovation in my partnerships; Regularly evaluating the effectiveness of each collaboration and seeking feedback to identify areas of improvement; Clear Agreements and Expectations: I always have a well-defined agreement or contract that outlines roles, responsibilities, and expectations from both parties. This helps prevent misunderstandings and provides a framework for the partnership's success; Commitment to the Long Term: Successful partnerships are built on a long-term commitment. Both parties should be dedicated to nurturing the relationship and investing in its growth over time. By incorporating these elements into each partnership approach, I aim to increase the likelihood of achieving longevity and success in all my collaborative efforts. How do you identify and promote emerging artists and art scenes through your partnership network, and what impact do you think this has on the art world? Utilising digital platforms and social media to promote and showcase these partnerships with emerging artists portfolios can reach a global audience and help the artists gain recognition while adding value to the partner brand’s profile. Overall, promoting emerging artists and art scenes through a robust partnership network can create a ripple effect of positive change, impacting the art world's dynamics, fostering creativity, and shaping
James McNeill Whistler AN ARTIST IS NOT PAID FOR HIS LABOR BUT FOR HIS VISION. | 122
PAGE 123 INTERVIEW OPINIION cultural discourse. Can you speak about the challenges you face when forging partnerships between the art world and global brands, and how you navigate the fine line between commercial interests and artistic integrity? Communication is a critical aspect when forming partnerships between artists and brands. Clear communication from the very beginning helps establish expectations, goals, and responsibilities for both parties involved. Both the artist and the brand should have a shared vision for the partnership. This means aligning on the campaign's objectives, target audience, brand messaging, and overall creative direction. Each party must be transparent about what they are willing to contribute and what they expect to receive from the partnership. This includes the type of content to be created, the scope of work, timelines, and any financial or in-kind contributions. Clear and open communication throughout the partnership is essential and the only way for artists and brands can create successful collaborations that benefit both parties and resonate with their audiences. With the art world constantly evolving and changing, how do you stay up-to-date with emerging trends, and how do you think partnerships can help to shape the future of the industry? I have a passion for working with artists and forming partnerships. Collaborations and high-profile partnerships can be beneficial for artists and the wider public. They can help artists gain more visibility and exposure, reach new audiences, and break through the barriers that sometimes exist in the art industry. By creating partnerships with influential figures or organisations, artists can showcase their work to a broader audience and connect with potential collectors, supporters, and fans. These partnerships can also provide artists with opportunities to experiment with new ideas and expand their creative horizons, fostering innovation and growth in their artistic practice. Moreover, demystifying the perceived snobbery in the art world is a positive step towards making art more accessible and inclusive. By engaging with a diverse range of people and collaborating with various communities, art can become more relatable and relish in its ability to
PAGE 124 INTERVIEW OPINIION reflect and celebrate the richness of human experiences. By promoting art in a way that is approachable, engaging, and relevant, you help people see the value of art beyond its elitist stereotypes, encouraging a broader appreciation for creativity and cultural expression. Fostering creativity and supporting artists can have a lasting impact on society, as art has the power to inspire, challenge perspectives, and spark meaningful conversations. Given the increasing use of technology in the art world, how do you see partnerships with tech companies evolving? What potential benefits can these partnerships bring to the art world, and how do you ensure these partnerships remain grounded in the values of the art world? Technology has had a profound impact on various aspects of our lives, including the world of art. Contemporary artists, have been at the forefront of embracing new and unconventional mediums to express their creativity. This fusion of technology and art has led to groundbreaking and innovative works that challenge traditional boundaries. Korean contemporary artists, in particular, have been known for their experimentation with materials and techniques. From digital art and interactive installations to using unconventional materials like electronics, recycled objects, and even living organisms, they have pushed the boundaries of artistic expression. By incorporating technology into their works, they have been able to explore new dimensions and engage viewers in novel ways. However, amidst this technological revolution, it remains crucial for artists to uphold their values and maintain respect for their craft and its heritage. Forming the right partnerships is essential to achieve this balance. Collaborating with technology companies or individuals who share similar artistic values and visions can enhance the artist's creative process and ensure their work remains grounded in their artistic integrity. It is essential for artists to approach technology not merely as a novelty but as a tool to further their artistic pursuits, convey meaningful messages, reach broader audiences and explore new possibilities. Similarly, for technology to truly enrich the world of art, it must be used responsibly
