ARCO Madrid 2025

Stand 9A13 view. Photo: Roberto Ruiz

Stand 9A13 view. Photo: Roberto Ruiz

Stand 9A13 view. Photo: Roberto Ruiz

Stand 9A13 view. Photo: Roberto Ruiz

Stand 9A13 view. Photo: Roberto Ruiz

Stand 9A13 view. Photo: Roberto Ruiz

Stand 9A13 view. Photo: Roberto Ruiz

Stand 9A13 view. Photo: Roberto Ruiz

Stand 9A13 view. Photo: Roberto Ruiz

Stand 9A13 view. Photo: Roberto Ruiz

Maria Laet and Claire de Santa Coloma

3+1 Arte Contemporânea proposes a duo project, bringing together Claire de Santa Coloma (1983, Buenos Aires AR/FR) and Maria Laet (1982, Rio de Janeiro BR), two artists with distinct art practices that often find their subject and materials in the natural world, portraying the movements of nature and permeating their work with a strong corporeal distinctiveness.

ARCO Madrid

Stand 9A13

05.03.25 → 09.03.25

 

Maria Laet

Maria Laet
Caminho (09.03.2016, 3:06pm), 2016
Monoprint on Japanese paper, 246,5 x 65,5 cm
Unique edition 7/20

Maria Laet
Caminho (09.03.2016, 3:06pm), 2016
Monoprint on Japanese paper, 246,5 x 65,5 cm
Unique edition 7/20

Inquire

Maria Laet
Caminho (09.03.2016, 3:06pm), 2016
Monoprint on Japanese paper, 246,5 x 65,5 cm
Unique edition 7/20

Maria Laet
Caminho (09.03.2016, 3:06pm), 2016
Monoprint on Japanese paper, 246,5 x 65,5 cm
Unique edition 7/20

Inquire

Maria Laet
Walk on the low tide, 2022
Inkjet print on cotton paper (triptych), 80 x 149 cm, Ed. 1/5 + 2 AP

Maria Laet
Walk on the low tide, 2022
Inkjet print on cotton paper (triptych), 80 x 149 cm, Ed. 1/5 + 2 AP

Inquire

Amongst Herselves (something concrete, capable of letting itself to be broken), 2020
Inkjet print on cotton paper, 110 x 165 cm, Ed. 1/5 + 2 AP

Amongst Herselves (something concrete, capable of letting itself to be broken), 2020
Inkjet print on cotton paper, 110 x 165 cm, Ed. 1/5 + 2 AP

Inquire

Amongst Herselves (something concrete, capable of letting itself to be broken), 2020
Inkjet print on cotton paper, 110 x 165 cm, Ed. 1/5 + 2 AP

Amongst Herselves (something concrete, capable of letting itself to be broken), 2020
Inkjet print on cotton paper, 110 x 165 cm, Ed. 1/5 + 2 AP

Inquire

Maria Laet
Untitled (Absence), 2011
Print on cotton paper (triptych), 46 x 55 cm, Ed. 3/5 + 2 AP

Maria Laet
Untitled (Absence), 2011
Print on cotton paper (triptych), 46 x 55 cm, Ed. 3/5 + 2 AP

Inquire

Maria Laet lives and works in Rio de Janeiro. Her works are informed by actions and the results of subtle gestures and interventions in her multidisciplanerian practice. The mediums that are used act as conduits and platforms for Laet’s processes, which convey her intentions and reveal the act as an archive. There is a fragility evoked in her works which are often captured in a palette of black & white that in turn highlights the seemingly minimalist pieces. Thus, the resulting works command attention to consider the physicality and non-physicality of them.

Claire de Santa Coloma

Claire de Santa Coloma
Untitled, 2024
Iron, brass, ñandubai wood and ash wood, 154 x 38 x 38 cm

Claire de Santa Coloma
Untitled, 2024
Iron, brass, ñandubai wood and ash wood, 154 x 38 x 38 cm

Inquire

Claire de Santa Coloma
Sphinx, 2024
Holm oak and Linden, 123 x 29 x 36 cm

Claire de Santa Coloma
Sphinx, 2024
Holm oak and Linden, 123 x 29 x 36 cm

Inquire

Claire de Santa Coloma
Untitled, 2021
Holm oak and linden, 174 x 32 x 40 cm

Claire de Santa Coloma
Untitled, 2021
Holm oak and linden, 174 x 32 x 40 cm

Inquire

Claire de Santa Coloma
Untitled, 2016
Chestnut wood, cable clamps, 150 x 20 x 20 cm

Claire de Santa Coloma
Untitled, 2016
Chestnut wood, cable clamps, 150 x 20 x 20 cm

Inquire

Claire de Santa Coloma
Squat, 2020
Holm oak and Linden, 54 x 61.5 x 55.5 cm

Claire de Santa Coloma
Squat, 2020
Holm oak and Linden, 54 x 61.5 x 55.5 cm

Inquire

Claire de Santa Coloma
Touch, 2019
Osage orange, 52 x 29 x 15 cm

Claire de Santa Coloma
Touch, 2019
Osage orange, 52 x 29 x 15 cm

Inquire

Claire de Santa Coloma lives and works in Buenos Aires. Her sculptural work is concerned with formal questions that focus on the primordiality of matter (usually wood) and the theme of sculpture itself. The economy of means is one of the governing principals in Santa Coloma’s practice, oftentimes dictating the final shape of the object. The relationship between the viewer and the sculpture is yet another important layer in the reading of her work. Conceptually, it has been the common thread amongst her latest solo shows.

This website uses cookies to ensure you get the best user experience.
Learn More
A