Chapter 1 (Laurina Paperina)

“Be proud to be a loser”, 150x125cm, mixed media on paper, 2013. Flesh, blood, sweat and bones, Paperina is an artist who really paints, who speaks about real things even if they seem to be lies, truths made out of

Chapter 1 (Laurina Paperina)

“Be proud to be a loser”, 150x125cm, mixed media on paper, 2013. Flesh, blood, sweat and bones, Paperina is an artist who really paints, who speaks about real things even if they seem to be lies, truths made out of

Chapter 2 (The Royal Art Lodge)

“Spring time” 13×13 cm. Now there are no certainties, everything is too close, too mixed, too confusing, we notice that something is happening, that it is changing, we have it in front of us but we do not know how

Chapter 2 (The Royal Art Lodge)

“Spring time” 13×13 cm. Now there are no certainties, everything is too close, too mixed, too confusing, we notice that something is happening, that it is changing, we have it in front of us but we do not know how

Chapter 3 (Daniel Johnston)

I don´t know if this group of creators who are catching us by the balls and juggling with them are a generation. Great Ratzinger resigned and god does not exist, but the family that eats together stays together. The only

Chapter 3 (Daniel Johnston)

I don´t know if this group of creators who are catching us by the balls and juggling with them are a generation. Great Ratzinger resigned and god does not exist, but the family that eats together stays together. The only

Chapter 4 (David Shrigley)

“Miracle of birth!”. And here we are dealing with an art that arises torn, bitched and aggressive, sometimes violent, irreverent, tragicomic, always with a sense of humor, with laughter as end and means, blessed art comedy, and unapologetic art. A

Chapter 4 (David Shrigley)

“Miracle of birth!”. And here we are dealing with an art that arises torn, bitched and aggressive, sometimes violent, irreverent, tragicomic, always with a sense of humor, with laughter as end and means, blessed art comedy, and unapologetic art. A

Chapter 5 (Albert Pinya)

“Tragicomedia”. Acrylic on canvas. 40x50cm. 2010. Painting, always painting, lots of paint, good and bad, and other techniques, all we that we can, but always the painting. Returning to where we never left, returning to basics, to that painting (un)

Chapter 5 (Albert Pinya)

“Tragicomedia”. Acrylic on canvas. 40x50cm. 2010. Painting, always painting, lots of paint, good and bad, and other techniques, all we that we can, but always the painting. Returning to where we never left, returning to basics, to that painting (un)

Chapter 6 (Matt Leines)

Untitled (Portrait). 2010. Acrylic on panel. 5” x 7” Direct topics, raw contents, images that are treated with a childlike appearance, innocent, naive look, deliberately using provocation, irony and the sense of humour to delve into consciousness, to fix retinas

Chapter 6 (Matt Leines)

Untitled (Portrait). 2010. Acrylic on panel. 5” x 7” Direct topics, raw contents, images that are treated with a childlike appearance, innocent, naive look, deliberately using provocation, irony and the sense of humour to delve into consciousness, to fix retinas

Chapter 7 (Cristina de Miguel)

“New Yorkers Seeing a Painting Show”, 96×84 inch, acrylic on canvas, 2012. Crises always stimulate creators and she would not be an exception, demands them, squeeze them, fucks them, but also makes them sharpen the mind. The result is often

Chapter 7 (Cristina de Miguel)

“New Yorkers Seeing a Painting Show”, 96×84 inch, acrylic on canvas, 2012. Crises always stimulate creators and she would not be an exception, demands them, squeeze them, fucks them, but also makes them sharpen the mind. The result is often