PAGE 125 INTERVIEW OPINIION and ethically. Technological advancements should not overshadow the essence of artistic expression or undermine the cultural and historical significance of traditional art forms. How do you measure the success of the partnerships you develop, and what metrics do you use to evaluate their impact on the art world? The measure of success in a partnership, whether it's a business collaboration, a joint venture, or any other kind of alliance, is indeed complex and multifaceted. It cannot be reduced to a simple formula or a one-size-fits-all approach. The success of a partnership depends on various factors, and each party involved may have their own unique needs, wants, and expectations. When evaluating a partnership's success and impact, it's crucial to consider a range of metrics that align with the goals and objectives of the collaboration. In recent years, there has been a growing trend of using art as a tool for social change and activism. How do you see partnerships playing a role in this movement, and what responsibility do you think the art world has to promote social justice through its partnerships and collaborations? The role of creatives, especially those with high profiles, in promoting social justice and driving positive change cannot be understated. They possess a unique platform and the ability to reach a wide and diverse audience, which makes them powerful advocates for important causes. Creatives have the power to amplify the voices of marginalised and underrepresented communities. They can also Influencing Public Opinion, by using their platforms to promote causes they believe in, they can mobilise their audience to take action and support these causes. Creatives can inspire change by presenting alternative perspectives and encouraging people to question the status quo. Art, fashion, music, and other creative expressions can serve as a medium to challenge norms and promote inclusivity and equality; Artists can raise awareness about social injustices, environmental issues, and humanitarian crises. This awareness can lead to increased empathy and understanding, motivating individuals to get involved and support the causes presented. However, it's important to note that with great influence comes great
PAGE 126 INTERVIEW OPINIION responsibility. Creatives should approach their activism thoughtfully and educate themselves on the issues they are advocating for. Authenticity and genuine passion are crucial for their message to resonate with the audience. Additionally, being aware of potential consequences and backlash is essential, as taking a stand on controversial issues may invite criticism. The creative community holds immense potential in shaping public opinion and driving positive change. By utilising their platforms and artistic expressions to promote social justice causes, they can make a significant impact on the world and inspire others to join the fight for a better and more inclusive future. We finish with a more personal question... What is your favorite artwork and how has it impacted you personally and professionally? The artworks made by son are my favourites, particularly an angel for the top of the Christmas tree and a pink and red dinosaur.
LENA SILVA Lena Silva is a contemporary, modern artist of Portuguese origin, currently residing in the United Kingdom. She is a self-taught artist with a BSc Honours in Adult Health Sciences, specializing in the anatomy and physiology of human bodies. A lover of arts and sophistication, simplicity, versatility and a patron of the Florence Academy of Arts, Lena is influenced by the Renaissance art period. Lena's work can be described as portraiture, figurative, with a subtle touch of expressionism. Awarded as an artist of merit in Palermo, Italy (2021), the artist has notably been part of international exhibitions and art fairs. Furthermore, her artworks have been featured in publications such as Tatler, St John's Wood Life, BBC Proms, Hampstead Life, Artist Talk, Boomer Art, The House, and Israeli Art Market magazines. Graduated in Fine Arts and Cultural Management at Fundación Valentín de Madariaga, and in Philosophy at UNED, José A. Faraco was born in Huelva, Spain, in 1961. He started as a self-taught artist, a painter, and sculptor who has held numerous individual and collective exhibitions. Currently, his work focuses on the desexualization and naturalization of the nude. He founded the La Original Art Gallery and through his work seeks to defend gender equality. Among his exhibitions/works stand out "What is the role of Art in the construction of Peace?" at the 1st International Painting Biennale of Mexico and the project "The Body… An Inhabited Territory" about the perspective of gender diversity and the main social transformations that lead to a social image of the body in contemporary culture. José A. Faraco | 1 2 7 72 73
