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Place: La Casa Encendida (Ronda de Valencia No. 2, Madrid)Date: 7th and 8th FebruaryTime: From 17.00 to 21.00 h.

Continuing the practice established in the last editions, this year the debate tables are organised once again in collaboration with La Casa Encendida.  As in previous editions, on the one hand, the debate tables will present the projects produced for Madrid Abierto and, on the other, they will introduce different initiatives developed within the sphere of art in the public space.

The round tables will include the active participation of the commission set up last year to debate the model of Madrid Abierto.  The commission's co-ordinator, Rocío Gracia, and its members, Cecilia Anderson, Guillaume Désanges, Jorge Díez, Ramón Parramon, María Inés Rodríguez and Fito Rodríguez, together with this edition's organisers, the collective DEMOCRACIA.

For the artists’ presentations, the event's organisers have established three groups, although aware that the groups may be pervious and that one same project may meet several of the established premises. On the one hand, we will have the projects that make the contemporary class conflict visible, as well as a temporary suspension of the exclusions generated by this conflict, on another hand, those that employ elements or the propagandistic language of the urban scene, and lastly, those more closely associated with forms of urban culture.

The artistic experience developed in the public space faces the complex task of intervening in a saturated and hyper-aesthetized space with few fissures. The temporary and ephemeral nature of these artistic practices often places obstacles in the way of the dissemination and development possibilities of many interesting proposals that would require more time, with respect to the prior investigation and the subsequent production of the interventions as well as the desirable convergence with other projects and other social and cultural agents. In light of this, the opening of new spaces is needed to encourage other forms of production and dissemination, as well as the creation of networks of information and collaboration between this kind of artistic practices. For this reason, every year Madrid Abierto aims to give exposure to other similar experiences. In this edition, Nelson Brissac and Vit Havranek will be responsible for presenting invited projects, offering their experience in the debate on the strategies applied to the city and the territory from an artistic perspective, with more or less emphasis on experimentation, multi-discipline, the process and interaction with the public.


17:00-18:15 Presentation of Madrid Abierto projects

Hell is coming/World ends today. Andreas Templin

Not for sale/No se vende. Alicia Framis

Welcome On Board. Guillaume Ségur

Gran Sur. Fernando Prats

Chaired by: Cecilia Andersson; Democracia

18:15-19:30 Presentation of Madrid Abierto video projects

Arturo-Fito Rodríguez introduced by Rocío Gracia

20:00-21:00 Vít Havránek, introduced by Guillaume Désanges



17:00-18:15 Presentation Madrid Abierto projects

Speculator + Empty World. Todo por la praxis

Construye tu casa en una azotea. Santiago Cirugeda

Explorando Usera. La Hostia Fine Arts

Videointervenciones móviles en contextos urbanos específicos. Fernando Llanos

Moderan: María Inés Rodríguez y Democracia

18:30-19:30 Presentation Madrid Abierto projects

Estado de excepción. Noaz/Dier

Proposal Nr. 19 + Gift. Anno Dijkstra

No more no less + La hucha de los Incas. Jota Castro

La guerra es nuestra. Immi Lee/Annamarie Ho

Moderan: Ramon Parramon y Democracia

20:00-21:00 Nelsson Brissac, introduced by Jorge Díez



Cecilia Andersson is curator and director of Werk Ltd., a curatorial agency established in Stockholm. Werk collaborates internationally in the organisation, production, promotion and publication of contemporary art.

Her recent projects include SuperSocial, social events set up in different cities; a series of conferences and seminars in collaboration with Francesco Jodice; On Cities, an exhibition organised in Stockholm’s Museum of Architecture and an itinerant programme of Chinese video.

Cecilia is an independent consultant for Disonancias, an interchange platform between artists and companies in San Sebastián and is part of the Madrid Abierto Commission.


Nelson Brissac is a philosopher whose works is related to art and urban-planning issues. Since 1994, he is organiser and curator of Arte/Cidade, an urban interventions project in São Paulo.


