He has exhibited on numerous occasions at the Estrany-de la Mota gallery in Barcelona, the Elba Benítez in Madrid and the Meessen de Clercq gallery in Brussels as well as the Thomas Bernard (Paris), Nordenhake (Berlin) and Proyecto Paralelo (Mexico), among others.

He took part in the 52nd Venice Biennale (2007), 8th Sharjah Biennale (UAE, 2007), 11th Sydney Biennale (1998) and the 4th Guangzhou Triennale (China, 2012). He has won the 1st ARCO-Ron Barceló Prize (2014) and the 5th Joan Miró Prize (2015).

She has curated numerous exhibits with collections of works, in addition to monographic projects by artists in various CaixaForum programmes. At the same time, she has given lectures and courses on art and collecting as well as participating as a member of the art prizes and scholarship announcements jury.

She is a member of ICOM (International Council of Museums), the board of directors of IACCCA (International Association of Corporate Collections of Contemporary Art) and the board of CIMAM (International Committee for Museums and Collection of Modern Art).

He is currently preparing the show A universal history of infamy (2017), as part of the Getty Institute’s Pacific Standard Time: Los Angeles/Latin America initiative.

As a guest curator, he has developed projects such as Chalk Circles (theatre and performance) (2017), in REDCAT Los Angeles and [sic] Contemporary nosography (2016) at the CAPC Museum in Burdeos.

In Caracas, Blondet was a lecturer at the School of Letters at the Central University of Venezuela, until he took up residence in the US in 2001.

In 1994, he opened his first gallery in Bilbao’s “Ensanche”.

In 2004, his second gallery was inaugurated on Henae Street in the same city. Here, he made contact with artists who ended up being the key to the project that would eventually become the CarrerasMúgica gallery.

In 2014, he moved to a large-dimension space, receiving various architectural prizes and was selected for the Venice Biennale for architecture in 2016, where the plans and development of the gallery were exhibited.

In 2015, the gallery received the Premio Arte y Mecenazgo (Art and Patronage Prize).

He takes part in various international festivals and, for 20 years in a row, has participated in Arco where he sat on its Admissions Committee between 2005 and 2010.

Pedro Carreras has worked with national museums, institutions and large collections, both in Spain and abroad. It is worth pointing out the homage to Eduardo Chillida, which was presented in the Guggenheim in Bilbao in 2006, and the ARTE XX collection, which debuted in the BBAA Museum in Bilbao in 2008, among others.

From 1991 to 1998, she was the curator at the Valencian Institute of Modern Art and, between 1998 and 2008, was artistic director of the Fundació Antoni Tàpies in Barcelona. She has been the curator of Manifesta 4 (Frankfurt, 2002), the International Gathering in Medellín (2011) and the 31st São Paulo Biennale (2014). From 2000 to 2014, she was part of the management team for the Art and Thought Programme at Andalusia International University and, from 2007 to 2014, was the coordinator of the magazine Afterall.

She is a graduate in the History and Theory of Art from the Universidad Autónoma de Madrid and has given lectures on the theory of art and artistic management at various centres and universities. She has published a number of texts in books, catalogues and contemporary art magazines such as Parkett, Afterall and Concreta.

She has previously been chief curator of the Museo del Barrio in New York. She was co-curator of DOCUMENTA (13), under the artistic direction of Carolyn Christov-Bakargiev as curator of the department and a member of the Core Agent Group. She was previously chief curator of MABCA, Barcelona (2008 to 2011), director of the Frankfurter Kunstverein (2005-08) and artistic director at Sala Rekalde, Bilbao (from 2002 to 2005). For the 56th Venice Biennale (2015), Martínez was the curator of the National Pavilion of Catalonia, with a solo project by the filmmaker Albert Serra, and for the 51st edition of the National Pavilion of Cyprus (2005). In 2014/15, she served as a curatorial “alliance” for that year’s (2015) edition of the Istanbul Biennale. In 2008, she was the curatorial assessor for Carnegie International and, in 2010, for the 29th São Paulo Biennale. During her term as director of the Frankfurter Kunstverein, she was curator of individual exhibits by Wilhelm Sasnal, among others, and a series of collective exhibits such as Pensée Sauvage and the The Great Game To Come. She also founded the Deutsche Börse Residency Program for international artists, art writers and curators. At MACBA, Martínez curated the retrospective Thomas Bayrle, a monographic show by the Group Otolith and an exhibit dedicated to television, ¿Estás listo para la televisión? (Ready for television?). In 2008, she was the curator of the retrospective exhibit Deimantas Narkevicius, La vida unánime (Deimantas Narkevicius, The Unanimous Life”) at the Reina Sofía Museum of Art in Madrid, which travelled to the main European museums. Featuring among her recent projects are the exhibits La era metabólica (The Metabolic Age) (September 2015-February 2016) in Malba, Buenos Aires, and Undisturbed Solitude, with Flora Klein, Emil Michael Klein, Tiphanie Mall and Johannes Willi at Kunstler Haus Hamburg (from February to April 2016). She is in charge of the artistic commissions programme at TANK, the exhibition space at the Basel Art Institute, where she produced a project by Mathilde Rosier (June 2016), a site-specific, facility/sculpture piece by Julieta Aranda (November 2016). She is currently working on two pieces by Ingela Ihrmann (June 2017) and Eduardo Navarro (November 2017).