Abílio Marcos was born in Sintra, but lived in France from 4 to 14 years old and in the United States of America from 2001 to 2003. He started using painting as a form of expression in the early 1990s and is represented in several museums, city halls, parish councils, and private collections in Portugal, Spain, France, Belgium, and the USA. Abílio Marcos' pictorial language dialogues with expressionism as well as poetic symbolism, all combined in games of colors and shapes. His work has been mentioned in the "Guia D'Arte" and in the "Plastic Arts Yearbook of Estar Editora" since 1995, in the book "50 Years of Painting and Sculpture in Portugal" by Universitária Editora, and in the book "Contemporary Portuguese Painting, 100 Painters" from Chancela Real. A B Í L I O M A R C O S 74 | 1 2 8
S Ó N I A T R A V A S S O S P A I N T I N G Sónia Travassos was born in Coimbra, Portugal, in 1984. She graduated in Law from the University of Coimbra (FDUC, 2008) and in Psychology from the Universitat Abat Oliba Ceu, Barcelona (2013). She also holds a Master's Degree in Clinical Psychology from the Institute of Applied Psychology (ISPA), Lisbon. Sónia Travassos has always been a person curious about art and its multiple expressions. When she started studying Law, she felt the need to express herself creatively, saving herself from the rigidity of the Law by painting during her free time. Later, as a psychology student, she explored the complexity of pain in relationships through an organic and colorful approach, translating feelings into paintings in a very intense way. Since then, she has dedicated herself fulltime to painting. Through her neoexpressionist style, she shapes society and human relations, according to her most intimate need for constant development and advancement. Her work is represented in private, national, and international collections, and she has shown her work in collective and individual exhibitions, such as the Anthology Biennial of Art (Milan, Italy), Goy Art (Rome, Italy), Res non Verba (Lleida - Catalonia, Spain), and Galerie Espace D'Un Instant (Paris, France). | 1 2 9 75
M A S T E R S O F C O N T E M P O R A N E I T Y P E R M A N E N T E X H I B I T I O N M A S T E R S O F F A U V I S M T E M P O R A R Y E X H I B I T I O N E X C L U S I B L E I C O N S P E R M A N E N T E X H I B I T I O N SÃO RAFAEL GALLERIES EXHIBITIONS A C C E S S E X H I B I T I O N S I N
W O R L D ' S G R E A T P A I N T E R S T E M P O R A R Y E X H I B I T I O N I N T H E S K I N O F P E R M A N E N T E X H I B I T I O N T H E B E A S T S O F B E A U T Y P E R M A N E N T E X H I B I T I O N SÃO RAFAEL GALLERIES EXHIBITIONS W W W . S A O R A F A E L G A L L E R I E S . C O M
NIKO KAPA Niko Kapa is an interdisciplinary artist, architect and researcher. His practice investigates ways cultural identity shapes individual identity while commenting on the overwhelming desire to belong, referencing tradition as a way to trace origins and consider how the past impacts upon the present. Drawing from the combination of his Greek and Arabic background, he explores visual arts’ ability to communicate cultural content, examining how new fields can interface among traditions of craft with technology. Balancing between his western and eastern DIGI T A L DESIGN / A R CHI TE C TUR E heritage, combining traditions of ancient Greece and Levant, his work delineates the genealogies shaped a complex culture. Niko recovers and reinvents traditional techniques instilling own body as a way to include creator’s consciousness in final result, having a specific interest on action and process, with works ranging from sculpture and installations to mixed media and digital art. Recently his ‘Grid’ series has been purchased in Dubai for over 300,000$ ranking him among the highest earning artists in Middle East’s art market. | 132 76
Velia Littera is a talented interior designer who has made a name for herself in the industry by marrying her passion for art with her design sensibilities. With a keen eye for detail and a unique perspective on the art of interior design, founded the Pavart gallery in Rome, currently represent three artists present in this guide; Giovanni Trimani, Barbara Lo Faro and Valeria Magini. At the heart of Velia’s design philosophy lies the belief that interior spaces should be treated as works of art. Whether working with bold color palettes or avantgarde textures, she is unafraid of taking risks and pushing boundaries to create interiors that evoke emotion and tell a unique story. From residential venues, lofts, private homes and art galleries, Velia’s unique and creative vision has left a lasting impression on every space she touches. With her innate talent for transforming spaces into stunning works of art, Vélia Littera is truly an inspiration to aspiring designers and artists alike. So let's talk a little with her... What inspired you to become a designer of interiors in the first place? I have always had a deep appreciation for aesthetics, colours, textures, and a overall visual harmony of a space. My target has always been to create beautiful and visually engaging interiors that evoke emotions and enhance the well-being of the occupants. The inspiration to become an interior designer came from a combination of many factors and personal INTERIOR DESIGN INSIGHTS PAGE 133 INTERVIEW OPINIION AN INTERVIEW WITH VÉLIA LITTERA ON ARTINSPIRED INTERIORS.
