Galería Travesía Cuatro

24/06/2026

❗️Hasta el 18 de julio, puedes visitar "El lado caliente" en Travesía Cuatro Madrid. Curada por Andrea Celda (Andrea Celda Atthalin), la exposición cuenta con obra de Vivian Caccuri (vivian caccuri), Gabrielle Goliath (Gabrielle Goliath), Krizia Leon Porta (Krizia Leon Porta), Amol K patil (), Paula Santomé (.paulasantome) y Felix Shumba (Shumba).

🔻"El lado caliente" surge de un texto de Alana S. Portero, en el que la autora se refiere al mundo de los vivos como “el lado del mundo en el que las cosas siguen calientes”, en relación a la pérdida de un amante por el VIH. Las prácticas aquí reunidas plantean maneras alternativas de lidiar con realidades impuestas y modificarlas, abriendo grietas desde las que imaginar otros modos de estar, de recordar y de reconocernos. En este lado donde las cosas siguen calientes hay dolor y hay afirmación, y hay un deseo inmenso de apertura hacia lo desconocido, y hacia otras narrativas que protejan y cuiden la vida [...].

-Extracto del texto curatorial por Andrea Celda

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❗️Through July 18, you can visit "El lado caliente" at Travesía Cuatro Madrid. Curated by Andrea Celda (Andrea Celda Atthalin), the group exhibition features work by Vivian Caccuri (vivian caccuri), Gabrielle Goliath (Gabrielle Goliath), Krizia Leon Porta (Krizia Leon Porta), Amol K Patil (), Paula Santomé (.paulasantome), and Felix Shumba (Shumba).

🔻"El lado caliente" [The Warm Side] emerges from a text by Alana S. Portero, in which the author refers to the world of the living as “the side of the world where things are still warm”, in relation to the loss of a lover to HIV. The practices brought together here propose alternative ways of engaging with imposed realities, opening cracks from which to imagine other ways of being, remembering, and recognising one another. On this side, where things are still warm, there is pain and there is affirmation, and there is an immense desire for openness towards the unknown, and towards other narratives capable of protecting and sustaining life [...].

-Excerpt from the curatorial text by Andrea Celda

23/06/2026

❗️Until November 22, you can visit Paper Tears, Claudia Pagès Rabal’s () project for Catalonia in Venice (Catalonia in Venice), as part of the Collateral Events of the 61st International Art Exhibition—La Biennale di Venezia (La Biennale di Venezia).

🔹Paper Tears is an installation of light, sound, choreography, and image conceived as a temporal device. At its core lies an archive of paper watermarks preserved at the Museo Molino Papelero de Capellades. From this collection, the artist has selected 15th-century watermarks — drawings visible only against light—which here open a passage between past and present, echoing a time marked by widespread violence and shared distress.

These watermarks emerge from a moment of historical transition, when Mediterranean trade declined, and Atlantic routes expanded, shaping early European modernity and colonial extractive systems. Regions such as Venice and Catalonia played key roles in this shift, which continues to shape our contemporary condition.

19/06/2026

🗓️ Until Sunday 21, you can visit Claudia Pagès Rabal’s () installation Feudal Holes at the Hotel Rheinfelderhof in Basel, as part of Art Basel (Art Basel) Parcours 2026.

❗️Art Basel’s public art sector presentsover 20 projects that explore political resistance and dissent; discuss labor and attached value systems; and experiment with digital realities and technological co-authorship.

🏰 The installation Feudal Holes (2025) presents two video sculptures that explore topographical control strategies in relation to the Torre del Moro de Castellnou, a lookout tower built on a historical military buffer zone of present-day Spain and France, which was originally established in the ninth century as a defence tower during the Muslim-ruled area of Al-Andalus. Using a drone, Pagès Rabal filmed and 'penetrated' the tower from above, juxtaposing its verticality with the flattened representations of topological specificities through Google Maps. The circular loop of the work, in the shape of the installation as well as the filming technique, references Moebius strips, circular logics, and omnipresent forms of surveillance. The works further reference cyclical but diverging historical timelines, and the limits of our forms of knowledge production. Nearby, a selection of lightboxes track the movement of ships trying to reach Gaza with humanitarian aid.

