Maior Gallery was founded in Pollença in 1990. Since then we have developed a significant labor in promoting contemporary art. We represent both emerging and established artists, and work with new means to create innovative ways to explore, interpret, and visualize new languages and artistic experiences. Since July 2004, Maior has a new space in Palma.

The gallery has participated in major contemporary art fairs such as ARCO (since 1994), ArtCologne (since 1995), Loop, Estampa, Artissima, KIAF, PULSE Miami and PULSE New York, among others.

During summertime, the gallery organizes a series of video art screenings entitled "The video on the roof": on July and August nights, critics, curators, museum managers and artists present their latest video creations selections on the gallery’s roof in Pollença.

A program of approximately seven exhibitions per year offers a taste of young artists and prominent names’ more recent work. We also work with museums, institutions and foundations in the dissemination of our artists’ work, nationally and internationally.

We also provide experimental workshops in which the artists develop different techniques. Amador, Broto, Campano, José Pedro Croft, Xavier Grau, Eva Lootz, A.R. Penck, Jürgen Partenheimer, Charo Pradas, Susana Solano, Darío Urzay, Mónica Fuster, Joan Cortés, Núria Marquès, Aina Perelló and Nicholas Woods are among the artists who have made editions for the gallery.




A PIECE OF NATURE 'Friluftsliv' IN POLLENÇA, April - May, 2017

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March 25th. - May 2017 - Art Palma Brunch

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“When I detect beauty in any of the nooks and crannies of nature, I notice for its quiet and reserved spirit that requires for its contemplation, the inexpressible privacy of a silent and with no ambition life. [...] When I walk in the woods, I am reminded that a wise purveyor has been there before me; my most delicate experience is typified there. I am struck with the pleasing friendships and unanimities of nature, as when the lichen on the trees takes the form of their leaves” (Natural History of Massachusetts, 1842) Henry David Thoreau.

“I believe that friluftsliv, first and foremost, is about feeling the joy of being out in nature, alone or with others, experiencing pleasure and harmony with the surroundings - being in nature and doing something that is meaningful” (Dahle, B. Henderson, B. & Vikander, N., 2007, pag.23).

During the last years, my artistic work has been linked to nature and to the desperate answer that it offers in front of human invasions, from its silent awakening to its more violent yells.
Finding a place where the power of its landscapes makes the human eye find it hard to rest, where there are natural spaces which do not need to be protected because nature itself protects them with its weather conditions, where landscapes remain in the mind and appear like flashes all throughout the time, where human interventions have nothing else than filling up with nature, is the starting point of this project.
A piece of nature is a project that collects retails from the Norwegian landscape, a scenery with such strength and power that it has been sending messages of self-protection, and which from a subjective perspective interprets the signs that nature has been showing to the human being throughout the time until reaching the Norwegian term “Friluftsliv”, a word that gathers all the Norwegian bounds with nature and that it has been literally translated as “open air”, though, it is not easy to define since it is necessary to conceive and live it. In Norway, the division between culture and nature is minimum. The country invites to “friluftsliv”. Studying the connections between the human being and nature (biophilia), the bird migration in spring or climate change is necessary. 
“The fjords, the woods, the sea. Norway is one of the last unspoilt territories in Europe, gifted with wild nature, where the mankind has managed to survive in harmony with his environment. For the architect Kjetil Thorsen, “within the Nordic design, nature is the source of inspiration”. Thorsen is one of the cofounders of Snøhetta studio, which is named after the most emblematic mountain in the country and which is in the summit of the global architecture. Kjetil designed the new Oslo Opera as a huge glacier emerging from the fjord. It is already the most emblematic building in this new Norway who faces different challenges without losing sight of the third way which has led the country to success. “It’s a democratic building. Why? Let me explain: we have been able to make the roof of something as elitist as an Opera palace stepped on by thousands of citizens every day. It is not a building for Opera lovers; but a building for anyone. This is the model of the country”, (Jesús Rodríguez. El Manual de la buena vida. El País).