Guillaume Desange, is curator, art-critic and co-founder of Work Method, an agency based in Paris dedicated to the production of artistic projects. As member of the Trouble publishing committee, he regularly collaborates with the magazines Exit Express and Exit Book (Madrid). From 2001 to 2007 he co-ordinated the artistic projects of Laboratoires d'Aubervilliers. He organised the exhibitions Pick-Up en Public>, Paris 2004, Untouchable, The transparency Ideal in Villa Arson, Nice and the Patio Herreriano Museum, Valladolid, in 2006-2007, Jiri Kovanda Vs rest of the World in the agency gallery gb, Paris; De Appel, Asmterdam; Centre d'Art Santa Monica, Barcelona, and has worked with Thomas Hirschhorn in the projects The 24h Foucault project and Musée Précaire Albinet. In 2007-2008 he is an invited curator at Centre d'Art Contemporain La Tôlerie. He is a lecturer at Ecole des Beaux-Arts de Clermont-Ferrand and is part of the Madrid Abierto Commission.


Vit Havranek is a theorist and a producer established in Prague. Since 2002 he works as Project Manager for the contemporary art initiative tranzit / sponsored by the Erste Bank Group. He has worked as curator in Prague’s Municipal Gallery and National Gallery. He is a lecturer at the Prague College of Applied Arts. His most recent projects, some of which in collaboration with others, include A CDEFGHIJK MNOP  STUV   Z, part of Societe Anonyme, Le Plateau, Paris, 2007; tranzit – Auditorium, Stage Backstage, Frankfurter Kunstverein, Frankfurt 2006; I, series of exhibitions in three acts: Secession Vienna; Futura Prague; tranzit workshops Bratislava, 2006. He has written articles for several magazines, such as, among others, Springerin, Artist and Flash Art.


Ramon Parramon, directs and manages projects within the area of contemporary art and creation. Since 1998, he directs the art project IDENSITAT. In addition, he has organised several projects, such as Territorios Ocupados, 2000; Barcelonas, 1999 and Visiones Periféricas, 1994-97. He has given conferences and seminars at the Polytechnic University of Valencia, the Polytechnic of Milan, the University of Vigo, the University of Granada, the International University of Seville, the University of Barcelona and the Barcelona Higher College of Architecture. His work evolves with a marked interest towards interdisciplinary projects and the roles that art can play in specific socio-political contexts. He is part of the Madrid Abierto Commission.


María Inés Rodríguez is an exhibitions curator. She has organised exhibitions and research projects on the public space appropriation strategies in different contemporary art spaces which relate art, design, architecture and urban-planning. In 2004, she created Tropical paper editions to develop the editorial projects of artists. In 2007, she developed the projects Habitat/Variations, BAC Geneva, La Casa Encendida, Madrid, Bermuda Triangle, Êcole de Beaux Arts de París, and was co-curator of MDE 07 Encuentro de Medellín. She is part of the Madrid Abierto Commission.


Arturo-Fito Rodríguez,member of Fundación Rodríguez, an artistic production collective that organises and co-ordinates projects associated with contemporary culture and new media, such as Tester and Intervenciones TV. He is part of the Madrid Abierto Commission.


Rocío Gracia is an art historian, member of RMS La Asociación, an agency established in 1998 in Madrid dedicated to organising, producing, promoting and disseminating contemporary art projects, and which has recently developed such projects as MadridProcesosRedes and ON SITE TOUR/TALK. The agency will shortly present a preview of Archivo VEO within the project Old News of CGAC and is preparing the exhibition Sur le dandysme for the Centro Huarte de Arte Contemporáneo.


Jorge Díez, director of Madrid Abierto and co-director of the MBA in Cultural Management, Santillana/Salamanca University. In 2007 he has co-curated with José Roca (Colombia) Cart[ajena] public art project promoted by SEACEX, developed within the IV Congress of Spanish at Cartagena de Indias, Colombia. He has lectured in the Spain-Japon Forum at Nagasaki, Actual experience in Public Art at the 16º Arts Symposium at Porto Alegre, Brasil and, Contexts and projects in Public Art. Ephemera models of intervention, at the MARCO. 











Alicia Framis + Michael Lin    Not for sale/No se vende Andreas Templin    Hell is coming/World ends today

Dier + Noaz    Estado de excepción www.noazmadrid.blogspot.comwww,

Anno Dijkstra    Proposal Nr. 19 + Gift

Fernando Llanos    Videointervenciones móviles en contextos urbanos específicos

Guillaume Ségur    Welcome On Board

Fernando Prats    Gran Sur

Jota Castro No more no less + La hucha de los Incas

LaHostiaFineArts (LHFA)    Explorando Usera

Santiago Cirugeda    Construye tu casa en una azotea

Todo por la Praxis    Speculator + Empty World

Santiago Sierra    Bandera negra de la república españ

Annamarie Ho + Inmi Lee    La guerra es nuestra








2008. DISCUSSION PANELS / 07 y 08 feb (images)

2008. DISCUSSION PANELS / 07 y 08 feb (images)



Fito Rodríguez, Rocío Gracia     Rafael Tunes, Diego Peris   María inés Rodríguez, Pablo España, Rafael Burillo    Diez, Noaz

