{"id":2875,"date":"2018-01-30T17:50:02","date_gmt":"2018-01-30T17:50:02","guid":{"rendered":"http:\/\/fundacionnmac.org\/press\/download-information\/imagen-corporativa\/"},"modified":"2022-05-04T14:15:58","modified_gmt":"2022-05-04T14:15:58","slug":"imagen-corporativa","status":"publish","type":"page","link":"https:\/\/fundacionnmac.org\/en\/newsletter\/press\/download-information\/imagen-corporativa\/","title":{"rendered":"Imagen corporativa"},"content":{"rendered":"

Download the images of the permanent collection<\/strong><\/h1>\n
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Marina Abramovic. El H\u00e9roe (para Antonio) \/ The Hero ( for Antonio), 2001.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Marina Abramovic. Nidos Humanos \/ Human Nests, 2001.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Pilar Albarrac\u00edn. La noche 1002 \/ The night 1002, 2001.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Gunilla Bandolin. Impresi\u00f3n del cielo \/ Sky \u0301s Impression, 2001.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Maurizio Cattelan. Sin t\u00edtulo \/ Untitled, 2001.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Richard Nonas. Corriente de r\u00edo, serpiente al sol \/ River Run, Snake in the Sun, 2001.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Susana Solano. Encens y Mirra \/ Incense and Myrrh, 2001.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Olafur Eliasson. Pared de ladrillos Quasi \/ Quasi Brick Wall, 2002.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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MP & MP Rosado. Secuencia rid\u00edcula \/ Ridiculous sequence, 2002.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Santiago Sierra. 3000 huecos de 180 x 70 x 70 cm cada uno \/ 3000 hollows of 170 x 70 x 70 cm each,\u00a02002.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Michael Lin. Pasaje de jard\u00edn \/ Garden passage, 2003.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Ester Parteg\u00e1s. Yo recuerdo \/ I remember, 2003.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Huang Yong Ping. El ba\u00f1o \/ Hamman, 2003.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Berni Searle. Hogar y exilio \/ Home and away, 2003.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Shen Yuan. Puente \/ Bridge, 2004.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Aleksandra Mir. Historias de amor \/ Love Stories, 2004-2007.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Adel Abdesemed. Salam Europe!, 2006.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Maja Bajevic. Escultura para ciegos \/ Sculptures for the blind, 2006.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Jeppe Hein. 11 Bancos Sociales Modificados \/ 11 Modified Social Benches, 2006.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Cristina Lucas. T\u00fa tambi\u00e9n puedes caminar, 2006.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Pascale Marthine Tayou. Plansone Duty Free, 2006.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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James Turrell. Second Wind, 2005. 2009.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Jacobo Castellano. Viga M\u00e1dre, 2019.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Corporate image.<\/p>\n<\/div>

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Download the images of the projects on loan<\/h1>\n
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Pilar Albarrac\u00edn. El viaje \/ The trip, 2001.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Fernando S\u00e1nchez Castillo. Pacto de Madrid, 2003.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Adri\u00e1n Villar Rojas. La inocencia de los animales \/ The innocence of animals, 2013.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

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Adel Abdesemed. Habibti, 2006.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>

<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":2200,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[],"tags":[],"class_list":["post-2875","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/fundacionnmac.org\/en\/wp-json\/wp\/v2\/pages\/2875","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fundacionnmac.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/fundacionnmac.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/fundacionnmac.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fundacionnmac.org\/en\/wp-json\/wp\/v2\/comments?post=2875"}],"version-history":[{"count":8,"href":"https:\/\/fundacionnmac.org\/en\/wp-json\/wp\/v2\/pages\/2875\/revisions"}],"predecessor-version":[{"id":7294,"href":"https:\/\/fundacionnmac.org\/en\/wp-json\/wp\/v2\/pages\/2875\/revisions\/7294"}],"up":[{"embeddable":true,"href":"https:\/\/fundacionnmac.org\/en\/wp-json\/wp\/v2\/pages\/2200"}],"wp:attachment":[{"href":"https:\/\/fundacionnmac.org\/en\/wp-json\/wp\/v2\/media?parent=2875"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fundacionnmac.org\/en\/wp-json\/wp\/v2\/categories?post=2875"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fundacionnmac.org\/en\/wp-json\/wp\/v2\/tags?post=2875"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}