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.





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Pecunia non olet, henceforth PNO, is the continuation of the exhibition “Brotes verdes” (Green Shoots) held in Palma de Mallorca in 2013 in which 32 people were able to obtain a similar number of drawings by the artist for a kilogram of coins of minimal value (one, two and five Euro cent coins), that is to say, way below their market value but in exchange for the effort of gathering a kilo of these coins.

These 32 kilos of coins are now the starting point for a reflection regarding the history of money since its origins up to the questioning and transformation of it, that we are currently witnessing. The beginning of money, as anthropologists tell us, coincides with the period that writing began, only considered in passing here, which dates back to approximately 4500 years ago.

The trade of a drawing in exchange for a kilo of coins alluded, in a certain way, to a link that existed in early periods between the two parties involved in a transaction, a link that has been lost in the process of money becoming increasingly abstract. The process that gradually leads to the transformation of specific work into abstract and featureless work that was enabled by the development of capitalism.

With regard to the decline and transformation of money, it could be said that not only has it become immaterial through credit cards, but that ever since the gold standard was abolished in 1971, it has become fictitious; there is thus a kind of simulation. 
“Almost 80% of the money in circulation at present in the world is credit, money that is not the result of a production process”.

It is the last turn used by capitalism to stay afloat despite its internal contradictions - which Marx foresaw - and despite having demonstrated its destructive nature in terms of the deterioration of the social fabric and damage to the environment. 

Clear signs in this regard are the increase in individual pathologies, deterioration in the use of language, the almost systematic destruction of indigenous people, not to speak of the catastrophes caused by the crazy race to obtain energy and essential raw materials, petrol, water, coltan, etc.
The PNO project takes its title from a Latin phrase attributed to the Roman emperor Vespasian. When his son reproached him for charging taxes on public toilets, he responded: money does not stink…  

PNO is an appeal to reflect on the effects and consequences of financial or “cognitive” capitalism, an invitation for everyone to be creative, encouragement to escape the passiveness that characterises an era where excessive information numbs our capacity to reflect. Exploring the possibilities of a lifestyle change, because, whatever people may say:





Opening June, 8th - Art Palma Summer

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Movement is as a key to the inner pictorial language of Vicky Uslé. Her art possesses spontaneity, dynamism, freedom, fluidity and lightness.
According to the artist, there are no canvasses; there is only painting in movement; they are all part of one. They are linked together, to each other and to the next one. Crossroads and overlaps happen among them; they interweave. They are partners in the same dialogue even if it develops in different conversations, sometimes simultaneously, a twist of rhythms within the space of the painting that provokes new connections and possibilities, an opening for painting to move through; we discover horizons that are always subjective, open and unknown.
These are spaces without gravity. However, these places often have an extension on the edge, at the limits of the canvass, with lines or surfaces that act as anchors, preventing the ship from drifting.
Vicky Uslé has opted for the search for a space, her own way, based on continuation and reinforcement of open formulas of abstraction, and able to offer the most difficult aspect of art, an image to think about while our feelings are moved or snatched away, a tradition that insists on the poetic potential of abstraction, which she shows off in her best paintings.
This group of paintings suggests industriousness in its creation, and even some delight. They are spontaneous, dynamic, free, fluid and light. Painting grows from a stable imbalance where the possibilities arise from a rendezvous with the unexpected. Form and emptiness share the same space. They define and limit each other. We enjoy suspended time in a studio of solitude. We see in her art a greater need for a dialogue that expands, projecting on to a horizon of debates and perspectives that is “wider and more holistic” that transforms desire and pushes forward.