Eat with Art

In Puddle Painting 6 (2014), by Stefan Brüggemann, a minimalist language turns text and gesture into tools for critique and reflection, where form is reduced to intensify meaning. The same logic carries over to Mario Sandoval's scallop —with Godello, shallot and green Ibarra pepper—, an exercise in extreme subtlety. On a round pane of glass, the gesture of writing a “NO” speaks to the cocktail and the scallop, the most delicate bite of the sea, full of minerals and iodine. A composition in which minimal intervention reveals what is essential. The positive sense of “NO”, whose meaning is a yes.

A fantastic Mexican-German artist, an essential stop to see our reflection in the space and say NO to all those things that help us change this global world; we want to be players and take part, hence our reflection in an instant that will mark our passage through this temple of gastronomy. Institutional critique turned into poetry with a single word.

About Stefan Brüggemann Stefan Brüggemann (Mexico, 1975) is a conceptual artist whose practice explores the relationship between language, image and society. Through painting, sculpture and intervention on surfaces, he develops a minimalist body of work in which text and gesture act as tools for critique and reflection.

In Source de Rayon Raouchan (2021), by Fabienne Verdier, the painterly gesture becomes energy in motion, where the stroke builds body, vibration and light. The same logic carries over to Mario Sandoval's Ónix course with the red prawn —Macallan whisky, sweet paprika and pink pepper—, where the body of the shellfish is smoked and spiced without losing its sweetness. The whisky brings depth and wood; the paprika, warmth; the pink pepper, a final stroke that vibrates on the palate like the free gesture of the painting. A dish built in layers of intensity, just as the canvas is built in layers of movement.

Energy as pure literature, flowing from the wonderful pen with which Fabienne writes and the sublime brush with which the renowned French painter traces her marvellous gestures.

About Fabienne Verdier Fabienne Verdier (Paris, 1962) is a contemporary artist whose practice centres on gesture, energy and the relationship between body and matter. Her work, deeply influenced by calligraphy and the Eastern painting tradition, is built from broad, controlled movements in which every stroke is the result of extreme physical and mental concentration. Through compositions that combine colour, vibration and gesture, Verdier turns painting into an almost meditative experience, in which repetition, intensity and time are inscribed in the work. Her practice frames the act of painting as a process of connection between body, space and energy.

The floral sensibility of Teresa de la Pisa, who works brass as if it were a living branch, finds its natural echo in Mario Sandoval's cellar course: grape and fritter, with cheese, pecan nuts and honey. Just as Teresa shapes metal by cold hammering until it seems to sprout, the fritter is fried until golden like an autumn leaf, and the grape —fruit of the very vine that surrounds the table— becomes the sweet core of the dish. The cheese brings body; the pecan, a woodland texture; the honey, the final varnish that joins both languages, the botanical and the gastronomic, in a shared pursuit of ephemeral beauty.

Teresa de la Pisa's works keep us company in the dining space, softly lighting our evenings, bringing nature to our tables with the purity of well-treated organic matter. The artist's traces in precise golden die-cuts overlap in a golden palette, the same one that coats the freshly fried fritter and the skin of the ripe grape.

About Teresa de la Pisa Teresa de la Pisa (Madrid, 1979) is a contemporary artist who combines sculpture, jewellery and craft. Trained in fashion design at the Istituto Europeo di Design, since 2008 she has developed her own language centred on volume and manual gesture. Her work explores the relationship between body, object and form, creating sculptural and ornamental pieces. She has exhibited at international venues such as Bergdorf Goodman, the Biennale Des Mains de Maîtres and Homo Faber, as well as at the Bardia Gallery in 2025.

In Atila (2025), by Joana Vasconcelos, the bull's head rises as a symbol of strength, memory and ritual. The same spirit lives in Mario Sandoval's Sacristy course: the fighting bull steak tartare and the oxtail cannelloni, with mustard and pickles, where tradition becomes emotion served in two movements. It recalls the legendary head of Luis Miguel Dominguín's bull, from the Arturo Sánchez Cobaleda ranch, which presided over the first Coque, and sums up Mario's deep passion for bullfighting in a language of flavour and memory.

