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.

CURRENT EXHIBITION:

 

PEDRO CALAPEZ

THE UBIQUITOUS LIMIT in POLLENÇA

August-September 2017

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In the work of Pedro Calapez, the limit  – as a figure, proposition, form and discourse – plays a key role in the visual look invented anew by the artist with every addition, piece of work or exhibition. This results in the ongoing discovery of new points of focus that reveal chromatic, material, spatial, temporal, territorial and cultural limits. The artist gives each image a pictorial dimension, while nevertheless maintaining its imagetic quality. To put it another way, every piece by the artist is endowed with a parallel existence in contiguous worlds, where images and reality come up against one another in a mutually constitutive interaction. While there seems to be an abstract rigour to his art, there is also a predisposition towards establishing a concrete visuality that is limitless but evokes boundaries, only to overcome them – the frontier between the abstract and the concrete/figurative is a constant feature of his work. The present exhibition explores the discourse (and elasticity) of the limit, as hinted at from the very outset (not only by the title of the exhibition, but also those of the pieces and series of work on display). The multiple meanings suggested hint at the previously restricted nature of the external space, and also at a forbidden zone – unreachable, inaccessible – that comprises a semantic, almost archetypal map, as though the artist’s gaze has set out a cartography of limits, consisting of (all of) the borders in the world, all of them transient incisions. The pieces featured in the exhibition are arranged in two main sections: objectual paintings and paintings of fragments. These attest to a natural (but not naturalised) affinity between isolated pieces and works that form part of a series. The whole apparatus behind the display reveals a penchant for installation that can often be seen in the artist’s exhibitions, raising questions about the status of each work. While coloured surfaces, the use of oils and acrylics, and a sense of stability, albeit fragmented, suggest that we are looking at paintings, all of the other elements also proclaim a sculptural sensibility. As such, it might be said that the work of Pedro Calapez dwells in the borderlands between supports, thus resulting in an unstable status, arising from meticulous visual processes. The limit is a ubiquitous concern within the artist’s work, a common denominator expanded upon in different combinations, forming an intricate labyrinth that extends outwards of its own accord, without obscuring its potential destination, and offering points of exit (and surely points of entry) to a land where the image is a rich seam of critical reflection and analytical contemplation. The limit emerges as an epistemic imperative – that is, as a guide that helps the viewer to traverse – and thus to know – certain paths that at once show the “within” and the “without”. As such, the limit appears to introduce the possibility of transgression. It is this awareness of the limit that defines landscapes – not necessarily natural – that are always imagined. These extend past the painted surface of the piece in question and represent a space beyond the point of no return, as suggested by the subtitle of the exhibition, which alludes to the aesthetic and ethical dimension to the subjective gaze.


Ana Cristina Cachola