In 2016, she curated IDIOSINCRASIA: Las anchoas sueñan con panteón de aceituna (IDIOSYNCRASY: The anchovies dream of a graveyard of olives), a one-year exhibit at the Fundación Helga de Alvear in Cáceres. In 2017, she is also preparing a project for the Parque de Escultura in Colonia, which will open in October 2017, and a group exhibition entitled Metamorphosis, opening in February 2018 in Castello di Rivoli, Turin (Italy).

Martínez gives lectures and regularly writes, including numerous catalogue texts and critical essays, and is a regular contributor to Artforum, among other international magazines.

The Foundation implements and supports educational and cultural initiatives in Latin America and promotes global sensitivity to Latin America’s heritage within a global framework. An essential aspect of the foundation is the Patricia Phelps de Cisneros Collection (PPCC), which is made up of five different areas of Latin American material culture, from indigenous cultures to contemporary art.

The PPCC maintains an active website which serves as a forum for critical thought from and about Latin America (www.coleccioncisneros.org). Patricia is a member of the board and founder of the Latin American Art Committee at MoMA (LACF), a founding patron of the Fundación Museo Reina Sofía in Madrid and is part of Harvard Art Museums’ assessment committee, among other institutional responsibilities. She has been awarded the Leone d’Oro di San Marco by Italy; the Gran Cruz de la Orden Civil de Alfonso X; the Gold Medal for Merit in the Fine Arts by Spain and the Légion d’honneur by France.

Photo credits: Timothy Greenfield-Sanders

It is dedicated to creating a market for current art in Spain. Among his contributions to this project are the link with Latin America through the section dedicated to stands for solo artists (Solo Projects), the new section for young galleries (Opening) and ARCO Professional Meetings, the new activity format linked to the festival which is reserved for experts in various fields that attracts more than 100 directors of museums, biennales and professionals in Madrid each year. Currently, following the 36th edition of ARCOmadrid, the 2nd edition of ARCOlisboa is being prepared, with this taking place between 18 and 21 May in Lisbon.

He is a full member of the ARCO Foundation, in which he has proposed new activities such as the Gallery Walks, the purpose of which are to visit contemporary art galleries, and the ARCO Foundation’s Plataforma lunch, in which funds are raised annually to purchase works during the festival and the collection’s return to Madrid.

In 2005 and until 2011, he created and directed UP (Urroz Projects), a company intended to devise and implement projects whose aim is cultural organisation and communication and which collaborates with the Loewe Foundation, the Canary Islands Biennale, SEACEX (state corporation for cultural action abroad), Thyssen-Bornemisza Art Contemporary, the Region of Murcia etc. At the same time, he holds other positions in other institutions, such as that of plastic arts assessor for the Community of Madrid and a member of the scheduling committee for the ICO Foundation. Between 1998 and 2006, he was the director of the Helga de Alvear Gallery, which was the seed for the current arts centre of the same name in the city of Cáceres. Previously, he worked on four editions as the deputy director of ARCO under the directorship of Rosina Gómez-Baeza.

Carlos Urroz is a corporate legal advisor (ICADE E-1 Pontificia Comillas University), training he completed through taking courses at NYU (New York University) and Harvard University, as well as studying foreign languages such as English, French, Italian and German.

In 1991, he began working at Christie’s in London as a specialist in ancient paintings. In 1997, he moved to Christie’s New York where he was part of the Ancient Paintings Department and collaborated with the Latin American Art Department, where he became the director in 1999. In February 2000, he moved to Spain to be appointed managing director of Christie’s and, in 2016, was named President of Christie’s until February of this year when he decided to leave the company to work as an independent art consultant.

He has taught post-graduate classes in Art and the Art Market at the Instituto de Empresa and the Instituto IArt, both of which are in Madrid. He is a member of the trust at the ARCO Foundation, the Museo ABC Foundation, the Association of Friends of the Hispanic Society and the Balia Foundation.