Directors: Paco Aguilar and Mariana Martín
Address: Pasaje Ntra. Sra. de los Dolores de San Juan, 3-1º. Málaga 29005
Phone: 952 210 141
Business hours: Monday to Friday 11.00–15.00 and 19.00–21.00
Distance from the nearest public transport: 300 m.
INTAGLIO, WOODCUT AND PHOTOGRAVURE STUDIO
GRAPHIC ART PUBLISHER
WORKSHOPS AND TRAINING COURSES
The artist and master printmaker José Faria moved to Málaga in 1977 and, in September 1979, he opened the studio Taller Editor de Obra Gráfica Original Gravura at Callejones del Perchel.
His first student was Francisco Aguilar, whom he trained in intaglio printmaking techniques and who, upon Faría’s return to Portugal, took charge of Gravura—it was the year 1981.
The studio is located on the 1st floor of a 19th-century building with a 110 m2 floor space, distributed into an office, a press room, an exhibitions room, a workshop and inking room, a warehouse and an acid room.
Gravura specialises in all intaglio printmaking techniques, relief printing and photogravure processes.
Together with Paco Aguilar, since 1991, Mariana Martín has been equally responsible for the management of Gravura, participation in art fairs, planning and coordination of workshops, exhibition programme as well as other projects and activities. Since 2001, the studio counts on the invaluable support of Inmaculada Carrasco and, finally, trainees and other artists who offer their collaboration with the idea that this learning experience will help them to set up their own studio.
– Azañón etching press, 80×120 cm
– Marcial Azañón etching press, 60×30 cm
– Exposure unit and drying rack
– Aquatint box
Maximum print format: 80 x 90 cm.
Sometimes the artist visits the studio and reviews or participates in the plate-making process and sometimes chooses to send the Bon à Tirer, that is, the final proof and the composition of the inks, and orders the edition of the work without visiting the studio in person.
Open access facilities:
Open access may be provided depending on the projects and the applicant’s profile.
Clients for print edition projects:
Artists: Enrique Brinkmann, Kutti Lavonen, Dámaso Ruano, Stefan Von Reiswitz, Francisco Peinado, Maria José Vargas Machuca entre otros
Collaboration with galleries:
Arteko Gallery of San Sebastián, Litografía Viñas of Oviedo, Namy Caulier Gallery of Paris, Krabbe Gallery of Frigiliana, Málaga, among others.
Regional Government of Andalusia. University, Andalusian Youth Institute (IAJ), Andalusia Women’s Institute (IAM), National Museum of Engraving of Madrid, City Council of Las Rozas de Madrid, Museum of Contemporary Spanish Printmaking of Marbella, among others.
Fundación BBV, fundación ABB, the company Seriver,law firm Rafael Reina of Málaga, Fundación Alfa Arte, among others.
Participation in art fairs
Gravura has participated in 18 editions of the ESTAMPA Contemporary Art Fair. It has also participated in Arte Sur in Granada, Arte Sevilla and, in recent years, Alma Gráfica in Oviedo.
Two types of courses are offered here:
– Introduction to intaglio printmaking techniques
– Special courses for specific techniques: etching, photogravure, woodcut, drypoint, and colour intaglio print, all of these under the premise of non-toxic materials and methods
Duration: 5 days
The introduction course is designed for anyone who expresses interest while the specific courses are meant for artists and individuals with prior knowledge of printmaking.
Tutors: Paco Aguilar, José Faria,
Henrik Boegh, Alicia Díaz Rinaldi, Leonardo
Gobley, among others. Design, coordination and technical assistance: Mariana Martín. Collaboration: Inmaculada Carrasco
The studio organises exhibitions with an average duration of one and a half months. The Exhibition gallery has a 40 m2 floor space. The displays are primarily dedicated to intaglio prints, works on paper and sculptures of local, national and international artists, allowing Gravura to present the works of young creators. The planning, coordination and curation are managed by Mariana Martín together with Inmaculada Carrasco.
Graphic art sale and publishing
Gravura produces editions of portfolios, many of which are developed collectively by local or Andalusian artists.
The print run of the editions depends on the project, but the usual practice is to produce a set of 50 impressions.
The sale of these pieces is promoted through art fairs, Internet, advertising and subscription—the membership plan facilitates the acquisition through the payment of monthly fees.
Discordancias anexas (Attached disagreements). 2007. Paco Aguilar. 25×21 cm
Interview with Paco Aguilar: (via email on 17 November 2009)
– What are your thoughts on the artist-printer relationship and collaborative work?
Our experience in this field has been very positive and, at the same time, enriching.
The artists are quite receptive to the guidance and technical advice offered for their works and we are committed to meeting their requests in the best possible way.
– How do you see the current situation of graphic art in Spain and the rest of the world, both from the perspective of creation and production, as well as professional and institutional support?
The graphic art scene has been gaining significant attention in recent years, as it rightly deserves, especially among the privately-run studios, and it has been possible with the contributions of certain institutions, art fairs and exhibitions. The printmaking has not only been kept alive, but it has also been adapted and integrated with the latest technical processes.
Most artists, at some point, work with engravings, either at their own studios or, as per the current trends, at the print studios of other artists. The public institutions in Spain do not offer relevant support in this discipline. The workshops run by public institutions are, in most cases, designed for learning and what an artist needs is the provision of a temporary space to develop his/her works.
In countries like Sweden, I have seen these provisions in the forms of studios or workshops for artists.
We regularly associate with many spaces that are designed for the production of graphic works, conferences, art fairs, exhibitions, etc. and these are usually private initiatives supported by public institutions.
– What is your opinion on the production of graphic work editions using traditional methods as compared to the digital graphic work editions?
Any method is acceptable when you want to execute an idea. In the case of digital graphics, what happens is that the terms that define the work are not clear and can lead to confusion. We believe that serialised digital production is a digital impression and not a digital print.
But we are truly fascinated by all that these new technologies have to offer.
Sobrevuelo (Overflight). 1999. Enrique Brinkmann. Etching and aquatint 71×56 cm
Directory of Printmaking Studios and Original Graphic Art Publishers in Spain 2010
Julia Matute Marín 260