PAGE 134 INTERVIEW OPINION interests. It is a profession that allows me to merge my creative instincts with practical problem-solving skills to create beautiful, functional, and impactful spaces. My passion for art has also been important because it helps me to create unique spaces that reflect my inspiration but welcome the pleasure of those who live it. How do you create a design that serves the artwork while also preserving the overall aesthetic of the space? When creating a design that serves an artwork while preserving the overall aesthetic of a space I take into careful consideration the balance. I begin thoroughly to understand the space where the artwork will be displayed considering the architectural style, the lighting and the colour palette. A proper lighting is crucial for showcasing artwork effectively. When designing a space, do you prioritize the practical needs of the inhabitants or the aesthetic experience of the space? Or is it a balance of both? When designing a space I am carefully focused on functionality addressing the practical needs of the space. It is important to ensure that the layout of the furniture supports the intended activities and promote usability. Once the functional requirements are fulfilled I shift focus on the aesthetic aspects selecting design elements, colours, and textures that align with the desired style and ambiance. The aesthetics should complement and enhance the functionality of the space, creating a visually pleasing and enjoyable environment. In your opinion, what role do colour, texture, and lighting play in the design of a space that showcases artwork? Colour sets the overall mood and atmosphere of a space and has a significant impact on how artwork is perceived. The choice of colour palette should harmonize with the artwork and create a cohesive visual experience. Textured surfaces, such as textured walls or furniture, can serve as backdrops that enhance the artwork's presentation. It can also provide a tactile connection for viewers, inviting them to interact with the artwork on a physical and visual level. And finally a correct lighting design should highlight the artwork's details, its colours, and its texture, allowing viewers to appreciate its full beauty. Different lighting techniques, such as spotlights, track
PAGE 135 INTERVIEW OPINION lighting, or gallery lighting, can be used to direct attention and create a desired atmosphere. The angle, intensity, and temperature of the lighting should be carefully considered to avoid unwanted glares, shadows, or colour distortions that may detract from the artwork. What are the biggest challenges you face when designing a space for displaying the artwork of multiple artists? When designing a space for displaying the artwork of multiple artists, several challenges may arise. One of the key challenges is achieving a sense of coherence and unity within the space despite the diverse styles, themes, and mediums of the artwork. Each artist may have their unique aesthetic and artistic expression. It becomes important to strike a balance that allows the individual artworks to shine while creating an overall cohesive visual experience for viewers. How do you stay current with the latest trends and innovations in the design world as a designer of interiors in Rome? I regularly read design publications, magazines, and online blogs that focus on interior design. These sources often cover the latest trends, innovative design concepts, and emerging technologies. I also am updated on industry news, design events, and notable projects. Usually I attend design events and trade shows. These events offer opportunities to discover new products, materials, and design moods. Trends come and go, and it's important to balance staying current with my own design style and the preferences of my clients. I Aim to create timeless designs that transcend trends while always incorporating art elements. How do cultural or historical context inform your design choices when working with artwork? When working with artwork from different cultural or historical contexts, it is crucial to approach the design process with respect, sensitivity, and cultural understanding. Be mindful of potential cultural appropriation or misrepresentation and strive to create a design that honours and respects the artwork's origins. What advice would you give to emerging interior designers looking to create innovative and unique spaces in today's competitive art world?
