PREVIEW
Adolfo Riestra
Cuerpo de Obra
CURADURÍA POR MAURICIO MARCIN
11 JULIO, 2024
  —  
31 AGOSTO, 2024
ÍNDICE DE OBRAS
CONSULTA

¿Y cual será la manera en que el  artista preserve el instante?

Adolfo Riestra

Este modesto esfuerzo de exhibir su Cuerpo de obra se declara parcial. No se intentó aquí una revisión exhaustiva, mucho menos definitiva. Estos signos se ofrecen separados, como un juego que permite reunir nuevamente otro cuerpo, reinventar otra forma y otra y otra. Esta exposición es una re-membranza.

Extracto de texto curatorial para Cuerpo de Obra, Mauricio Marcin.
Adolfo Riestra
Suicidas de Jim Jones, 1981
Collage, gouache y tinta sobre papel
32 x 24 cm
VER MÁS
Adolfo Riestra
Suicidas de Jim Jones, 1981
Collage, gouache y tinta sobre papel
32 x 24 cm
VER MÁS
Adolfo Riestra
Suicidas de Jim Jones, 1981
Collage, gouache y tinta sobre papel
32 x 24 cm
VER MÁS
Adolfo Riestra
Mujer, 1977
Tinta sobre papel
27.5 x 21 cm
VER MÁS
Adolfo Riestra
Mujer, 1977
Cera sobre papel
30.5 x 23 cm
VER MÁS
Adolfo Riestra
Bailarina, ca. 1970
Acrílico y lápiz graso sobre papel
31.5 x 23 cm
VER MÁS

Sus dibujos están poblados de cuerpos proscritos, son una somateca revolucionaria —para su época, los ochenta, y para la nuestra— porque reclaman una desidentificación. Sus seres se niegan a la construcción de un ego estable, a las identificaciones identitarias, huyen de la fijación a través de la contradicción: son tintas inmóviles que persiguen la ligereza y la mutabilidad del viento.  

Esa somateca* está plagada de invenciones monstruosas y hermosas, brazos que se alargan hasta la defectuosidad, torsos que se tuercen, muslos inflamados, pitos hinchados, tetas en esteroides, caídas, culos infraleves, criaturas hermafroditas. Todo en sus dibujos es defecto, deseo abyecto, formas caprichosas. Sus dibujos no se oponen a la belleza, sino que la implantan con otros cánones: su canto es el de un pájaro que pocos entienden. 

Extracto de texto curatorial para Cuerpo de Obra, Mauricio Marcin.

* La "somateca", acuñada por Paul B. Preciado, describe cómo los cuerpos son archivos vivientes moldeados por discursos, prácticas y tecnologías de poder, transformando la identidad y subjetividad.

Adolfo Riestra
Calavera en bacinica, 1970
Pastel sobre papel
45.5 x 61 cm
VER MÁS
Adolfo Riestra
Hombre, 1977
Tinta sobre papel
27.5 x 21 cm
VER MÁS
Adolfo Riestra
Sin título, 1980
Tinta sobre papel
25 x 16.5 cm
VER MÁS
A Adolfo le compete el reconocimiento —junto a muchxs otrxs— de esa operación política y estética. La obra, el cuerpo de obra de Adolfo, es un grito en el medio de un cráter, un cráter que deviene playa, un placer que deviene muerte, una espiral.

Extracto de texto curatorial para Cuerpo de Obra, Mauricio Marcin.

Adolfo Riestra
La muerte, ca. 1980
Tinta, lápiz y acuarela sobre papel
15 1/2 x 12 3/8 in
VER MÁS
Adolfo Riestra
Niño gritando, 1984
Acrílico sobre tela
70 7/8 x 47 1/4 x 1 1/8 in
VER MÁS
Adolfo Riestra
Bañista, 1989
Acrylic on Canvas
63 x 55 1/8 in
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En el momento en que Adolfo lograba dominar algún estilo pictórico, lo dejaba, rechazando su dominio, pues lo controlable y previsible cesa de ofrecerle un espectro de posibilidades, como si el deseo estuviese satisfecho. 

Extracto de texto curatorial para Cuerpo de Obra, Mauricio Marcin.

