Galería Alegría

Galería Alegría began its trajectory in 2010 as an exhibition project motivated by the desire to give diffusion and visibility to artists characterized by a generous and stimulating attitude.

One of the main pillars on which Galería Alegría is established is the dedication to the pictorial and sculptural languages. The gallery's exhibition line focuses on abstract and figurative works, and often a mixture of both, following principles as simple as allowing oneself to be seduced by the plasticity of the works. Our selection of artists constitutes a program designed to satisfy those who seek in contemporary painting and sculpture a space for delight and reflexion. 

Focused on promoting the work of short and mid-career artists nationally and internationally, the gallery supports its artists by organizing their exhibitions both in the gallery space and in collaboration with other entities, as well as by participating in fairs in Spain and abroad.

Represented artists:

Chechu Álava, Mai Blanco, Breza Cecchini, Enrico Della Torre, Jorge Diezma, Bobby Dowler, Carole Ebtinger, Robbin Heyker, Thomas Kiesewetter, Matthew Musgrave, Alberto Peral, Humberto Poblete-Bustamante, Stefan Rinck, David Roth, Ken Sortais, Lolo & Sosaku

Galería Alegría presents ‘MORRALLA’ by Jorge Diezma (Madrid, Spain, 1973), the latest marine still lifes, which continue the work that the artist has been developing on still life. Diezma's latent aim is to question the possibility that things do not entirely coincide with themselves. He says that anything can serve for the deepest estrangement, because everything is strange as long as you look at it long enough, and he conceives of painting as the privileged medium to make us aware of this strangeness. The fishes, fruits, stones, suns, and clouds we find in these paintings are a good opportunity to stop our gaze and detach it from the efficiency that usually animates it. The fishes, fruits, stones, suns, and clouds we find in these paintings are a good opportunity to stop our gaze and detach it from the efficiency that usually animates it.

In the contiguous room ‘ROCKER’ by Philipp Röcker (Aalen, Germany, 1984) will be composed by a group of commanding sculptures, which together delineate a temporal and spatial field that viewers are explicitly encouraged to walk through and around. Although they have been arranged into a small group for this specific occasion, each of them constitutes an autonomous work that can stand on its own or relate to the others in ever-changing combinations and positions.