PAGE 136 INTERVIEW OPINION I would suggest emerging interior designers to cultivate a unique design style that sets, him or her, apart from others in the field, developing a strong aesthetic vision and a signature approach that reflects a creative voice. He should not be afraid to take risks and experiment with unconventional exploring new materials, techniques, and spatial arrangements. This allows to create truly innovative and unique spaces that captivate and inspire. Establish strong and trusted relationships with clients because delivering exceptional results builds a solid reputation. Happy clients can lead to more opportunities and referrals. What differences do you observe between designing a gallery space versus designing a residential or commercial interior, in terms of the impact they may have on the user? Gallery spaces primarily serve the purpose of showcasing artwork and facilitating the viewer's engagement with the art. The design focus is on creating an environment that enhances the artwork's display, encourages contemplation, and provides a seamless flow for visitors. Residential and commercial interiors, on the other hand, prioritize functionality and practicality to meet the specific needs of the occupants or business operations. Residential interiors offer a higher level of privacy and personalization compared to gallery and commercial spaces. Residential designs consider individual preferences, lifestyles, and the need for comfort and retreat. Gallery interiors, on the other hand, prioritize lighting, art identity, and has to satisfy the needs of a larger number of people. How do you see your role as a designer of interiors in relation to the artwork you display in the gallery? To effectively design an art exhibition space, it is important to have a deep understanding of the artwork itself. This involves studying the artist's intentions, themes, and techniques used in the artworks. By grasping the essence of the artwork, I can better align the design choices with the artist's vision and create a space that enhances the artwork. The design should enhance the artwork, it is important to strike a balance between the design elements and the artwork itself. The design should not overpower or distract from the artwork's presence, but rather create a harmonious and complementary relationship.
PAGE 137 INTERVIEW OPINION Finally, Rome has a rich artistic heritage, what do you see as the challenges facing galleries like yours in a city with such a vibrant cultural scene? Rome is home to numerous galleries, museums, and cultural institutions, creating a highly competitive environment. Standing out and attracting visitors among a sea of options can be a challenge. Galleries must find ways to differentiate themselves through unique exhibitions, innovative programming, and effective marketing strategies. A gallery should attract both local residents and international tourists, as well as different age groups and art enthusiasts with varying levels of knowledge and interests. An art gallery needs to establish strong connections with art collectors and engage in meaningful collaborations to access diverse artistic networks and expand their reach. Valeria Magini Valeria Magini was born in Rome in 1991, where she grew up and still lives. Sensitive to art since a young age, she cultivated this passion thanks to her family. She grew up admiring the paintings of her grandfather and uncle who were famous artists. Meeting artists such as Luciana Raggi and Chiara Rapaccini gave her the opportunity to continue looking forward to finding her own path. Observing reality and recounting its indefinite contours is the hallmark of her works, in which vivid colors are mixed together. Her debut as a painter took place in the group exhibition "Incontri" held at the Museo delle Civiltà in Rome in April 2022. Following this collective exhibition, a collaboration began with the artistic collective Silver Studio Art Factory, and then she got to meet Velia Littera, the art curator of the group exhibition “Peace's,” which took place during Roma Art Week 2022. 77
Barbara Lo Faro Barbara Lo Faro is a self-taught artist born in Rome, in 1967. Drawing and painting are her main artistic expressions. Her work is mainly influenced by the 20th-century figurative tradition, in particular by the Austrian Expressionism of Gustav Klimt and Egon Schiele. She tries to rework and blend these influences with her personal style, fused with postmodern techniques such as acrylic, ballpoint pen, charcoal, and watercolor. Her first love was the biro pen, doodles everywhere, on any kind of support, with her head in the clouds. Acrylic, charcoal, metallic pigments, and oil pastels compose most of the techniques she uses for her artworks on canvas, fabric, and cardboard. Watercolors and ink on paper, with their lightness and transparency, have recently taken the lead over everything... but the final touch is always with a biro pen. Giovanni Trimani Although Giovanni considers himself a professional since 2007, the