Adolfo Riestra
Celuta y el caimán, 1989
Acrílico, carboncillo y óleo sobre tela
140 x 170 x 2.8 cm
VER MÁS
Adolfo Riestra
Mujer en amarillo, 1984
Acrílico y óleo sobre tela
100 x 80 x 3 cm
VER MÁS
Adolfo Riestra
Los aplicadores, 1988
Óleo sobre tela
180 x 140 x 2.8 cm
VER MÁS
Adolfo Riestra
Sin título (Pies con zapatos), s.f.
Barro cocido
28 x 14.5 x 24.5 cm c/u
VER MÁS
Adolfo Riestra
Sin título (Brazos azules), s.f.
Barro cocido
48.5 x 10 x 7 cm c/u
VER MÁS
Adolfo Riestra
Pies blancos separados con calentadores, s.f.
Barro cocido
17.5 x 19 x 13 cm
VER MÁS

"El trabajo en barro - tradición antigua tanto en el occidente como en el oriente de México -desde hace tempo despertó mi curiosidad y provocó mi interés, mi deseo de penetrar en la entraña de figuras fantásticas que iban emergiendo de la pasta húmeda, de la tierra moldeable. Hueco como un guaje, el barro se le amasa y moldea dejando siempre espacios para respirar, espacios rodeados de una superficie tan delgada como hojaldre. Al mismo tiempo su construcción es arquitectura que require de muros y bóvedas, túneles, amplios salones donde ventanales, chimeneas y pórticos comunican con el exterior”. 

Adolfo Riestra

Adolfo Riestra
Bañista, 1989
Bronce
82.5 x 34 x 46 cm
Adolfo Riestra
Torso esgrafiado con niños, 1989
Bronce
85.5 x 55 x 30.5 cm
Adolfo fue un personaje absolutamente pasional. Todo en su mundo tenía un significado extremo y no había lugar para medias tintas o tibiezas. De ésta manera vivía, amaba, cocinaba, comía, dibujaba, pintaba y esculpía. Contra viento y marea nos gustara, lo comprendiéramos o no. De ésta manera también trabajaba, intensamente, sin cesar.

Adolfo Riestra, Galería OMR, Ciudad de México, 1994.

Adolfo Riestra
Sin título (Brazo) , s.f.
Barro cocido
23.5 x 9.5 x 36.5 cm
VER MÁS
Adolfo Riestra
Sin título (Manos con granada), s.f.
Barro cocido
15 x 30 x 41.5 cm
VER MÁS
Adolfo Riestra
Sin título (Piernas), s.f.
Barro cocido
44 x 12.5 x 22 cm c/u
VER MÁS

Con barro se puede tapar un rubí... El trabajo en barro -tradición antigua tanto en el occidente como en el oriente de México- desde hace tiempo despertó mi curiosidad y provocó mi interés, mi deseo de penetrar en la entraña de figuras fantásticas que iban emergiendo de la pasta húmeda, de la tierra modelable. Hueco como huaje, el barro se le amasa y moldea dejando siempre espacios para respirar; espacios rodeados de una superficie tan delgada como hojaldre. Al mismo tiempo su construcción es arquitectura que requiere de muros y bóvedas, túneles y pasillos, amplios salones donde ventanales, chimeneas y pórticos comunican con el exterior. 

La escultura en barro es un paseo al interior de cuerpos, una aventura por extensiones de magnitud infinita, un viaje a la profundidad donde se abandona la imaginación a sus propias evoluciones. Formas, volúmenes y gestos de individuos desconocidos van apareciendo. Rostros con narices largas y anchas, manos con dedos finos. A veces, misteriosas y toscas manazas que configuran caracteres dotados de una singular personalidad. 

— Vivir dentro de una figura es más fascinante que verla por fuera.

Adolfo Riestra “Con barro se puede tapar un rubí…”

Adolfo Riestra
Jarra antropomorfa, 1989
Bronce
57 x 50.5 x 42 cm
Adolfo Riestra
El vampiro, 1980
Tinta sobre papel
37 x 27 cm
VER MÁS
Adolfo Riestra
(Sangre), 1980
Tinta y acuarela sobre papel
37 x 27 cm
VER MÁS
Desde que tengo memoria, recuerdo a mi hermano dibujando o pintando y lo hacía con lo que tenía a la mano: experimentaba con humor en todo tipo de superficies, hacía cosas increíbles, como collages o mezclaba pinturas hasta con frijoles. Sus obras culminaban en imágenes que yo consideraba entonces obras maestras.

Jaime Riestra, OMR, 2019. Ed. Turner Libros.