17/06/2026

We are so excited to be back at Art Basel in Basel.

📍Visit us at booth SE07

• VIP Days
Tuesday, June 16
11am–4pm | First Choice
4pm–8pm | First Choice & Preview

Wednesday, June 17
11am–8pm | First Choice, Preview, One-Day VIP &
Two-Day VIP

• Vernissage
Wednesday, June 17
4pm–8pm | Access with VIP card or ticket

• Public Days
Thursday, June 18
11am–7pm | VIP card and ticket holders
7pm–10pm | Unlimited Night ticket holders

Friday, June 19 – Sunday, June 21
11am–7pm | VIP card and ticket holders

16/06/2026

Variations 1974-1983, la primera exposición de Deborah Hanson Murphy en Mexico, visita en Travesía Cuatro CDMX hasta el 11 de julio.

Deborah Hanson Murphy nació en Stockton, California, en 1931. Se graduó por la Universidad de Stanford en 1953 y más tarde estudió en la Art Students League de Nueva York entre 1957 y 1958. Desarrolló la mayor parte de su obra en París, su ciudad adoptiva, donde vivió desde 1968 hasta su muerte en 2018.

Las nueve obras aquí reunidas, no solo rompen con las convenciones del bodegón, sino que también adoptan un enfoque marcadamente sobrio, casi ascético, al excluir la intensidad y el exceso expresivo. El género de la variación, que surgió como concepto formal en el siglo XVI, encontró su expresión más célebre en la música, sobre todo en la obra de Johann Sebastian Bach. En manos de Hanson Murphy, sin embargo, la variación se traduce en un lenguaje visual: la repetición se convierte en una herramienta para la meditación más que para la innovación, y los sutiles cambios en la forma, el tono y la composición invitan a una interacción más pausada y contemplativa de la imagen.

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Deborah Hanson Murphy´s first solo exhibition in Mexico Variations 1974-1983, on view until July 11, 2026 in our Mexico City gallery.

Deborah Hanson Murphy was born in Stockton, California, in 1931. She graduated from Stanford University in 1953 and later studied at the Art Students League of New York from 1957 to 1958. She produced most of her work in Paris, her adopted city, where she lived from 1968 until her death in 2018.

The nine works gathered here not only break with the conventions of still life but also adopt a markedly sober, almost ascetic approach by excluding intensity and expressive excess.

The genre of variation, which emerged as a formal concept in the 16th century, found its most celebrated expression in music, particularly in the work of Johann Sebastian Bach. In Hanson Murphy’s hands, however, variation is translated into a visual language: repetition becomes a tool for meditation rather than innovation, and subtle changes in form, tone, and composition invite a more deliberate and contemplative interaction with the image.

15/06/2026

Pablo Larios interviewed Alexandre Estrela for Artforum about RedSkyFalls, the project representing Portugal at the Venice Biennale 2026.

10/06/2026

‘OMENS & TREMORS’, Part 1 of ‘SURVEY ON AN S WAVE’ ended on Monday, June 8th. ‘SURVEY ON AN S WAVE’ is the parallel programme to RedSkyFalls, Alexandre Estrela’s project at the Portuguese Pavilion. It is conceived by Marco Bene and runs throughout the seven months of La Biennale di Venezia at Fondaco Marcello.

Taking as its starting point the unasked questions and the opening questions of Pombal’s inquiry, this first part of the programme revisits the signs that preceded the earthquake: the stillness, the red vapours, the prophetic gossip, the animal agitation — signs suspended between superstition and science.

Giovanbattista Tusa and Miguel Abreu inaugurated the first part of the programme on May 10th with a lecture-performance and a concert being triggered, interrupted, or modulated by the pulse of the earth.

At the heart of this programme lies the PORTABLE SEISMIC ARCHIVE, which constitutes an exhibition within the exhibition, bringing together a shifting constellation of works and artists for an experimental reading of the piece, which takes place every Monday.