Iberian heritage in the hands of the brilliant Portuguese artist Joana Vasconcelos: the fixed gaze adorned with a mantle of embroidery that feels so much our own; white, a symbol of silence and purity, and red, which marks energy, emotion and presence.

About Joana Vasconcelos Joana Vasconcelos (Paris, 1971) is a contemporary artist whose practice explores identity, tradition and popular culture through sculpture and installation. Her work reinterprets everyday objects and symbols, transforming them into large-scale pieces in which the ornamental and the conceptual coexist.

In Synesthesia, by Daniel Canogar, perception expands and the senses intertwine in an experience where the visual becomes scent, rhythm and emotion. The same synaesthesia appears in Mario Sandoval's sea cucumber —pil pil, ají amarillo and mole poblano—, where three traditions of heat and richness coexist in a single bite: Basque pil pil, Peruvian ají and Mexican mole. Three languages of fire in dialogue, like the installation's different streams of data and scent, crossing without losing their identity until they merge into a single perception.

Real time, the time we live in; sensations and experiences transmitted instantly, always the same and always different; the spatial and technological capture to which Daniel transports us in extraordinary installations; movement and stillness.

About Daniel Canogar Daniel Canogar (Madrid, 1964) is a contemporary artist whose practice lies at the intersection of art, technology and perception. His work explores the relationship between image, data and sensory experience through dynamic installations and generative systems. Through compositions of movement, light and colour, Canogar creates works that respond to external stimuli and transform in real time, activating a direct relationship with their surroundings. His practice turns the image into a living flow, in which the visual, the intangible and the sensory intertwine.

In Donna Huanca's blue work, colour seems to pulse like an inner tide, a spiritual body in constant transformation. That same blue finds an echo in Mario Sandoval's shrimp with ajoblanco and blue roe, where the sea becomes rite and offering. The power of the sea does not burst in; it whispers: this is the sweetest of prawns, almost ethereal, subtle in its intensity. Tender almond, the delicate essence of spring, brings an intimate texture, wrapping everything in a kind of sensory ceremony. And then that unique, almost sacred blue appears, found only in the roe of these shrimp, like an invisible bond between the earthly and the spiritual, between art and flavour.

The use of ultramarine blue with natural pigments that stay as fresh as the day they were made, like the shrimp that reaches the guests' plates. Roe in International Klein Blue (IKB), in homage to the wonderful French painter Yves Klein, who registered that colour after creating it and who has been a source of inspiration for the Eat with Art project.

About Donna Huanca Donna Huanca (Chicago, 1980) is a multidisciplinary artist whose practice explores the body and spirituality through painting, performance and installation. Her work, deeply bound to ritual and transformation, unfolds in immersive environments where matter acts as a carrier of memory and experience.

In Kampfmutterz, by Jonathan Meese, mythology becomes a contemporary language, intense and symbolic. The same spirit lives in Mario Sandoval's pistachio —curry soup, ice cream and Osetra caviar—, where this nut, historically linked to ancient cultures and to nobility, becomes one of the most prized today. An ingredient that moves between the ancestral and the present, unfolding a balanced story of flavour.

The green tones of the Tokyo-born Meese's work transform the space with a pop game in which everything mixes; LOVE writ large, enlarged for our guests as a special tribute on our plate, with that central character who winks at us as we taste this historic nut.

About Jonathan Meese Jonathan Meese (Tokyo, 1970) is a multidisciplinary artist whose practice spans painting, sculpture, installation and performance. His work explores the power of symbols, mythology and contemporary culture, developing a language of his own in which gesture and narrative take on a radical, expansive character.

In the work of Secundino Hernández, overlapping layers of paint build a structure in which matter is deconstructed and reorganised. The same logic appears in Mario Sandoval's chickpea with cheese, pesto and yuba: a dish that builds strata of flavour. The yuba acts as a veil that both joins and separates, while basil and pine-nut pesto bring freshness and depth. Everything is deconstructed and recomposed, as in painting, in a play of layers where flavour becomes construction.

Grattage across the surface, decomposition and a new layer of paint in the soft colours our internationally acclaimed Secundino brings to the wonderful linens he works with such purity.

About Secundino Hernández Secundino Hernández (Madrid, 1975) is a contemporary artist whose practice approaches painting as a process, in which gesture, layering and intervention build the work. His work articulates layers, erasures and marks that reveal both the action and its reverse, producing surfaces where the spontaneous and the controlled coexist. In this dialogue, painting becomes a space of tension between construction and deconstruction.