Fito Rodríguez, Rocío Gracia    Fernando Llanos    Annamarie Ho, Inmi Lee    Dier, Noaz


Fernando Baena    Jota Castro    Dier     Anno Dijkstra   

Annamarie Ho    Inmi Lee  










2008. Fernando Prats. GRAN SUR (theoretical data)


The project Gran Sur uses the advertisement of the Imperial Trans-Antarctic Expedition led by Ernest Shackleton in 1914. The advertisement was published in a newspaper of that period with the aim of recruiting men to embark on the expedition to Antarctica. According to the legend, with time, the advertisement became famous.

"Men wanted for hazardous journey. Small wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful. Honour and recognition in case of success" 

The aim of the expedition was to cross the Antarctic continent via the South Pole. However, the expedition ship Endurance was beset and hit by pack ice before the crew was even able to disembark. All the members of the expedition managed to survive after an epic ordeal on Elephant Island. Shackleton and five other men crossed the Antarctic Ocean to South Georgia in an open boat called James Caird to sound the alarm at the Grytviken whaling station. After several rescue attempts, all the men on Elephant Island were finally rescued on the small Chilean boat Yelcho captained by Luis Pardo Villalón from Punta Arenas.

Shackleton did not lose a single man during the three-year length of the expedition. Shackleton's adventure is possibly the most outstanding of all expeditions to the Poles, and although it failed to offer any material benefit or scientific finding, the personal experience of the protagonists and the survival of the participants are in themselves an enormous triumph, the victory of man against the elements founded on two fundamental principles, solidarity and a fighting spirit.

This advertisement is the driving force and central motivation of the installation. It is comparable with an artistic manifesto or thought. It is a synthesis through the written word that narrates the work. The drawing that traces and synthesises a story.

The compiled documents of the expedition, photographs, films and travel logbooks, reveal an experiential survival journey. The essence of artistic creation also involves an unexplored journey and directs the senses towards objectives that help us understand our own perception of the world around us.

Our own limits highlight the borders that we must cross. Sir Ernest Shackleton's decision to embark on the journey is similar to any artistic idea whose end is to discover and reveal the unprecedented. He had an idea which no one else believed in.

The installation exhibits hidden images behind each illuminated word: a story, a time, a continent; in short, a rereading after 93 years of its first and only appearance in the press.

How many brief stories could be published in the form of an advertisement about the millions of Latin American immigrants who have also travelled and will eternally continue to cross the Atlantic with the aim of fulfilling a dream? We no longer have to look to the South Pole as the destination. The new region is the world. "The great strength of Ernest Shackleton as Explorer resides in that, in the Gran Sur, all mundane worries completely disappear".












2008. Fernando Prats. GRAN SUR (location)

Casa de América façade













2008. Fernando Prats (Cv)


EDUCATION1997-2000·    Post-graduate studies at the University of Barcelona. Master’s degree.1996·    B.A. degree in Art, University of Chile, Santiago de Chile1990- 1993·    Secondary school specialisation in painting, Escola Massana, Barcelona

INDIVIDUAL EXHIBITIONS2007·    Peregrinatio, Tríptico en dinamismo, Sagunto, Valencia·    Natura Naturans, Galería Álvaro Alcázar, Madrid

2006·    Basho: la región salvaje. Workshops Alois M. Hass 2006, Mística y pensamiento contemporáneo (Mysticism and Contemporary Thought), Pompeu y Fabre University, Barcelona

2005·    Affatus, Galería Joan Prats Artgrafic, Barcelona

2004·    Del Cardener a la Antártica, Installation Hall Central and Sala Matta, Museo Nacional de Bellas Artes, Santiago de Chile

2003·    Pou de Llum, Centre Cultural El Casino, Manresa, Barcelona·    Hacia el Polo Sur, Kunst-Station Sankt Peter Köln, Germany

2002·    Desahogo, Galería Joan Prats Artgrafic, Barcelona·    Congelación, art initiative carried out in the Chilean Antarctic continent.  From the work Del Cardener a la Antártica, Chile