roots of his being an artist go back to 1987. Over the years, Trimani has refined his technique with exhausting practice, accompanied by daily and scrupulous acknowledgments, along a path of continuous learning and training that still remains a fixed point of his work. From the first oil paintings up to date, he has always placed at the center of research the sign, declining it both in painting and in sculpture, as well as in architectural design interventions. Man, in his most aulic definition, is the center of his aesthetics, which he elaborates and proposes in an interpretation that is as universal as possible and shared, even though starting from a careful analysis of his experience. The challenge with himself is the fuel of his creativity. The classical techniques, oil, watercolor, pastel, tempera marked Trimani’s youth and his formative years, during which, in a crackling and surreal exchange of experiences, he learned from the great artists of the past, of whom a clear imprint is visible in his works. VOLUME II | 138 78 79
Sílvia Raposo was born in Lisbon in 1993. She graduated in Anthropology and is a researcher in Arts and performer. Her work is based on an anthropophagist dialogue with the images of consumer society, placing the contemporary artist as a hunter-gatherer of images. Her first visual series of fine art prints "Visual Micropolitics" seeks to create a scar in the white space of performance. Her work dialogues with hybridism through a Frankenstein aesthetic. In other words, it is an art of grafting and miscegenation, overlapping or intersecting different cultures and artistic aesthetics. She looks for new forms of visual and micropolitical sovereignty. SÍLVIA RAPOSO 80 | 1 3 9
SÍLVIA RAPOSO This guide makes a collection of prints available to its readers in a collectible format. These works, divided into several volumes, result in the "Dada Collectibles" offered in each volume. These collectibles can be cut out of the book and framed as edition-exclusive prints. THE FINAL COUNTDOWN DADA COLLECTIBLES Nº 1 AI assisted painting. 2023. | 1 4 0
| 143 C A P T I O N S 01. Catarina diaz. Reminiscing I. Limited-edition series of the original analogue collage & mixed media, ultra hd photo print under acrylic glass 50x50cm. 2022. €930.00. 02. Lena Silva. Crooked Beauty - series No.5. Oil on cold press textured paper. 60x42cm. €3,298.00. 03. Leonor Trindade Sousa. Outro olhar. Acrylic on canvas. 100x100cm.€8,000.00. 04. Leonor Trindade Sousa. Aurora borealis. Acrylic on wood. 100x80cm. €4,480.00. 05. Leonor Trindade Sousa. Metamorphosis (triptych). Acrylic on canvas. 3 canvas 40x40cm. €4,800.00. 06. Cecília Acevedo. Tesoro callejero. Crochetpainting on plastic. 220×48 cm. 2020. €17,816.00. 7. Cecília Acevedo. Luxury. Crochetpainting on canvas. 40x40cm. 2021. €1,667.00. 8. Cecília Acevedo. Vanity. Crochetpainting on canvas. 30x20x2 cm. 2021. €1,335.00. 9. Jamal Masarwa. Difference. Digital art printing on canvas. 60x40 up to 140x90. Prince range: €1,741,80.00 - €5,225,40.00. 10. Jamal Masarwa. Life. Digital art printing on canvas. 60x40 up to 140x90. Prince range: €1,741,80.00 - €5,225,40.00. 11. Jamal Masarwa. Imagination is a world. Digital art printing on canvas. 60x40 up to 140x90. Prince range: €1,741,80.00 - €5,225,40.00. 12. Kwame Koda. Welcome to the jungle. Digital photography, special print on fineart german etching paper and digital signed, belonging to a limited series of 10. A1. €1,885.00. 13. Kwame Koda. African magic. Digital photography, special print on fineart german etching paper and digital signed, belonging to a limited series of 10. A1. €1,565.00. 14. Boguszak. Drums VII. Photography. Archival print under acrylic glass 5 mm, 90 x 65 cm. €3,831,96.00. 15. Boguszak. Fallen moon. Photography. Archival print under acrylic glass 5 mm, 70 x 50 cm. €3,367,48.00. 16. Boguszak. Neptun's wonders. Photography. Archival print under acrylic glass 5 mm, 90 x 78 cm. €4,296,44.00. 17. Jean-David Niangoran. Fcfa 1. Digital photography, special print on aluminium dibond 3mm with profile support, numbered and digital signed, belonging to a limited series of 10. Available in 70×90 cm or 100x120cm. €1,740.00. 18. Se Fenger. Beauty (⾊凤⼉ 《艳》 纸本). Ink on paper 68×68cm. 2023. €852.00. 19. Se Fenger. Stand [5] (⾊凤⼉ 《》 纸本). Ink on paper 35×68cm. 2023. €852.00. 20. Tebo. Indicación posvacacional 2. Mixed media on paper. 40×50 cm. €225.00. 21. Tebo. Indicación posvacacional 1. Mixed media on paper. 40x50 cm. €225.00. 22. Ashima Kumar. Life is music, ballet 2. Mixed media on paper, pen, watercolour and digital rendering, 50x 50cm unframed, 66 x 66cm framed. 2022. €2,000.00. 23. Ashima Kumar. Shades of Emotion 4. Mixed media on paper, 32x22cm. €928.96. 24. Arobieke Tomiwa. Peace and unity. Acrylics on canvas, 122cm x 152cm. €4,500.00. 25. Arobieke Tomiwa. Soul sisters. Acrylics on canvas, 45inches diameter. €4,000.00. 26. Lilia Luján. Mark. Pc cotton 300 giclée print (100% cotton paper), belonging to a limited edition series of 20, digitally signed, 70 x 50cm, 2022. €390.00.