In The Light in Guernica, by José Manuel Ballester, the absence of figures opens a space for reading in which light reorganises the meaning of the original work, revealing the invisible. The same gesture of reinterpretation appears in Mario Sandoval's oyster course —with corn soup, royale and pickled cucumber—, where what seems absent from the dish is in fact its heart: the oyster hides beneath the creamy soup, like a veiled figure to be discovered spoonful by spoonful. The corn brings earthy sweetness; the pickled cucumber, the acidic counterpoint that turns the gaze back to the sea. Light and matter meet again: in the painting, as revelation; on the plate, as discovery.

The photographic impact of the much-awarded Ballester never ceases to amaze us: Guernica in his hands and in the arms of our Chef; coincidences, stories and similarities with a karmic air; living history in our space of peace, just a part, just a fragment, just a stroke of history that carries us to what we live and what we are, a new coexistence captured in that faint light bulb that illuminates us.

About José Manuel Ballester José Manuel Ballester (Madrid, 1960) is a contemporary artist whose practice focuses on reinterpreting images and spaces from a perspective that displaces the original narrative. His work, linked to photography and digital intervention, explores absence, silence and the construction of new readings. By removing figures and transforming recognisable scenes, Ballester creates compositions in which light, space and architecture take centre stage, inviting slower contemplation. His practice treats the image as an open territory, where the visible is redefined and meaning is rebuilt.

In Rouge et noire, by Antoni Tàpies, matter becomes trace: signs, time and surface converse in an essential language. The same pulse appears in Mario Sandoval's baby squid —squid, ink and puntillita—, pure quintessence. The baby squid marks the textural limit against the large squid; the puntillita defines the instant, the exact timing of the immediate, and the Mediterranean becomes territory. The ink leaves its trail as on the canvas: a trace in which the timing of the sauce is measured with almost mathematical precision, turning gesture into concept.

Red and black, love and the unknown in a single gesture; Tàpies always, his universal cross imprinted on so many of his works as an evocation of spirituality and transcendence, the power to express ideas and sensations with a single stroke.

About Antoni Tàpies Antoni Tàpies (Barcelona, 1923 – 2012) is one of the great figures of contemporary European art. His work explores matter, gesture and sign as fundamental languages, standing on the boundary between painting and object. Through dense surfaces, marks, symbols and textures, Tàpies turns the work into a physical space in which time, trace and action are inscribed. His practice redefines painting as territory, where materiality takes on a conceptual, almost spiritual value.

In Partage XXII, by Barthélémy Toguo, territory is built through matter and flow, where migration and life leave a sensitive trace. The same idea appears in Mario Sandoval's tuna —belly, ear and neck—, where textures tell the story of the sea. The tuna that spawns off the shores of Cádiz, caught sustainably in the almadraba traps, embodies an ancestral migration. The deep red of the belly becomes a sign of life and depth, while each cut expresses a part of the marine territory. A dish that speaks of movement, respect and natural balance.

Ultramarine blue inspired by the immense ocean to which the Cameroonian Barthélémy Toguo transports us, with the beauty and richness of colour that African artists capture so well; impressions of the moment carried onto our plates, intense light on the seabed where all of them live.

About Barthélémy Toguo Barthélémy Toguo (Mbalmayo, Cameroon, 1967) is a contemporary artist whose practice spans drawing, painting, sculpture and installation, exploring themes such as identity, migration and the relationship between human beings and their environment. His work is marked by an expressive use of colour and ink, where the figurative and the symbolic coexist to build narratives that move between the intimate and the political. Through organic forms and fluid compositions, Toguo creates images charged with energy, movement and tension.

In Jordan Kerwick's 2023 work, painting is direct and spontaneous, exploring figure and gesture in a raw, essential language where the primitive and the contemporary coexist. That same energy is translated into Mario Sandoval's suckling pig —with spring onion, balsamic and lettuce—: an instinctive, almost wild bite. The primitive and the contemporary coexist; for Mario, suckling pig is Coque's most emblematic dish, here with a new approach. The big cats' hides converse with the pig's crackling skin, while the balsamic-glazed spring onion and the lettuce bring a green pulse, in a play of textures where the tigers on the canvas find their echo in flavour.

