Almudena Lobera and Sveva D’Antonio [Collezione Taurisano]. The Artwork and the Custodian.


16 Tuesday 2021

Almudena Lobera and Sveva D’Antonio in a conversation on contemporary art and colectionism.

Almudena Lobera and Sveva D’Antonio are connected by Epiphany, a work now in the Taurisano collection, produced in 2016 with the support of the HISK, Higher Institute for Fine Arts in Ghent, Belgium.

Lobera’s point of departure in Epiphany is the story of the 1934 theft of two panels from the Ghent Altarpiece or Adoration of the Mystic Lamb by the Van Eyck brothers. The thief returned one of the panels as a show of good faith to demand a ransom for the other, The Just Judges, but he died before negotiations could be completed. The police were never able to locate the missing panel. Almudena constructs a fictional account in several stages: an installation in the garden of the Castle of Gerard the Devil in Ghent, an action, a video recording of that action and a series of shrouded panels that link the artist to the person who acquires the work with the contractual obligation not to unpack the piece until the missing stolen panel appears.

Sveva D’Antonio, who earned her BA in Art History, shares Epiphany with Francesco Taurisano, as well as her passion for art through the family collection begun in Naples in the 1960s by Paolo Taurisano, Francesco’s father. These two young collectors are committed to supporting artists and promoting “art that ignites critical reflection on the dynamics of domination of a post-capitalist society”, as they declare in the presentation of their acquisition award, Because of many suns, for Art-O-Rama, the emerging artists’ fair held in Marseille, France.

Their concept of collecting has little to do with accumulating objects; rather, the focus is on sharing processes and concerns with artists: «In uncertain times of social transformation and misguided political action that often leads to division and separation, art can provide a wake-up call for society at large by fostering dialogue between people and providing the tools for imagining new possible ways to (co)-inhabit our planet».


Madrid, 1984.

“What I like about art is how the spectator’s gaze completes it, how the visible also facilitates the perception of what isn’t being shown.”

Almudena Lobera.
Nicola Mariani.’s Interview for Madriz magazine
May 2018

The artistic experience and the relationship forged between the image and the person who contemplates it is something that Almudena Lobera constantly explores and questions in her works. She investigates the nature of the image and the spectator as subject and object, as one who perceives and receives the work of art and even becomes a medium, as when she tattooed her designs on people who participated in Portadores, her 2011 action in São Paulo.

Almudena Lobera tells us about her interests and her working process in the video about her show at Tabacalera and in her interview with Nicola Mariani for Madridz.

Click on the image

Almudena Lobera and curator Marta Ramos – Yzquierdo, Technical Images exhibition
Tabacalera Promoción del Arte
Ministerio de Cultura y Deporte.
Marzo 2020

Almudena Lobera & Nicola Mariani. Madriz.

10 preguntas a… Almudena Lobera.
Entrevista de Nicola Mariani para
Mayo 2018

Almudena Lobera, Volatile Memory, 2018

Memoria volátil | Volatile Memory , 2018
Old mirrors arranged according to their state of wear.
5 x 91 x 4 cm


Collezione Taurisano

Actividad realizada con el apoyo del Ministerio de Cultura y Deporte.
Developed with the support of the Spanish Ministry of Culture and Sport.