2001·    Pathografías, Galería Animal, Santiago de Chile

2000·    New Art Barcelona, Galería Joan Prats, Barcelona·    Deambulatoris, intervention in the cathedral Catedral de Vic, Barcelona

1999·    Synaisthesis Substantiae, Galería Joan Prats Artgráfic, Barcelona

1997·    Anástasis, Intervention Espacio Eclesial at the Church of the Divine Providence, Santiago de Chile

1996·    Recent work, Galería Antonio de Bartola, Barcelona

1995·    Cripta, Cicle Pandemónium. Espai 13, Fundaciò Joan Miró, Centre d´estudis d`art Contemporani, Barcelona

1994·    Serie Exordio y crucifixión, Galería Antonio de Bartola, Barcelona

1993·    Serie Exordio y crucifixión, Centre Civic Sant Andreu, Barcelona

COLLECTIVE EXHIBITIONS2007·    ARCO’07, Galería Joan Prats, Barcelona

2006·    ARCO’06, Galería Joan Prats, Barcelona

2002·    Transfiguració, Galería Joan Prats Artgráfic, Barcelona.    Tempus Fugit, Galería LLucia Homs, Barcelona

2001·    Mirada en Viaje, Centro de Arte Santa Mónica, Barcelona

2000·    Art i Religió. Iconografía cristiana contemporánea, Galería LLucia Homs, Barcelona·    Chile 100 años. Visual Arts. Third period. Transferencia y Densidad en el campo plástico Chileno (1973 - 2000). Museo Nacional de Bellas Artes, Santiago de Chile·    Art Cologne´00, Galería Joan Prats, Cologne, Germany 1999·    Art Cologne´99, Galería Joan Prats, Galería Metropolitana de Barcelona, Cologne, Germany

1998·    Pasaje de ida, Galería Antonio de Barnola, Barcelona·    ARCO’98, Galería Metropolitana de Barcelona

1997·    Art Forum’97, Galería Antonio Bartola, Berlin, Germany

1996·    Puente Aéreo tres, Museo Moderno, Buenos Aires, Argentina·    ARCO’96, Galería Antonio Bartola, Barcelona ·    Colecció testimoni, Fundació La Caixa, Barcelona·    Expanded Collage, Galería Antonio Bartola, Barcelona

1995·    ARCO’95, Galería Antonio Barnola, Barcelona·    Desplacaments D`Impermanència, Espais D`Arts Contemporani, Girona, Spain·    Biennal D`Art Ciutat D`Amposta, Barcelona

1994·    XI Biennal Internacional de Arte Iberoamericana, Valparaíso, Chile

1993·    Excursus any Miró, Galería Salvador Riera and Associacio Art  Barcelona·    Es quan tanquem que mostrem el nostre homenatge, any Miró, Galería Berini and Associacio Art Barcelona

1992·    Petit Museo Provicional, Universitat Autónoma de Barcelona, Spain·    VII premi de pintura Miquel Casablanca, Ayuntamiento de Sant Andreu, Barcelona

PERFORMANCES 2007·    Acción Natura naturans, The artist’s studio, Barcelona

2006·    Agitación. Geiser del Tatio, Machuca, Chile; Salar de Atacama, Chile; Mina Rajo abierto, Chuquicamata, Chile

2005·    Ideografía, The artist’s studio, Barcelona

2003·    Pou de Llum, Acción y perforación geológica, La balconada, Manresa Barcelona·    Agua a presión abriendo un hoyo en la carne para luego desaparecer. Kunst -Sation Sankt Peter Köln, Germany

2002·    Congelación, Continente Antártico chileno. From the work Del Cardener a la Antártica.

2001·    Ir, Altum, initiative performed in the artist’s studio in Barcelona (From the work Del Cardener a la Antártica)

2000·    Cardener, initiative performed on the river Cardener, From the work Del Cardener a la Antártica. Inside the Manresa cave, Barcelona

1999·    K2-Kenôsis. Documentary initiative performed in the artist’s studio, Barcelona 1998·    Project Teología del cuerpo. Fundación América, Chile

GRANTS AND AWARDS2006·    Scholarship John Simon Guggenheim Memorial Foundation

2003·    Prize FONDART 2003, Santiago de Chile·    Resident artist at Kunst Station Sank Peter Köln, Germany

