Art Madrid Contemporary Art Fair 2023.

DDR ART GALLERY.
BOOTH B12

Artists:

Roger Sanguino, Venezuela.

Jose Quintanilla, Spain.

David Delgado Ruiz , Spain.

Evangelina Esparza, Argentina.

Roberto López Martín , Spain.

At DDR Art Gallery, we approach contemporary art through contact between the collector and the artist, with our gallery as a unifying and managing element, combining attendance at Contemporary Art Fairs with online sales at national and international level, with a
speech of analysis and criticism of the reality of the present time.

From this perspective, our proposal for Art Madrid 2023 is based on the dialogue between our artists' physical works and NFTs, and their interaction with form and space as the backbone of the proposal: ephemeral works confronting works that remain in cyberspace.

Venezuelan artist Roger Sanguino, now based in Spain, presents the work he has been developing in recent years, moving from classical sculpture to painting. This work is characterized by a discourse that addresses the human being, the importance of portraiture, bodily expression, and urban space.

As for the formalization of work, the technical part is what has been fundamental in the
final construction of the work: Metal and its possibilities.
Through the use of rods and piano wires, and later bolts and nets, all these possibilities of steel gave rise to a dialogue between painting and sculpture, generating a bridge between both disciplines through conceptual and formal foundations.
With the body and the portrait as its axes, this crossroads begins where the use of mixed techniques determines the structure of the work.

Various traces appear on the plane and the volume; stains and primordial lines that give shape to the character, along with a lattice that floats above it like a grid, giving rise to a metallic framework that references the urban or everyday landscape. This framework, in turn, helps organize structures, defines limits and contents from a geometric perspective that also includes the void.
With all this intervention carried out on the portraits, a process begins that leads to the disruption of concepts of identity, transforming them into altered, modified concepts, giving rise to new identities.

“Unseen XVII”
Technique: Oil and stainless steel / canvas / wood
Dimensions: 90 x 69 x 1.5 cm
Year: 2021

José Quintanilla focuses on landscape photography, understood as the relationship between man and the surrounding land, the space between humanity and nature, the boundary between reason and chaos. Memory, recollections, the search between beauty and absence.
Among monumental representations, the ruin will become key to our collective memory, the gateway to the dream world that, as Marc Augé said, places us in a "pure time, without date, but with memory." Ruins reaffirm the roots of our past and establish our heroic references.
When these don't exist, they must be invented. The fake ruin—also known as folly or caprice—became fashionable in the landscaped gardens of the wealthy European classes in the late 17th century.

As generators of memory on demand, they recreate the Western vision of a history that clings to an idealized but necessary past to confront the threat posed by the arrival of the Industrial Revolution and modernity, while calming consciences troubled by growing environmental degradation, the overexploitation of natural resources, the ruthless use of children and slaves, and the appropriation of other people's wealth in colonized territories.
The passage of time blurs the distinction between the original and its copy. Ruins and photography, with their supposed documentary veracity, serve as representations to buttress our fiction.
This photographer's works reveal the invisible connections between cinema and people. The same movement runs through them: the passage of time.
On the one hand, the images capture the passage of time and people; on the other, the man who captures life, its marks, its wrinkles, its stiffness, its slowness, and its memories. The links between films and older people are unwavering. They are like a mirror of each other.
They are archives, condemned to a fragile and inescapable destiny.
Bodies that are damaged; on the other, films that disappear; on the one hand, memory that evaporates; on the other, images and sounds eaten away by parasites. Preservation is difficult; it becomes a political, ethical, and cultural issue. What should we save of our memories, of our history? What is the fate of the aging bodies in the image? What is the fate of the image in the digital age? Does the image allow for eternal life, vicissitudes a second life? Can one save the other?

04# Memorabilia
Technique: Black and white film, Mamiya 6x7 medium format. Ink print
pigmented on metallic baryta Hahnemühle cotton paper. Author's copy.
Framed in a display case, mansonia molding, anti-reflective museum glass.
Measurements: 122 x 160 cm copy, 125 x 163 x 6 cm frame
Edition: 5 + 2 PA in this size
Year: 2019
2019 Enaire Foundation Award, selected. 2021 Enaire Foundation Award, special mention
Photo España special. Exhibited at the PhotoEspaña 2021 Festival, Santander and at the
Pompidou Centre in Malaga 2022

