Vila Viniteca has a new painting to illustrate its catalogue, and it is made of noble material.

BarcelonaQuim Vila and Siscu Martí, owners of the wine shop and distributor Vila Viniteca, have just announced the new painting that will illustrate the wine catalogue, which they renew annually, and which is called Metamorphosis. If last year was the chef Ferran Adrià who illustrated its cover and also the inside pages, this year it was the artist Daniel Steegmann Mangrané (Barcelona, ​​​​1977), who chose one of the most prestigious marbles in the world: it is the Italian Portoro marble, which naturally produces gold and white veins. The idea of ​​​​linking art with wine began in the 90s, after Quim Vila and Siscu Martí realized that the Bordeaux wine Mouton Rothschild was labeling wines with works of art by Joan Miró, Pablo R. Picasso or Salvador Dalí.

Thus, this year the cover of the large-format catalog will be black, set against a white background. With the front and back covers open, you can see the complete creation, which is also on display these days at the La Teca family store (c. Agullers, 9)And later, they'll put it on a wall because it's exactly how the artist intended it.

The artist has worked the marble by chiseling it into irregular fragments, none of which have the same shape, nor do they follow the natural veins they must have had originally. The exercise of observation involves imagining how each of the pieces must have been positioned. From there, the observer can imagine what Steegmann, who often works with tree trunks for his works, wanted to convey. "He doesn't have a fixed register, but many," says Joan Amagat, an art dealer with an art gallery on Carrer Casp in Barcelona. He himself explained that the artist has lived between Barcelona and Brazil, and that he appreciates good food.

The dealer also notes that Steegmann's creations are currently world-renowned, as is the case with the works of Joan Miró, which continue to rise in price on the market. About the artist Jaume PlensaAmagat points out that both the sculptures located in the Palau de la Música Catalana and the one installed in Madrid's Plaza Colom have their days numbered. "Plensa placed them for a specific time; and then they must return to the artist," he concludes.