1998·    Scholarship President of the Republic of Santiago de Chile

1995·    Finalist Biennal d´Art, ciutat d´Amposta

1994·    Mention of honour Special prize Pilar Juncosa and Sothebey’s. Fundació Pilar y Joan Miró. Palma de Mallorca

1992·    First prize. VII Painting Prize Miquel Casablanca, Barcelona

WORK IN COLLECTIONS·    Die-Museum, der Diözese, Würzburg, Germany ·    Museo Nacional de Bellas Artes, Santiago de Chile·    Collection Testimoni Fundació la Caixa, Barcelona·    Collection Testimoni Fundació la Caixa, Barcelona·    Cistercian Monastery Poblet, Tarragona

BIBLIOGRAPHY·    Fernando Castro López, Peregrinatio La mirada interior, “Arte en las ermitas de Sagunto”, Edited and published by la Generalitat Valenciana, 2007·    Fernando Castro López, Natura naturans, Madrid, 2007·    Gerardo Mosquera, Copiar el edén: Arte reciente en Chile, Santiago de Chile, 2007·    Amador Vega, Affatus, Barcelona, 2006·    Friedhelm Mennekes, Amador Vega and Javier Melloni, Del Cardener a la Antártica, Edited and published by the city council of Manresa, Barcelona, 2003·    Teresa Blanch, Desahogo, Barcelona, 2002·    Juan Noemí, Teología del Cuerpo, Edited and published by Talleres Experimental Cuerpos Pintados, Santiago de Chile ·    Luis Francisco Pérez, Pathografias, Annual catalogue, Galería Animal, Santiago de Chile, 2001 ·    Eva Vilaró, “Deambulatorios de Fernando Prats – Intervention in the cathedral  ‘Catedral de Vic’- L`alberguería”, ARS SACRA, Nª 17, Madrid, 2001·    Pilar Parcerisas, Joan Torras and Friedhelm Mennekes, Deambulatoris. Fernando Prats, Ediciones Polígrafa y Ediciones Diac, Barcelona, 2000·    Friedhelm Mennekes, Substàncies, Barcelona, Spain, 1999·    Juan Noemí, “El arte de Fernando Prats. Una aproximación Teológica”, AISTHESIS de Investigaciones Estéticas, Nº 32, Arte Sagrado, Pontificia Universidad Católica de Chile·    María Elvira Iriarte, “Fernando Prats. Church of the Divine Providence, Santiago de Chile”, Art Nexus, 1998·    Juan Noemi and Justo Pastor Mellados. Fernando Prats, Anastasis. Iglesia de la Divina Providencia, Santiago de Chile, 1997·    Mónica Regas, Cripta, Espais 13, Fundació Joan Miró, Barcelona, 1996·    Marta Pol, Desplacaments d’impermanència, Espais Centre d’Art Contemporani, Barcelona, 1995·    Luis Francisco Pérez, Fernando Prats, Galería Antonio Barnola, Barcelona, 1995·    Catálogo Colecció Testimoni, Caixa de Pensions








2008. Fernando Prats. AGITACIÓN, 2006

2008. Fernando Prats. AGITACIÓN, 2006


El año 2006 desarrolle el proyecto titulado Agitación a través del patrocinio de la  John Simon Guggenheim Memorial Foundation. El conjunto de las acciones  representa una  exploración de nuevos medios de expresión y representación a través de la pintura y el trabajo con el humo; en resumidos términos, los objetivos de este proyecto en particular fueron los  siguientes:

1.  Realizar una investigación que refexione y explore nuevas maneras de aproximación a la pintura. Observar los fenómenos de la naturaleza y ponerlas al servicio de la pintura 2.  El objeto del trabajo consistio en captar fuerzas presentes en la naturaleza y que sean “absorbidas” por la superfcie pictórica, desarrollando medios inéditos de registro visual.


Se ubicaron en la zona del Tatio, región geotérmica ubicada a 4.321 metros de altitud, estructuras de soporte para superfcies impregnadas de humo, las que fueron “pintadas” directamente por las erupciones y vapores provenientes de las piletas. Todo el proceso de producción fue registrado en vídeo y fotografía, material que forma parte integral del total de la obra, sumándose a las láminas de humo.

