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PT Felix Art Fair, 2025
Eloy Arribas - Ariamna Contino - Arlés del Río - Roberto Diago - Carlos Garaicoa - Rocío García - Diana Fonseca - Los Bravú - Nacho Martín Silva
February 19 - 23, 2025
Hollywood Roosevelt Hotel, Room: 1238, Los Angeles (USA)
In this edition of Felix Art Fair we wanted to explore, through a fun and contrasting selection of works by Hispanic American artists, the ductility of a concept such as identity. Imaginaries from one side of the Atlantic and the other converge to oxygenate the spheres of collective reflection of contemporary societies interwoven today in that increasingly intense connection between Latin American Art, art made by Latin American artists in the diaspora and Spanish Art.
The Palace 47, 2024
Strappo in acrylic and oil on canvas
162 x 130 cm (63 x 51.2 in)
This series of paintings is created using a unique technique: the drawings are produced using the method of the strappoin which the paint surfaces are drawn from a single wax mold that is continually modified with each drawing. This technique establishes a bidirectional genealogy between the various drawings, ensuring that, at any given moment, it is possible to trace the position of each piece within the ensemble and identify its predecessors and immediate successors. As in a palace with a infilata di stanze (a suite of rooms), where the next room cannot be accessed without passing through the previous one, this method embodies a physical conception of time: it passes as you go through it, and the room (or the drawing) is taken as the unit of measurement.
Since the previous drawing is not erased from the wax mold, there remain traces of the previous works that partially fade away as the series (and the journey) progresses. In this way, and under the premise of representing essential figures (plants, architecture, figure, etc.), the accumulation of marks and residues gradually abstracts the original figuration, entering into a subtle game of obfuscation and concealment.
The Palace 49, 2024
Strappo in acrylic and oil on canvas
150 x 130 cm (63 x 51.2 in)
This series of paintings is created using a unique technique: the drawings are produced using the method of the strappoin which the paint surfaces are drawn from a single wax mold that is continually modified with each drawing. This technique establishes a bidirectional genealogy between the various drawings, ensuring that, at any given moment, it is possible to trace the position of each piece within the ensemble and identify its predecessors and immediate successors. As in a palace with a infilata di stanze (a suite of rooms), where the next room cannot be accessed without passing through the previous one, this method embodies a physical conception of time: it passes as you go through it, and the room (or the drawing) is taken as the unit of measurement.
Since the previous drawing is not erased from the wax mold, there remain traces of the previous works that partially fade away as the series (and the journey) progresses. In this way, and under the premise of representing essential figures (plants, architecture, figure, etc.), the accumulation of marks and residues gradually abstracts the original figuration, entering into a subtle game of obfuscation and concealment.
From the Manigua series, Platanal, 2025
Hand-cut paper / 300 g Fabriano card stock, cold-pressed, acid-free, and museum glass
83 x 83 cm (32.6 x 32.6 in)
Ariamna Contino builds her works from the ritualistic and extremely meticulous technique of "openwork paper". This procedure contrasts with the themes she addresses, almost always anchored in controversial and highly topical phenomena. Ariamna develops a special interest in historical, environmental and socio-cultural issues, adopting an inquisitive gaze towards ongoing conflicts and phenomena that demand constant revisions. From the data she collects in her research, she composes her own visual narratives on issues such as drug trafficking in Latin America, narco-aesthetics, the underground economy in Cuba, the trade of classified information, among others.
Recently, Contino's work has begun to focus on the interstitial zones between the natural and cultural worlds. From that perspective, he explores new approaches to national identity and constructs other physiognomies for insularity.
Untitled, from the series Considerable Dimensions, 2019
Cast bronze
Variable dimensions
Arlés del Río bases his artistic practice on the deep exploration of the social and cultural dynamics that shape reality. His work emerges from a constant dialogue between the graphic or conceptual associations of all social and/or cultural phenomena with found materials and objects, which he manipulates, reproduces or reinterprets to embody illusions, utopias and ideological and existential questions.
Space and its context are essential elements in his creative process, serving as a starting point to develop ideas in specific places. The dimensions, materials and media used (sculpture, painting, installation, photography, drawing, among others) constitute
subordinate resources in the representation of these ideas, allowing a functional placement and a meaningful interaction of the viewer with his works. This approach invites us to reflect on the role of art in our perception of the world and the possibility of transforming it.