The world of animals from the Australian Kerwick's childhood, with Aboriginal feeling from ancient cultures where everything blends in an incredible palette of furniture, shelves, feathers and animals captured for the occasion, in an instant image that stays in motion as we look at it.

About Jordan Kerwick Jordan Kerwick (Melbourne, 1982) is an artist whose practice centres on painting and drawing. His direct, spontaneous work explores figure and gesture through a raw, essential visual language in which the primitive and the contemporary coexist.

The sculpture Tree Man (2025), by Carlos Albert, intertwines with Mario Sandoval's Rib course through a shared idea of rootedness and transformation. The human figure turned into a tree evokes the union of nature and memory, while the combination of pastrami, thyme and pomegranate carries that bond into the language of food: smoke as root, the wild aroma of thyme and the pomegranate as a symbol of life and renewal. Together they create a sensory experience in which art and cooking celebrate the natural origin of human beings and their capacity to grow, reinvent themselves and stay connected to the land.

An evocation of historic sculptors in a language of its own: the strength of iron shaped by fire, with the artist Albert's marks imprinted on the material, the stamp of sculptors working today outside the technological design of our time; a return to origins, to essence… to stop, temper and command, and in this case, as the great ones do, to load the pass.

About Carlos Albert Carlos Albert (Madrid, 1978) is a contemporary artist whose practice centres on sculpture as an exploration of form, balance and the relationship between figure and space. Using materials such as iron, he builds pieces that combine solidity and lightness, creating tensions between the geometric and the organic. His sculptures hold a constant dialogue between volume and void, where form is defined as much by what it occupies as by what it leaves room to breathe.

In Hysteria, 2026, by Anita Suárez de Lezo, geometry builds a sensitive order in which form and balance converse. That idea carries over to Mario Sandoval's Honey rock dessert, with fresh cheese and flambéed pear, inspired by the perfect hexagon of the honeycomb. The honey from El Jaral de La Mira, from transhumant hives set up in May and collected in October, brings its essential character. The dish represents the soul of the estate: a balance of flavours that is also landscape, where nature and geometry meet in perfect harmony.

Refined execution and flawless technique in an ideal of linear colours that brings different artists to mind; Spanish avant-garde for the world, bold modernity that inspires in us a world where paths converge and part again, destinations as a goal without knowing whether there will be an end, and Anita's hands guiding it all with that rare mix of energy and stillness.

About Anita Suárez de Lezo Anita Suárez de Lezo (Madrid, 1974) is a contemporary artist whose practice centres on geometry, colour and the construction of visual systems. Her work explores the relationship between order and rhythm through modular compositions in which forms come together in dynamic structures. Through the precise use of colour and the repetition of elements, she creates surfaces that prompt a reading in motion, where perception changes with the point of view. Her practice treats painting as a space of construction, where each element is part of a balance in constant transformation.

In Md January 15, 2021 18:40, by Aldo Chaparro, matter is understood as a dynamic field, where form is never fixed but the result of forces in balance. The same idea is translated into Mario Sandoval's anise borrachito with raspberries and violet caramel: a dessert in harmonious tension, where cherry caramel and violet meet, and the raspberries bring a bright, almost liquid gleam. The red syrup envelops it all, like an energy that shapes and transforms, giving rise to a composition in which colour, flavour and structure converse in constant change.

The Spanishness of the Latin and the Latinness of the Spanish, crossings of cultures that make us kin, with the sense that the whole matters more than its parts; the brilliant Chaparro at the helm of that mix, the movement of waves beneath the colour of those smooth wines that carry us away and make us fall in love; a steady gaze and a step forward.

About Aldo Chaparro Aldo Chaparro (Lima, 1965) is a contemporary artist whose practice centres on sculpture and the relationship between form, surface and perception. His work explores the tension between the industrial and the organic, using materials such as polished steel to create pieces that capture and distort their surroundings. Through reflective surfaces, folds and seemingly unstable volumes, Chaparro creates works that converse with the space and the viewer, activating a visual experience in constant transformation. His practice treats matter as a dynamic field where form is never fixed, but the result of forces in balance.