En defnitiva, se trata de avanzar en la acción pictórica -abrir la pintura- a una geologisidad pictórica, pintar las fuerzas que la misma naturaleza, desde sus propios elementos, reorganiza: fuerzas extremas como la erupción, ebullición, oscilación, dinamismo, horizonte, ascenso y descenso, temperatura transitoria, nueva escala, movimiento sísmico, ritmo y tiempo.

Agitación es un proyecto que propone nuevas relaciones entre fenomenología y lenguaje, buscando en la realidad los motivos que nos ayuden a entender que la resistencia en la pintura radica en utilizar nuevas formulas de incisión.

 Agitación 24 de Septiembre, 2006. Video 5 mts. de duración


Agitación 24 de Septiembre, 2006. Pintura. Humo y ebullición de agua a 110º de temperatura, sal, rocío y vapor sobre papel. 300 x 420 cm


 Agitación 19 de Septiembre, 2006. Video 5 mts. de duración

 Agitación 19 de Septiembre, 2006.Pintura. Humo y ebullición de agua a 110º de temperatura, sal, rocío y vapor sobre papel. 200 x 140 cm


Fernando Prats durante la realización de la acción  Agitacion Serie individual I. Geiser del Tatio, norte de Chile. 2006.Video de la acción, 1´7” seg. Pieza única.

Agitación Serie individual I, 2006.Humo y ebullición de agua a 102º de temperatura, sal, rocío y vapor sobre papel. 50 x 70 cm.


 Fernando Prats durante la realización de la acción  Agitacion Serie individual III. Geiser del Tatio, norte de Chile. 2006.Video de la acción, 2´3” seg. Pieza única.

Agitación Serie individual III, 2006.Humo y ebullición de agua a 102º de temperatura, sal, rocío y vapor sobre papel. 50 x 70 cm.

















2008. Fernando Prats. CONGELACIÓN, 2002

2008. Fernando Prats. CONGELACIÓN, 2002




Foto de la acción realizada sobre el Glaciar Collins en la Antartica, donde el artista enterró todos los materiales, herramientas y otros elementos determinantes para él, declarando: “Allí se encuentran las raíces del que camina hacia el norte y no pierde su propia identidad.
















2008. Fernando Prats. VERTICALIDAD NORTE-SUR, 2003

2008. Fernando Prats. VERTICALIDAD NORTE-SUR, 2003



Intervención  en el altar mayor  Cruz altar, de Eduardo Chillida, y la crucifixión de  Pedro, de Rubens, en la Kunst Station Sank Peter Köln . Tubo de neón 1200 cm.





















2008. Fernando Prats. GRAN SUR (2008.01 / technical data)

2008. Fernando Prats. GRAN SUR (2008.01 / technical data)




















08inib1949, 08inib1950

2008. Fernando Prats. GRAN SUR (2007.11 / visual data)

2008. Fernando Prats. GRAN SUR (2007.11 / visual data)


Without title, 2007. Smoke, air and graphite on paper with printout of Casa de America’s façade. 21 x 29,7cm.

                                                                                                                             (November 2007)















08inib1947, 08intb1948

2008. Fernando Prats. GRAN SUR (visual data)

2008. Fernando Prats. GRAN SUR (visual data)


Composition and order in the advertisement’s sentences. Height of the typography 40 cm

    Sin título, 2007. Collage using la Vanguardia newspaper. 45 x 30 cm.


View of installation on the façade 













2008. Fernando Prats. GRAN SUR (technical data)

2008. Fernando Prats. GRAN SUR (technical data)




The advert will be made of a 40cm high white neon pipe:

More or less 23 iron frames will be made, with the complete sentence in neon, therefore it will be possible to hang it from the frame and rest it against the façade of Casa de América.



Technical crew specialized in assembly and disassembly of promotional neon pipes. Electrical current to light the advert.















08prmc1886, 08prtc3523

2008 / 2008.02.24. CONTRAINDICACIONES.NET. Fernado Prats / Gran Sur

2008 / 2008.02.24. CONTRAINDICACIONES.NET. Fernado Prats / Gran Sur











2008 / 2008.02.20. ESCRITOENLAPARED.COM. Madrid Abierto 2008. Fernando Prats: Gran Sur

2008 / 2008.02.20. ESCRITOENLAPARED.COM. Madrid Abierto 2008. Fernando Prats: Gran Sur













2008. Fernando Prats. GRAN SUR (images)

2008. Fernando Prats. GRAN SUR (images)





Photos: Alfonso Herranz




Photos: Fernando Prats













08inic2006, 08inic2007