PELAIRES. Planta 1
Jordi Alcaraz. Calella, Barcelona, 1963. "The mechanism of a sundial"
The artist hides, voluntarily disappears surrendering the protagonism to the matter that comes to life to talk to us about the essence of things, everything that cannot be expressed in words: attitude, gesture, delicacy . . .
The works are “beings"; created within a framework that serves as their backbone and that Alcaraz structures with everyday objects that change their identity. Painting moves, vibrates, plays with light, with time and with limits, or the negation of them seeking to achieve an environment of freedom where everything is possible.

PELAIRES. Ground floor
Rafa Munárriz. Tudela, Navarra, 1990. “Spaces that structure actions”
The understanding and questioning of urban space is the central subject in Rafa Munárriz's work, which proposes the transformation of barriers and other enclosure objects implanted in urban environments into new elements that are still free of functionality.
His artistic practice is eminently sculptural based on the problems of space and the relationship they generate with the spectator, inviting him to walk through his installations and reflect on how the spatial planning of a city affects its inhabitants and how the way in which people live affects the space they inhabit.

Marcelo Víquez. Montevideo, Uruguay. 1971."Our weapons harm us"
Inscribed in the conceptual current, he attacks our consciences with a devastating subtlety and removes the pillars of the society of which we form part with irony and sarcasm. Objects modified and taken out of context place us in uncomfortable places from which we cannot escape. His work exposes human falsehood, paradoxes, manipulation and oxymorons that we ourselves manufacture.

PEP LLABRÉS Art Contemporani
Ruben Torras. Barcelona, 1978.
With a sense of humour Rubén Torras explores the disturbing side of everyday life through images he recovers from the past and giving them a new life by merging them with current digital images, painting and graphic design. As a result, he obtains impossible landscapes in which we nevertheless recognize architectural elements, film frames or geometric figures. Where is the barrier between the documentary and the fictitious or between simulation and reality? The artist with his work opens a door for the spectator to reflect on the answer.

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