| 144 27. Gabriela González Leal. Transformation. Money sculpture. Asian banknote of 200 cym, uzbekistan 1997, 14 x 6 x 8cm. €300.00. 28. Gabriela González Leal. Quetzales. Money sculpture. $10 pesos bill, provisional government of mexico1914, 18 x 18 cm. €300.00. 29. Fabián Caro. Escarnio. Glazed ceramic, 43x20x17 cm. Prince range: €735.00-€3,872.00. 30. Fabián Caro. Mitico. Glazed ceramic, 43x36x29 cm. Prince range: €735.00-€3,872.00. 31. Gulnar Sacoor. Cosmic dance II. Acrylic on canvas, collages, mixed media, 80x80x3. €950.00. 32. Gulnar Sacoor. Play of stars VII. Acrylic on canvas, collages, mixed media, 40x20x3. €350.00. 33. Gulnar Sacoor. Cosmic balance II. Acrylic on canvas, collages, mixed media, 60x80x3. €950.00. 34. Gulnar Sacoor. Linescape 7. Acrylic on canvas, collages, mixed media. 92x120x3cm. €1,760.00. 35. Hossam Dirar. Day dreams 003. Oil on canvas. 120x120cm. 2021. €9,000.00. 36. Hossam Dirar. Day dreams 004. Oil on canvas. 120x120cm. 2021. €9,000.00. 37. Hossam Dirar. Nefertiti of gold. Oil on canvas. 126x117cm. 2021. €9,000.00. 38. Shelina Khimji. Embrace equity. Stetched canvas, 50 x70 cm. €1083,60. 39. João Freire. In your look. Watercolor on canson paper. 34×25 cm. €835.00. 40. Catarina Diaz. So pop. Hahnemühle german etching giclée print, belonging to a limited edition series of 100 digitally signed a1 prints (59.4 x 84.1 cm), 300gm paper, 2022. €240.00. 41. Catarina Diaz. Bold. Analog collage of giclée clippings and oil sticks on canvas. Framed canvas 315 x 315mm. 2021. €1,160.00. 42. Catarina Diaz. Reminiscing II Limited-edition series of the original analogue collage & mixed media, ultra hd photo print under acrylic glass, 50x50cm. 2022. €930.00. 43. Catarina Diaz. Faith. Black gesso primed Analogue collage & mixed media 475 x 475mm. 2023. This artwork includes certificate of authenticity. €3,605.53. 44. Catarina Diaz. A pop of a perfect color. Analog collage of giclée clippings and oil sticks on canvas. Framed canvas 315 x 315mm. 2021. €930.00. 45. Marina Emphietzi. Cityview. Oil on canvas. 60x80cm. €3,528.54. 46. Lilly Helja Jonasson. Detach. Technique of collage (splittographylage) on canvas. 60x60cm. €2,640.00. 47. Lilly Helja Jonasson. Selbstportrait. Technique of collage (splittographylage) on canvas, 80x80cm. €4,480.00. 48. Carlos Teixeira. Rurality 6. Acrylic on canvas. 120x190cm. €1,120.00. 49. Maria Imperatore. Live your life wisely and carefree. Acrylic on Canvas,100x100cm. 2021. €4,500.00. 50. Rodolfo M. Costa. Mixed composition. Resin collage over wood panel. 32,7 x 35,8 cm. €160.00. 51. Rodolfo M. Costa. Blue composition. Resin collage over wood panel. 44,7×46,9 cm. €224.00. 52. António Azenha. Interact Buddha Party: Cão. Toy sculpture, mixed technique, zinc-coated iron wire structure, among other materials, 95x80x40cm. Price on request. 53. António Azenha. Interact Buddha Party: Macaco. Toy sculpture, mixed technique, zinc-coated iron wire structure, among other materials, 110x96x87cm. Price on request.
