Captura de pantalla 2024-04-17 a las 18.17.56

With the return from Semana Santa (Holy Week), the day of Friday, April 5th inaugurated the exhibition “Cola, Papel, Tijera” (“Glue, Paper, Scissors”) which resumes the activity in the gallery with the predominance of collage. 

With a wink to fate and to the importance of play, we welcome the spring with this duo. Artist Iván Prieto (O Barco de Valdeorras, 1978), better known for his role as sculptor, brings us this technique in its most traditional format. Using papers of different textures, cut-outs, or museum tickets, he creates an expressionist universe that is full of symbols. Although in her past she specialized in sculpture, artist Alba Casanova (Vigo, 1981) develops animation, motion design, and digital collage with surrealist imagery reminiscent of Victorian photo collage.

Long live collage!


“Nulla dies sine linea”, inaugurated the 9th of February 2024, is an exposition that showcases the duality present in the works of Cristina Fernandez Nunes (Vigo).

In this duo, the focus is put on her method of representing both a natural and urban landscape. The exhibition can be read either from left to right or the other way around, because both poles converge and coexist in the time within the paintings of this Vigo artist. Although her architectural artworks are based on geometry, she still always ends up searching for a stronghold, a refuge where nature makes its appearance. It’s not accidental that Cristina ends up with moulding where plant and vegetation formations make an appearance. In the same manner, when Cristina undertakes the representation of a natural landscape, she searches time and time again for a straight line.

“Nulla dies sine linea” (“No day without a line”) is a Latin expression that we know from Pliny the Elder, who in turn attributed it to the painter Apelles of Colophon, who suspectedly didn’t live a single day without painting a line.

“El cubo perfecto” (“The perfect cube”), exposition inaugurated the 1st of December 2023, is told with the participation of artists Alba Galocha (Santiago de Compostela), Alberto Ash (Vigo), Enay Ferrer (Caracas), Iván Prieto (O Barco de Valdeorras), Lara Pintos (A Coruña), Lula Goce (Baiona), Mario Soria (Barcelona), and Mery Pais (Santiago de Compostela).

In this exhibition, a play on words links the famous white cube theorized by Brian O’Doherty with that which mathematically is known as the perfect cube (two to the third degree). In this form, eight artists burst into the white cube and multiply this duo three times.

“Eros and Thanatos” inaugurated the exposition of September 2023, a duo protagonized by Yolanda Dorda (1974, Barcelona) and Roberto Gonzáles Fernández (1948, Barcelona). 

The exposition compares two concepts: on one hand, we find the figure of Eros, the god of love in Greek mythology; and on the other, Thanatos, a figure that personifies death. 

Yolanda Dorda embodies the drive and instinct of Eros with a body of work that is expressionist, lustful, and exuberant. At the same time, Roberto Gonzalez Fernandez shows a character in his works that is cold, dissident, and somber that identifies with Thanatos.

The exposition “Animales de agua” (“Animals of Water”, or “Water Animals”) protagonized the summer season with the works of Manuel Moranta (Tarragona, 1979) and Raúl Alvarez (Madrid, 1982). 

Raúl Alvarez makes use of an impactive yet realistic style where the sea is the main protagonist. The walls of Dupla were filled with oil-painting surfers that made a show of the exposition’s title. Manuel Moranta did the same in a more primitive, lyrical style, where words and drawings combine to perfection. He took the role of representing fresh water.

“La costilla de Adán” (“Adam’s Rib”), a duo formed from April to May 2023 by Maria Hesse (Huelva, 1982) and David Fidalgo Omil (Lugo, 1989), utilize biblical sources and world literature as a starting point in order to revisit the myth of creation. 

David Fidalgo turns to the meme and to artificial intelligence to achieve “divine inspiration.” At the same time, Maria Hesse embodies scenes from classic literature (The Judgement of Paris), from the Bible (The Temptation), and literary figures (Snow White) in order to celebrate their disobedience.

“Por una cabeza” (“By a Head”) was the name elected for this duo protagonized by Samuel Salcedo (Barcelona, 1975) and Pelucas Pilas Bubbles (Vigo, 1980).

In addition to making a reference to the “plastic” and sculptural theme of these artists, the exhibition appeals in a symbolic manner to the figure of the apostle, whose body, which is guarded in the crypt of the cathedral, is missing its head due to death by decapitation. “By a head” is also an equestrian term, a nod to the equine representation of St. James the Apostle, therefore alluding in a symbolic manner to the decapitation of the apostle St. James.

“Give me five” is the pentagram of DUPLA. Inaugurated the 21st of December 2022, five artists articulate the puzzle of this gallery: Roberto González Fernández (Monforte de Lemos, 1948), Lara Pintos (A Coruña, 1984), Iván Prieto (O Barco de Valdeorras, 1978), Cristina Fernández Núñez (Vigo, 1971), and Pablo Rodríguez Little (Córdoba, 1989).

The expression “high five” manifests a celebration between two people, which finds its origins in the world of sports, where the palm of one hand meets another. In this exhibit the five artists show their duality and reach their hand out to the viewer, who fulfills the gesture.

“Ornamento y delito” (“Ornament and Crime”) takes off on horseback between the visual paradox, the real and the mythological, formality and irony. From the conceptual and sculptural point of view, the double meaning was presented in the exhibition of Carlos Tárdez (Madrid, 1976) inaugurated the 18th of November 2022. 

The realism of his painting, contrasted with the treatment of the background in which his figures are situated, results in a conception of space that obeys more the parameters of abstraction than those of figuration. Precisely, this duality turns the artists into the protagonist of the first individual duo. His ability to appeal to the past in his works and transform it into the present, as well as the playing of titles and icons, makes this artist, for Adolf Loos, a “delinquent” of art. But similar to how René Magritte represented a pipe that couldn’t be smoked, Carlos Tárdez points with a revolver that can’t be fired.


It’s a fallacy, an illusion, a beautiful lie.

More than half a millennium ago, Rogier Van Der Weyden painted his celebrated “The Descent from the Cross”, a scene that in part inspired the exposition “Confabulaciones” (“confabulations”) by Lara Pintos (A Coruña, 1984) and Iván Prieto (O Barco de Valdeorras, 1978), inaugurated the 7th of October 2022. 

Lara Pintos situates us in front of uninhabited architecture, where time seems to have slowed down. In her works, the study of light and reflections are consistent. The exploration of the Newtonian refraction and the decomposition of white light in colors makes it so her brushstrokes jump and turn towards a certain abstraction. 

The imagination of Ivan Prieto conceives the characters with a striking sculptural quality. Resolute and with great chromatic richness, he wraps his figures in cloth with heavy folds and arranges them in unbearable and absurd postures. The use of fluorine colors and the playing of textures in those fabulous characters convert them into a hybrid between the human and animal world. Here is a realm in which the painter and sculptor takes the reins.

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