Artists included in the first part of the Archive were: Eric Andersen, Pascal Auger, Antoine Caron, Christophe Dang Ngoc Chan, Henning Christiansen, Florian Dombois, António Júlio Duarte, Jean Dupuy, Roberto Equisoain, Alexandre Estrela, Ceal Floyer, Simone Forti, Vincent Grenier, João Maria Gusmão, João Maria Gusmão + Pedro Paiva, Geoffrey Hendricks, William Heise e William K.L. Dickson, Douglas Kahn, Paul & Marlene Kos, Anne Lefebvre, Len Lye, Rose Lowder, Colectivo Los Ingrávidos, Fátima Moreno, Jeff Perkins, Margaret Raspé, Leticia Ramos, Daragh Reeves, Juli Susin, Nikola Tesla, Ben Vautier, Voltaire, Lotte Geeven, Jack Goldstein, Julien Bismuth, John Smith, Véronique Bourgoin.

MORE INFO ~~~

Photos ©️Riccardo Banfi

09/06/2026

🔰Estamos felices de anunciar la participación de Álvaro Urbano () en la 18ª Biennale de Arte Contemporaneo de Lyon (), comisariada por Catherine Nichols.

✔️«Pasar de un sueño a otro», el título principal de la edición, se inspira en los "traboules" —esos característicos pasadizos que atraviesan los patios y edificios de Lyon— para explorar cómo se pasa de un modo de percepción a otro, de un sueño colectivo a otro. Lyon, encrucijada del comercio y la industria, se convierte en el punto de partida para una reflexión sobre la economía, abordada aquí como el conjunto de procesos a través de los cuales los seres interdependientes adquieren, transforman y hacen circular lo que sustenta su existencia.

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🔰Travesía Cuatro is happy to announce that Álvaro Urbano () will be participating in the 18th Lyon Biennale of Contemporary Art (), curated by Catherine Nichols.

✔️“To pass from one dream to another,” the main title of this edition draws on the "traboules"—those distinctive passageways running through Lyon’s courtyards and buildings—to explore how one moves from one mode of perception to another, from one collective dream to another. Lyon, a crossroads of trade and industry, becomes the starting point for a reflection on the economy, approached here as the set of processes through which interdependent beings acquire, transform, and circulate what sustains their existence.

05/06/2026

03/06/2026

🗓️Hasta el 1 de Agosto, puedes visitar en Venecia la exposición Still Joy — From Ukraine into the World, donde Álvaro Urbano () presenta su obra Disobedience After Hilma af Klint (Kalyna). La muestra, organizada por la Victor Pinchuk Foundation y el PinchukArtCentre () en el Palazzo Contarini Polignac, forma parte de los Eventi Collaterali de la 61.ª Exposición Internacional de Arte — La Biennale di Venezia ().

🍃Álvaro Urbano utiliza la kalyna como vehículo narrativo para explorar la intersección entre la botánica y la resiliencia. Al representar las plantas con flores blancas de primavera en lugar de sus características bayas rojas, el artista desplaza el foco hacia el futuro, transmitiendo un sentimiento de tenacidad, expectación y esperanza. Esta sensación de tiempo detenido se extiende a otro elemento de la instalación, donde las gotas de lluvia se han detenido mientras resbalan por las ventanas del espacio expositivo.

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🗓️Through August 1, you can visit the exhibition Still Joy — From Ukraine into the World in Venice, where Álvaro Urbano () presents his work Disobedience After Hilma af Klint (Kalyna). The exhibition, organized by the Victor Pinchuk Foundation and the PinchukArtCentre () at the Palazzo Contarini Polignac, is part of the Eventi Collaterali of the 61st International Art Exhibition — La Biennale di Venezia ().

🍃Álvaro Urbano utilizes the kalyna as a narrative vessel to explore the intersection of botany and resilience. By rendering the plants with white spring blooms rather than their characteristic red berries, the artist shifts the focus towards the future, transmitting a sentiment of tenacity, anticipation, and hope. This sense of arrested time extends to another element of the installation, where raindrops have stopped while running down the windows of the exhibition space.

📸Photo: OKNO Studio