From the Hombre del Monte series, 2023
Bronze sculpture
60 x 40 x 27 cm (23.6 x 15.7 x 10.6 in)
Edition of 3
Roberto Diago examines the condition of the Cuban Afro-descendant in the social territory of the Revolution. His cultural and sociological vision fully understands the effects of colonial processes in the nations that suffered them. These traces are visible in the levels of marginalization and segregation as well as in the epistemic and linguistic levels.
Diago denounces, exposes and develops exercises of cultural resistance that allow him to speak from a self-conscious and maroon otherness, claiming other religious belongings, other canons of beauty and other views on the white world that inhabits the West.
From the Puzzles: Two Brothers series, 2022
B/W photo printed on puzzle, photography
laminated on Dibond, wood, plexiglass, etc.
49.5 × 39.5 × 9.5 cm (19.5 x 15.6 x 3.7 in)
Ed. 3 + 2 P/A
Carlos Garaicoa's work develops a dialogue between art and urban space through which he investigates the structure of contemporary cities. From a multidisciplinary approach, Garaicoa addresses cultural and political issues, especially Cuban ones, through the study of architecture, urbanism and history. One of his main thematic centers has been post-revolutionary Havana, where he developed much of his work and whose deterioration and urban decay he witnessed first hand. Through sculpture, drawing, video, photography and installation, the artist has addressed, through narrative and critical narrative, the utopian architecture and the collapse of the main urban centers.
ideologies of the 20th century.
The toast, 2025
Oil on canvas
91 x 122 cm (36 x 48.3 in)
Rocío García's training as a painter is traversed by two fundamental schools. On the one hand, the Cuban school, where she completed her secondary studies in 1975 at the San Alejandro Academy in Havana; on the other hand, the Russian experience -thanks to the scholarship obtained at the "Repin" Academy of Fine Arts in St. Petersburg-. Both pictorial traditions were essential in the articulation of his work.
a very personal work in which the expressive and symbolic use of color, the forceful simplicity of the drawing and the theatrical creation of marked narrative content converge. The union of these elements, together with the themes preferred by the artist (in many cases of homoerotic filiation), catalyze in canvases like enigmatic scenes, moments in which the characters are surprised in intimacy. His work is reminiscent of cinematographic logic, in which an idea closes in on itself.
on itself from the sequential component.
Cockfighting vase, 2024
Acrylic on canvas
100 x 80 cm (39.4 x 31.5 in)
Dea Gómez and Diego Omil have been working together since 2012 under the name "Los Bravú", a Galician term used to refer to the smell of animals. They have ventured into different media: comics, drawing, ceramics, painting, sculpture and installation. Their peculiar pictorial language of figurative tone, seasoned with slightly surrealist fantasies and a neo-Mannerist virtuosity, stands out for the methodical use of collage and fusion. The duo mixes contemporary design, fanzines, mass media, and an academic aesthetic reminiscent of the Renaissance masters of the Italian Renaissance (15th and 16th centuries) and magical realism (first half of the 20th century). In addition, they mix different ways of painting on the same canvas, so that each element of their pieces has an untransferable identity crossed by urban culture, urban and vernacular culture, fascination and irony.
Untitled, 2024
Oil on canvas
50 x 38 cm (15 x 13 in)
"Martín Silva's painting could be qualified as one of transportation and reconsideration. Carrying, not only because, even using this architectural term, the painter can
The artist's studio seems to become a sort of deposit, a warehouse in which images and works -or attempts at them- accumulate and may, years later, find a meaning that they did not have when they were cornered, discarded for their lack of relevance and opportunity. The studio becomes a kind of cellar; those materials see the passage of time and the artist returns to them, to the barrel to -now yes- rack them, recover them. This also makes the studio a kind of archive of cartographies; in the disorder, in the process of searching, almost of disinterested drifting through all that has accumulated, the author may come across disclaimers or attempts that, with the passage of time or the circumstances of each project, may turn them into valid and useful materials.
They are a sort of flashbacks, a return to a past by means of those remains that show how solutions or newly inaugurated paths (...)".
(Pocket Series: Nacho Martín Silva by Juan Francisco Rueda. Ed. NocaPaper. 2016)