The need to document reality itself, in the photography of David Delgado Ruiz, who analyzes and preserves contemporary reality in his images, telling stories about how time and space generate a context for social relations between human beings and the hostile environment that surrounds them, the city understood as present, past, and future.
It's not just about documenting reality, but also about evoking imaginary landscapes, common places to turn to in these uncertain times where the only thing that doesn't last is the constant change of reality through which we travel, with hardly any time to stop, pause, look, or, much less, look back.
An editorial contributor to the Getty Images NYC agency, he has held international exhibitions in Milan,
Lisbon, New York, as well as PhotoEspaña, Art Madrid and Estampa at the national level.
He presents photography from his series [ Life In Mars ], an allegory of invented landscapes about what human life will be like on new planets. What will love be like in the colonies? Everything has a beginning, everything has an end.
Is there life on other planets? Will humans live on Mars? How will human evolution adapt to these new habitats? Will wearable technology define two human species? Will we have a 5G chip embedded in our brains?
The questions follow one another in the most usual way, grouped in a dark tangle that shows light between its cracks, imagining a future that does not yet exist, digging into unlived memory, in the dream of looking at the stars and imagining life beyond our atmosphere,
in that human desire to ask questions that offer answers that bring new questions.
Is there life on Mars?
Also available are their moving frames with an NFT (Non Fungible Token) license.

Planet Moon (2021)
Series: [ #Life_In_Mars ]
Technique: Analog and Digital Photography, Certified Printing on Hahnemühle Paper
Photo Rag® Ultra Smooth 305 gsm · 100% Cotton. Museum Standard Cotton Paper.
Limited Edition, Serialized and Numbered, 16 prints & 1 PA.
50x50cm. (10 units) 100 x 100 cm. (5 units) 150 x 150 cm. (single copy)

She holds a degree in Fine Arts from the Complutense University of Madrid. She also studied Architecture at the National University of Rosario, Argentina.
He has participated in numerous collective and solo exhibitions in Spain, Argentina, Brussels, London, Portugal, Sweden and Trento, Italy.
Among these, the most notable were the AISGE Foundation in Madrid and the Brussels Parliament in 2015.
Other interesting projects include Researchers' Night at the Royal Botanical Gardens in Madrid. Fashion Art Institute - Recicla Futuro by Manuel Fernández at the French Embassy in Madrid and the Royal Tapestry Factory in 2018. Her most recent exhibition, "Night of the Galleries" in Malmö, Sweden in 2019, featured her painting "The New Ophelia" as the image for the arthouse film "Konstnärernaochderasverk" in 2020.
“Time to Walk” auction exhibition in collaboration with “Callaghan Shoes and Fashion Art Institute” alongside artists such as Blanca Cuesta, Loles León and Rossy De Palma, among others.
She has been selected for the second time in the CEART Tomás y Valiente Competition to exhibit her solo exhibition in February 2016 and has participated in fairs such as Estampa, Librarte, Just LX Lisbon 2019 and 2022, Fig-Bilbao 2019 and 2022, Art Madrid 2020 and Solo Project at "Marte International Art Fair" in Castellón 2021.
Her work is in public collections, such as the Fuenlabrada City Council's Casa de la Mujer, and private collections in Portugal, Sweden, Germany, Argentina, and Spain.
Evangelina addresses the genre of narrative portraiture in her process, alluding to the indeterminacy of human essence. The search for contemplative and transformative beauty, as a symbiosis between reality and the ideal.
The use of symbolic elements in his drawings and paintings speaks to us of the superego and humanity's desire for its ethereal transformation, associated with the condition of transcendence of inhabiting a space between heaven and earth.

Robin.
Color female portrait, hand-signed and embossed on the lower right side.
Unique work on paper mounted in a display case with anti-reflective glass.
Technique: GRAPHITE AND TEMPLE ON HAND-TONED PAPER
Dimensions: 56 x 76 cm
Year: 2022

From the continuous analysis of painting and sculpture, the work of Roberto López Martín warns us about the impoverishment of understanding and the loss of the capacity for abstraction.
Both events are believed to be caused by the primacy of the image generated by television, the Internet, and all their applications over the written word.
The toy is an essential concept and one in which it takes on its maximum value in the context of human development.
It is through toys that children explore, discover, learn, and interact with multiple objects and problems that form an important part of their proper development as individuals.
The child, behind the created mask of false childhood, becomes a series, a reference of
catalog, a kind of avatar or graphic representation, completely distorted and associated with a user for future identification in their demand. It is positioned behind the toy-product, acquiring those values, enhancing emotional anesthesia and following the pattern of what we call social networks.

Avatar Pygmalion
Homo Videns Series: The Tele Children, Avatars.

Technique: Canvas figure on fiberglass and resin.
Measurements: 218 x 44 x 30 cm
Unique Work.
Year: 2023.

For more information, please email us at customers@ddrartgallery.com