Adolfo Riestra
Muscle woman, 1981
Collage, gouache y tinta sobre papel
24 x 16.5 cm
ver más
Adolfo Riestra
Contorsionista, 1981
Collage sobre papel
28.5 x 19 cm
ver más
Adolfo Riestra
Cantante de opera, 1988
Acrílico sobre tela
170 x 40 x 2.5 cm
ver más
Adolfo Riestra
La niña del traje rojo, 1989
Tinta, laca y acuarela sobre papel
35 x 25 cm
VER MÁS
Adolfo Riestra
Jugador de basketball, 1985
Acrílico, carboncillo y tinta sobre papel
70 x 50.5 cm
VER MÁS
Adolfo Riestra
Muchacho en Zihuatanejo, 1989
Acuarela sobre papel
37 x 27 cm
VER MÁS
Adolfo Riestra
Lechita pa' los gatos, ca. 1984
Acrílico sobre tela
145 x 114.5 x 3.5 cm
VER MÁS
Adolfo Riestra
Sin título, 1988
Óleo sobre tela
70.5 x 60 x 3.2 cm
VER MÁS
Adolfo tuvo que inventar en cada dibujo lo que deseaba que existiera en la realidad; en una operación simbólica-demiúrgica hizo que cada pintura prodigara consistencia al mundo y es que hacer arte es hacer brotar el espacio que se desea habitar.

Extracto de texto curatorial para Cuerpo de Obra, Mauricio Marcin.

Conoce más sobre Adolfo Riestra Cuerpo de Obra

CONSULTA
Gabriel Rico - Monos del espacio
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Monos del Espacio es una síntesis de veinte años de trabajo e investigación sobre la relación entre  naturaleza y cultura. Es una historia construida a partir de cientos de otras historias sobre la  búsqueda de significado en un mundo complejo. Historias sobre la interconexión entre seres  humanos y su entorno, narradas por él sin fin de pistas que da cada detalle de los personajes que  la habitan.  

En la frontera entre el arte y la ciencia, Monos del Espacio presenta un proceso científico y  artístico en donde la observación, la experimentación y la reflexión se entrelazan para revelar  nuevas perspectivas sobre nuestra realidad.

En este viaje de escalas cósmicas, Rico nos recuerda que la verdad es relativa y que la realidad es  una construcción subjetiva. Somos parte del universo, pero también somos observadores de  nosotros mismos.

Y contenemos un universo igual de infinito dentro de nosotros mismos. Monos del espacio, es, en última instancia, una reflexión sobre la condición humana, y una invitación a sumergirse en la  complejidad de la vida en nuestra incesante búsqueda por encontrar significado en el mundo que  nos rodea.

Bienvenidxs a cuestionar, explorar y reflexionar sobre este ensamble de significados.

Monos del Espacio es una síntesis de veinte años de trabajo e investigación sobre la relación entre  naturaleza y cultura. Es una historia construida a partir de cientos de otras historias sobre la  búsqueda de significado en un mundo complejo. Historias sobre la interconexión entre seres  humanos y su entorno, narradas por él sin fin de pistas que da cada detalle de los personajes que  la habitan.  

En la frontera entre el arte y la ciencia, Monos del Espacio presenta un proceso científico y  artístico en donde la observación, la experimentación y la reflexión se entrelazan para revelar  nuevas perspectivas sobre nuestra realidad.

En este viaje de escalas cósmicas, Rico nos recuerda que la verdad es relativa y que la realidad es  una construcción subjetiva. Somos parte del universo, pero también somos observadores de  nosotros mismos.

Y contenemos un universo igual de infinito dentro de nosotros mismos. Monos del espacio, es, en última instancia, una reflexión sobre la condición humana, y una invitación a sumergirse en la  complejidad de la vida en nuestra incesante búsqueda por encontrar significado en el mundo que  nos rodea.

Bienvenidxs a cuestionar, explorar y reflexionar sobre este ensamble de significados.

Agency vs Structure, 2024
Neon
45 1/4 x 47 1/4 x 1 5/8 in
Neón
115 x 120 x 4 cm
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Gabriel Rico
Bring the justice into an oblique line (Damascus), 2024
Cotton yarn on wooden board coated with beeswax
11 3/4 x 78 3/4 x 2 3/8 in
Hilo de algodón sobre tabla de madera recubierta de cera de abeja
30 x 200 x 6 cm
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Gabriel Rico
Fish begin to stink by the head (Dog face), 2024
Pvc plastic, metal, neon, hand-painted ceramic
112 1/4 x 71 5/8 x 71 5/8 in
Plastico Pvc, metal, neón, cerámica pintada a mano
285 x 182 x 182 cm
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Gabriel Rico’s series Fish begin to stink bythe head continues his exploration of howour surroundings shape not only health,
but also human psychology, as well as oureternal quest for happiness. By assemblingvarious objects chosen for their symbolicpower into anthropomorphic agglomerates,Rico creates sculptures that evoke a strangeempathy towards the non-living.