| 145 54. António Azenha. Interact Buddha Party: Cavalo. Toy sculpture, mixed technique, zinc-coated iron wire structure, among other materials, 112x110x40cm. Price on request. 55. António Azenha. Interact Buddha Party: Porca. Toy sculpture, mixed technique, zinc-coated iron wire structure, among other materials, 97x70x46cm. Price on request. 56. António Azenha. Interact Buddha Party: Coelha. Toy sculpture, mixed technique, zinc-coated iron wire structure, among other materials, 70x76x55cm. Price on request. 57. António Azenha. Interact Buddha Party: Cobra. Toy sculpture, mixed technique, zinc-coated iron wire structure, among other materials, 125x80x45cm. Price on request. 58. Xinyue Luo. Chaos. Oil painting on organza. 70x60cm. €5,806,00. 59. Xinyue Luo. Captivity. Oil painting on organza, 60x40cm. €5,806,00. 60. Ricardo Gomes. Emotional savana. Digital art (pc velvet fine art print). Open edition dated and signed. Available in a1, a2 and a3. 2022. Price range: €187.50 – €356.25. 61. Ricardo Gomes. Rise lotus. Digital art (pc velvet fine art print). Open edition dated and signed. Available in a1, a2 and a3. 2021. Price range: €187.50 – €356.25. 62. Arista2099. No title 1. Digital painting. Pc velvet fine art 270 g/m2 paper print 78x53cm, belonging to a limited edition series of 10. Digitally signed. 2022. €716.00. 63. Arista2099. Life dismounting the ego. Digital painting. Pc velvet fine art 270 g/m2 paper print 100x99cm, belonging to a limited edition series of 10. Digitally signed. 2022. €777.00. 64. Arista2099. Removing layer after layer. Digital painting. Pc velvet fine art 270 g/m2 paper print 59x100cm, belonging to a limited edition series of 10. Digitally signed. 2022. €633.00. 65. Ildikó Baranyi. Wartime. Digital art, ai assisted, giclée print, 60x90cm. €8,000.00. 66. Ildikó Baranyi. Neighbourhood. Digital art, ai assisted, giclée print, 60x90cm. €8,000.00. 67. Kevin Trinh. Flying home. Acrylic on raw belgian linen scroll, 66 x 54 inches. Prince range: €267,09 - €445,15. 68. Kevin Trinh. Ai assisted painting series. Unique signed prints. Price on request. 69. Raquel Gralheiro. Shrimpton #27. Acrylic on canvas, 20x20 cm. €350.00. 70. Raquel Gralheiro. Bowie #43. Acrylic on canvas, 20x20 cm. €350.00. 71. Raquel Gralheiro. Andy #40. Acrylic on canvas, 20x20 cm. €350.00. 72. José A. Faraco. Untitled IV (El cuerpo…un territorio habitado). Resin and fiberglass sculpture under a black graphite polychrome wooden disc. 40cm diameter. €1,280.00. 73. Lena Silva. Azure. Winsor & newton canvas board and oils. 20x20cm. €700.00. 74. Abílio Marcos. Light beam. Oil on canvas. 85x120cm. 2021. €1,300.00. 75. Sónia Travassos. Patpong to new york. Acrylic on canvas, 180x120cm. €2,500.00. 76. Niko Kapa. Risalah. Digital design interacting with artist’s respiration activity, 3840×2160 (4K). 2023. €16 209,46.00. 77. Valeria Magini. Incanto. Acrylic and oil pastels on canvas, 154x158. 2022. €3,600.00. 78. Barbara Lo Faro. Incincibile estate n. 10. Ink and pastels on paper, 95x70. 2021. €2,800.00. 79. Giovanni Trimani. Momento. Acrylic on canvas, 80x80. €4,000.00. 80. Sílvia Raposo. Friends always near (ai assisted painting). Belongs to a set of 6 artworks (“the final countdown”, “the god, the bad and the lousy”, “a start”, “shiraz, mon amour!” and “a head dive into london”). Printing on fineart hahnemühle baryta paper, 21x21cm. €70.00.
ABOUT The Contemporary Art Collector's Guide is an indispensable resource for passionate art lovers and collectors seeking a broad view of the current art world. Carefully curated to provide a global perspective, this publication boasts profiles of world-renowned artists, insider essays, and in-depth interviews with the boldest voices in the industry. Discover thought-provoking analysis of current art world issues, along with an exclusive meticulously curated selection of groundbreaking artworks. Each issue comes complete with a QR code, allowing readers to access a 3D artwork or exhibition, along with a unique, collectible illustration.