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MARK WALLINGER (Chigwell, England, 1959). "Ghost." Silkscreen, copy 422/500. Hand signed and numbered on the back. Measurements: 55 x 47 cm; 60 x 52,5 cm (frame). The white unicorn, a figure that often symbolizes unattainable purity, is impregnated in Mark Wallinger's work with political connotations, suggesting an ambiguous approach: the title and the image of photographic appearance emphasizes its ghostly essence, of mythical creature. But, at the same time, it suggests that utopia (ideals) continues to stir us up inside. English artist Mark Wallinger is known for his ability to use art as a tool for social and political commentary, combining intellectual rigor with a deep sense of history and culture. He emerged as part of the generation of British artists that formed in the 1980s and 1990s, often associated with the Young British Artists (YBAs). However, his approach has been more conceptual and political than many of his contemporaries. Wallinger addresses issues of identity, spirituality and power, often questioning authority and exploring subjectivity. His work can be both direct and ironic, using cultural and religious symbols to provoke reflection. Having been nominated for the Turner Prize in 1995, he won it in 2007 for his installation State Britain. His work Ecce Homo (1999-2000) was the first to occupy the empty fourth plinth in Trafalgar Square. He has represented Britain at the Venice Biennale, Documenta in Kassel and the Istanbul Biennial, among other international art events. Labyrinth (2013), a permanent commission for Art on the Underground, was created to celebrate 150 years of the London Underground. In 2018, the permanent work Writ in Water was made for the National Trust to celebrate the site where Magna Carta was signed at Runnymede. He has held exhibitions at major art institutions such as Tate Britain in London, the Museum of Modern Art in Frankfurt, and the Du Mont Foundation in Cologne.

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MARK WALLINGER (Chigwell, England, 1959). "Ghost." Silkscreen, copy 422/500. Hand signed and numbered on the back. Measurements: 55 x 47 cm; 60 x 52,5 cm (frame). The white unicorn, a figure that often symbolizes unattainable purity, is impregnated in Mark Wallinger's work with political connotations, suggesting an ambiguous approach: the title and the image of photographic appearance emphasizes its ghostly essence, of mythical creature. But, at the same time, it suggests that utopia (ideals) continues to stir us up inside. English artist Mark Wallinger is known for his ability to use art as a tool for social and political commentary, combining intellectual rigor with a deep sense of history and culture. He emerged as part of the generation of British artists that formed in the 1980s and 1990s, often associated with the Young British Artists (YBAs). However, his approach has been more conceptual and political than many of his contemporaries. Wallinger addresses issues of identity, spirituality and power, often questioning authority and exploring subjectivity. His work can be both direct and ironic, using cultural and religious symbols to provoke reflection. Having been nominated for the Turner Prize in 1995, he won it in 2007 for his installation State Britain. His work Ecce Homo (1999-2000) was the first to occupy the empty fourth plinth in Trafalgar Square. He has represented Britain at the Venice Biennale, Documenta in Kassel and the Istanbul Biennial, among other international art events. Labyrinth (2013), a permanent commission for Art on the Underground, was created to celebrate 150 years of the London Underground. In 2018, the permanent work Writ in Water was made for the National Trust to celebrate the site where Magna Carta was signed at Runnymede. He has held exhibitions at major art institutions such as Tate Britain in London, the Museum of Modern Art in Frankfurt, and the Du Mont Foundation in Cologne.

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EDUARDO ÚRCULO FERNÁNDEZ (Santurce, Vizcaya, 1938 - Madrid, 2003). "Embrace", 1997. Silkscreen on paper, copy 74/75. Signed, dated and justified by hand. Measurements: 76 x 57 cm; 94 x 75 cm (frame). Following his particular aesthetic, Úrculo composes his works through enigmatic objects and indeterminate, anonymous figures, which, distantly inspired by fashion illustrations and art deco posters, evoke a whole range of the contemporary popular imaginary. Painter and sculptor, one of the best exponents of pop art in Spain, Eduardo Úrculo began painting as a child, without any artistic training, and in 1957 he published his first illustrated strips in the Oviedo newspaper "La Nueva España". Shortly after, he moved to Madrid and began taking classes at the Círculo de Bellas Artes. During these years he earned his living as an illustrator and set designer, and cultivated a painting marked by social expressionism. In 1959 he went to Paris, where he furthered his training at the Académie de la Grande Chaumière. In the French capital he worked as a graphic designer and met Eduardo Westerdahl, whose influence made his painting evolve towards abstraction. However, four years later he returned to figuration and social criticism. In 1967 he made a trip to Northern Europe, and it was then that he first came into contact with American pop. From then on, Úrculo's work will be marked by a realism based on a very vivid coloring and, well into the seventies, by erotic, satirical and critical themes. In the eighties he lived in New York, where he carried out important projects. In 1992 he returned to Paris. In this last period he added to his repertoire the theme of the traveler confronted with the great modern city, an ironic variant of the figure of the romantic overwhelmed by the landscape. This formal evolution could be seen through the numerous individual exhibitions he held around the world since 1959, as well as in anthologies (Centro Cultural de la Villa de Madrid, 1997, and Museo del Grabado Español Contemporáneo de Marbella, 2000). Úrculo is currently present in numerous museums and collections of modern art, among them the Museo Nacional Centro de Arte Reina Sofía, the Galleria Nazionale d'Arte Moderno in Rome, the Biblioteca Nacional de Madrid, the Museo de Arte Contemporáneo de Bogotá, the AENA, Testimoni and Fundesco collections, the Museo del Dibujo Castillo de Larrés, the Museo de Arte Contemporáneo de Vilafamés and others.