For Rico, materials function as analogies for oneof the main themes in his work: the fragmentationof the contemporary human being. The syntax ofthis sculpture reflects on just how humanoid aprecise combination of materials and objects canbe, and on the empathy, awakened in the viewerwhen these materials and objects are arranged ina certain way.

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Gabriel Rico
Choice vs Order (FOOT), 2024
Neon
29 1/8 x 45 1/4 x 2 3/8 in
Neón
74 x 115 x 6 cm
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Gabriel Rico
I take comfort in your ignorance (the greatest obstacle of all) Salchicha ballet, 2023
Cotton thread on wooden board covered with beeswax
59 x 66 7/8 x 2 3/8 in
Hilo de algodón sobre tabla de madera recubierta de cera de abeja
150 x 170 x 6 cm
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Gabriel Rico’s work featuring a skeleton on
a sausage reduces the complexity of thehuman condition to mere flesh. Enjoying theride with raised arms and dangling legs, theskeleton conveys a carefree attitude towardsthe pressing discourses and crises thatdefine our contemporary reality.

For some time, Gabriel Rico was looking for atechnique that would allow him to translate theaesthetic of his sculptures into a two dimensionalformat. Seeking a way to harness the visualpower and the essence of his pieces, he chose atechnique known as nierika: The yarn paintingswere produced by Wixárika artisans in the village of San Andrés Cohamitata, located in thehighlands of northern Jalisco in Mexico.

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Gabriel Rico
The second cause is meant to be an explanation of the first (NAMED), 2023
Cotton yarn on wooden board coated with beeswax
39 3/8 x 222 x 2 3/8 in
Hilo de algodón sobre tabla de madera recubierta de cera de abeja
100 x 564 x 6 cm
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Gabriel Rico
Arquitectura from the series- Hipótesis del equilibrio local-, 2014
Rod, brick, sponge, hemp thread and tape
35 3/8 x 6 1/4 x 35 3/8 in
Caña, ladrillo, esponja, hilo de cáñamo y cinta.
90 x 16 x 90 cm
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The piece titled "Architecture", is composed from 2 elements joined in a visual analogy about the relationship between men and architecture and the assumption that without one, the meaning of existence of the other is questionable. - To evidence the importance of Matter to define space- A chop tied with hemp wire to a brick to represent the emotional part of inhabiting a space and the figurative sense of the bond that is created in doing so. A branch suspended from the wall gives the guideline for its location and of the brick, to locate them in space and create a symbiosis such as it happens when projecting a measure on the space to generate a scale, a guideline for the dimension.

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Gabriel Rico
Choice vs Order (HAND), 2024
Neon
31 1/2 x 25 5/8 x 2 3/8 in
Neón
80 x 65 x 6 cm
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Gabriel Rico
Bring the justice into an oblique line (Chrysolophus amherstiae), 2024
Cotton yarn on wooden board coated with beeswax
17 3/8 x 78 3/4 x 2 3/8 in
Hilo de algodón sobre tabla de madera recubierta de cera de abeja
44 x 200 x 6 cm
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Gabriel Rico
Choice vs Order (ELBOW), 2024
Neon
36 5/8 x 36 5/8 x 2 3/8 in
Neón
93 x 93 x 6 cm
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Gabriel Rico
El horóscopo de Jesús (Melt marble cardón I), 2021
Cactus: Extremoz pink marble; polyhedrons: Arabescato marble Portugal origin & sand.
82 1/4 x 31 1/8 x 16 1/8 in Weight: 1, 250 kg. approx.
Cactus: mármol rosa Extremoz; poliedros de mármol Arabescato de origen Portugal & arena
209 x 79 x 40.9 cm Peso: 1, 250 kg. approx.
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The holographic principle is a principle of superstring theories about quantum gravity theories proposed in 1993 by Gerard ‘t Hooft, and improved and promoted by Leonard Susskind in 1995. It postulates that all the information contained in a certain volume of a particular space can be known from the encodable information on the boundary of that region. An important consequence is that the maximum amount of information that can be contained in a given region of space surrounded by a differentiable surface is limited by the total area of that surface. It is this principle that I use as a starting point in the development of the pieces that make up this series, in which I am interested in the assumption that there can be contamination filtered into reality, from the time it takes for a hologram to materialize into a real object, i.e. in principle a coyote or deer can be composed materially by the elements traditionally found in them, such as hair, teeth, horns, tail, etc.. But as they materialize they absorb some elements that coexist with them, which triggers a mutation on the condition of information in the current world, in this specific case what is absorbed are symbols with certain values used in some exact sciences, such as mathematics, physics or trigonometry.

