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<\/p>\nDrawing, painting, sculpture, installation, sometimes photography and video, or any other medium, are all used by Pamen Pereira to materialize an idea and complete the creative act. An act that in its process merges with the artist’s life experience and is strongly linked to nature, from which she extracts a good part of her images. An artistic approach that is, at its core, the radical choice of a way of life. A demanding fidelity to this as a path of knowledge and a place of transformation. Life as the main work office. <\/p>\n
He studied Fine Arts at the Polytechnic University of Valencia, and in the mid-eighties began his artistic career. Since then he has not stopped traveling, carrying out projects and exhibiting his works, throughout Spain and in different European, Asian and American cities. Likewise, he has also resided for long periods in distant countries such as Japan or Tanzania, or in extreme places such as Antarctica and the Sahara. <\/p>\n
At the end of 2021 she was appointed a full member of the Royal Galician Academy of Fine Arts, in the Sculpture section, and in 2022 she received the award for the best work or artistic group presented by an artist.
\nnational live at the International Contemporary Art Fair (ARCO, Madrid 2022) granted by the Spanish Association of Art Critics (AECA, AICA Spain).<\/p>\n
Among his exhibitions stand out: Museum Zu Alerheiligen (Schaffhausen, Switzerland 1996), Uni\u00f3n Fenosa Museum of Contemporary Art (MACUF, A Coru\u00f1a 1998), Centro Galego de Arte Contempor\u00e1nea (CGAC, Santiago de Compostela 2001), La Gallera (Valencia 2002), Torrente Ballester Cultural Center (Ferrol 200, Centro de Arte Burgos3), (CAB Burgos Art Center). 2009), Contemporary Art Museum of Castile and Le\u00f3n (MUSAC, Le\u00f3n 2016), Fundaci\u00f3n Caja Mediterr\u00e1neo (CAM, Alicante 2020), C n t r e d e l Carme Cu l t u r a Contempor\u00e0nia, (CCCC, Valencia 2022). <\/p>\n
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She was selected to participate in group exhibitions such as the<\/p>\n
Madrid 1996), Paysage Contemporain (Galerie du Conseil Architecture, Urbanisme et de Environnement, Limoges [Francia] 1997), Other Natures (Monasterio Santa Mar\u00eda de Prado, Valladolid e Castillo de Alaqu\u00e0s, Valencia 2003), XI Bienal do Cairo (Palacio das Artes e Palacio da \u00d3pera),] Cairo [2008gypt] Polar South: Art in Antarctica (Bos Aires [Arxentina] e Cidade de M\u00e9xico [M\u00e9xico] 2009), The Asia Principle. China, Xap\u00f3n e India e a arte contempor\u00e1nea en Espa\u00f1a 1957-2017 (Fundaci\u00f3n Juan March, Madrid 2018), Transformaci\u00f3ns, mulleres artistas entre dous s\u00e9culos (Caja Canarias, Tenerife 2020) <\/p>\n
Widely catalogued since 1989, his work is part of numerous Spanish public collections such as the CGAC, the MACUF, the olorVISUAL), the Mar\u00eda Jos\u00e9 Jove Foundation, among others, as well as important private collections around the world.<\/p>\n
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Jos\u00e9 Eugenio Marchesi, 1963, studied Fine Arts at the Complutense University of Madrid and held numerous exhibitions in Spain, Holland and Senegal, among others. Among other activities, he currently directs the Ankaria Foundation Transversia and Ocean&Savane residencies for the cultural exchange between Spain and Senegal. <\/p>\n
His work focuses on the relationships between man and nature, nature itself and the relationships between art and science as a transversal way of generating art and knowledge. I work in the field of Art, Science and nature. I am passionate about knowledge systems, but also the feelings and sensitivity that generate them. <\/p>\n
For as long as I can remember, I have patiently observed the natural environment that surrounded me, assimilating the processes and their evolution in the times marked by nature. I have collected obsessively
\nall those remains that in one way or another poetically expressed the reality of a fantastic nature, infinite in its possibilities, which always managed to move me deeply. <\/p>\n
My artistic practice began professionally in the late 80s, although it actually began fundamentally during my childhood.<\/p>\n
At first I lived subject to the natural environment that surrounded me and in which I found myself immersed. Soon the emotions, observations, notes and collections began. Not long after my gaze focused on man’s relationship with nature in its purest form. From the hunter-gatherer to the rancher and the cultivator, my workshop and laboratory were stables and crops. <\/p>\n
From there I inevitably came to science, which led me to do the exhibition project \u201cTransgenics and Variants\u201d where I approached genetics as an excuse for the recreation of different living realities. a
\nI was selected in 2005 for the Biotech Art Wokshop, by Arts Catalyst and SymbioticA. at Guys Hospital in London, where we carried out art-oriented biotechnology practices. <\/p>\n
It is the \u201cScientific Livestock\u201d project that leads me to knock on the doors of different laboratories and departments looking for knowledge, advice and inspiration.<\/p>\n
Later, after the anthropological reflection of \u201cCraneozoides\u201d and thanks to the close relationship with the molecular biologist Jes\u00fas Espada and knowledge of the reality of Senegal, the \u201cTransracialism\u201d project emerged.<\/p>\n
![\"TRIBUTE](\"https:\/\/sacrafestival.org\/wp-content\/uploads\/2025\/03\/homenaje-a-sanchez-cotan.jpg\")
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Como inspiraci\u00f3n conceptual, non quero deixar de citar un pequeno fragmento da magn\u00edfica obra de Tito Lucrecio Caro \u201cDe rerum natura\u201d: HOMENAXE A SANCHEZ COT\u00c1N, 2021 – 82 X 70 CmMARCHESI
\n\u201cA materia non \u00e9 unha masa inm\u00f3bil, xa que vemos diminu\u00edr un corpo, e se segue a flu\u00edr, cons\u00famense a longo prazo e o tempo r\u00f3ubanas da vista; a suma cons\u00e9rvase sen perda:
\nAo empobrecer un corpo, os principios enriquecer\u00e1n outro, e uns envellecen para que outros poidan florecer; Nin sequera paran nun lugar; Deste xeito o universo sempre se renova…”<\/p>\n
Colaborei en diferentes proxectos con laboratorios, instituci\u00f3ns e investigadores: Gander\u00eda Cient\u00edfica \/ D r o s o p h i l a melanogaster: Centro de Microscop\u00eda Electr\u00f3nica Luis Br\u00fa, Centro de Biolox\u00eda
\nMolecular Severo Ochoa, Ang\u00e9lica Cantarero. Mus musculus: Departamento de Bioqu\u00edmica e Biolox\u00eda Molecular da Facultade de Medicina da Universidade de Oviedo, Jes\u00fas Espada, Carlos Jes\u00fas L\u00f3pez Ot\u00edrna.
\nTranscialismo: Instituto Ram\u00f3n y Cajal de Investigaci\u00f3n Sanitaria, Hospital Ram\u00f3n y Cajal e Instituto de Investigaci\u00f3n Biom\u00e9dica \u201cAlberto Sols\u201d CSIC- Universidade Aut\u00f3noma de Madrid, Jes\u00fas Espada. <\/p>\n","protected":false},"excerpt":{"rendered":"
Pamen Pereira Drawing, painting, sculpture, installation, sometimes photography and video, or any other medium, are all used by Pamen Pereira to materialize an idea and complete the creative act. An act that in its process merges with the artist’s life experience and is strongly linked to nature, from which she extracts a good part of […]<\/p>\n","protected":false},"author":3,"featured_media":7071,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[209],"tags":[],"class_list":["post-7190","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artists-2025"],"yoast_head":"\n