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Gabriel Rico
Sección aurea (Square), 2024
Pheasant taxidermy, branches, gold leaf
80 3/4 x 33 1/2 x 98 3/8 in
Taxidermia de faisán, ramas, hoja de oro
205 x 85 x 250 cm
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Gabriel Rico
Choice vs Order (KNEE), 2024
Neon
30 1/4 x 39 3/8 x 2 3/8 in
Neón
77 x 100 x 6 cm
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Gabriel Rico
Choice vs Order (HEAD), 2024
Neon
31 1/2 x 33 1/2 x 2 3/8 in
Neón
80 x 85 x 6 cm
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Gabriel Rico
Fish begin to stink by the head (Pink coral),
Pvc plastic, metal, leafs, popotillo, stones, bones, corals, starfish & alumina
70 7/8 x 35 3/8 x 35 3/8 in
Plastico Pvc, metal, hojas, popotillo, piedras, huesos, corales, estrella de mar y alumina
180 x 90 x 90 cm
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Gabriel Rico
Bring the justice into an oblique line (Polyplectron malacense), 2024
Cotton yarn on wooden board coated with beeswax
17 3/8 x 78 3/4 x 2 3/8 in
Hilo de algodón sobre tabla de madera recubierta de cera de abeja
44 x 200 x 6 cm
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Gabriel Rico
Choice vs Order (ARM), 2024
Neon
31 1/2 x 49 1/4 x 2 3/8 in
Neón
80 x 125 x 6 cm
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Gabriel Rico
El horóscopo de Jesús (Melt marble coyote II), 2022
Extremoz pink marble Portugal origin & sand
35 1/8 x 37 3/8 x 18 1/8 in Weight: 350 kg aprox.
Mármol rosa Extremoz, origen Protugal & arena
89 x 95 x 46 cm Peso: 350 kg aprox.
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"The holographic principle is a principle of superstring theories about quantum gravity theories proposed in 1993 by Gerard ‘t Hooft, and improved and promoted by Leonard Susskind in 1995. It postulates that all the information contained in a certain volume of a particular space can be known from the encodable information on the boundary of that region. An important consequence is that the maximum amount of information that can be contained in a given region of space surrounded by a differentiable surface is limited by the total area of that surface. It is this principle that I use as a starting point in the development of the pieces that make up this series, in which I am interested in the assumption that there can be contamination filtered into reality, from the time it takes for a hologram to materialize into a real object, i.e. in principle a coyote or deer can be composed materially by the elements traditionally found in them, such as hair, teeth, horns, tail, etc.. But as they materialize they absorb some elements that coexist with them, which triggers a mutation on the condition of information in the current world, in this specific case what is absorbed are symbols with certain values used in some exact sciences, such as mathematics, physics or trigonometry." Gabriel Rico

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f the Sun had been reduced in size because of the space between I and Us, much more would it have lost its color (neon sun), 2024
Neon
31 1/2 x 31 1/2 x 2 3/8 in
Neón
80 x 80 x 6 cm
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Gabriel Rico
Fish begin to stink by the head (Dog face), 2024
Hand-painted ceramic, blanches, gold leaf & alumina
Cerámica pintada a mano, ramas, hoja de oro y alumina
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Gabriel Rico
Vis Viva (first variation), 2024
Clay, gravel, gold leaf & branches
Variable dimensions
Barro, grava, hoja oro y ramas
Dimensiones variables
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Gabriel Rico
I have anticipated you, MULTIRACE, (The object, constructor of the social, expelled from the social world, attributes to a transcendent world what is, however, not divine), 2024
Cedar wood carving with steel core, polychrome oil painting & sand
height 88 5/8 in
Talla en madera de cedro con alma de acero, policromado en óleo y arena
altura 225 cm
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Gabriel Rico’s visual lexicon is comprised ofimagery of everyday objects taken from ourcollective memory. Recurrent in his work areimages of natural and man-made objects likecacti, taxidermy, knives, sporting balls, goldcoins, feathers and other natural elements,among others.

Through the extroversion of elements related toeveryday life, Rico proposes a mental game inwhich the viewer projects their desires, interestsand ideals on the cactus, therefore forming a newentity that is neither plant nor animal, subject tothe meanings that the objects embedded in thecactus have today.

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Gabriel Rico
XVI from the series -Excessive butter-, 2024
White-tailed deer taxidermy & different balls
41 3/8 x 19 3/4 x 25 5/8 in
Taxidermia de venado cola blanca y diferentes pelotas
105 x 50 x 65 cm
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