The Mansion

Art collector Lio Malca is the visionary behind this artistic boutique hotel. Each room in the mansion showcases works from his private collection, making it a favorite among art lovers and creative types alike.


The Mansion


The Mansion


The Mansion


Art Collection

Inside the lobby, paintings, sculptures and furniture by some of the most revered contemporary artists and designers are displayed.

– Dezeen

Sunil Gawde

Blind Bulbs


Blind Bulbs marked a departure from Sunil Gawde’s trademark abstract paintings. The bulb seemingly represents the human body; it has an interior and an exterior – both brimming with intense possibilities of illumination. The enlarged bulb, though it connotes light, doesn’t illuminate from within; it’s not connected to its source. Its interiority gets externalized, on the contrary, through a black substance emitted, that attains the shape of a bat. This nocturnal creature doesn’t need eyes, and ‘sees’ through noise reflection. So the bulb could well be a ‘blind bulb’. The light bulb is often a symbol of enlightenment or knowledge. Yet by making it dense black, this interpretation was inverted. The ‘blind bulbs’ were initially commissioned for Saint-Tropez beach. Being placed outdoors in such a context made the irony of the piece evident, as the function of a bulb is completely unnecessary as the light it emits can in no way compete with the sunlight.

Jitish Kallat



Eruda is a mammoth iconic sculpture of a young boy selling books on the traffic lights of Mumbai. The children (who could sometimes be illiterate) often sell these books authoritatively, playfully engaging in conversations about the book’s interest value; their rigour, audacity and endurance making them mascots for the resilience of a city such as Mumbai. Kallat’s sculpture has feet shaped like homes, forming the quintessential image of a nomad whose home is where he lays his feet. Treated in black-lead, ‘Eruda’ ensures that you take back a black stain on your fingers if you choose to touch him. Black-lead is the softest form of carbon while diamond remains the hardest.

Fabien Verschaere



From one work to the next, one encounters in the work of Fabien Verschaere, the devil and angels, skulls and living beings, ghosts and extraterrestrials, sirens and centaurs, all hairs or feathers, bear, goat, duck, parrot … We also fall on Don Quixote, Pinocchio, Mickey or Batman. Fairy tales meet African mythologies, popular cultures, literature and the history of painting. All these characters and elements intertwine, brush against each other, telescoping into a vertiginous proliferation and an almost blinding concentration.

Keith Haring

Haring Bar


The idea of the Pop Shop Tokyo was born after the success of the Pop Shop in New York that opened in 1986. The Pop Shop in New York became a key place in Keith Haring’s artistic practice – in this space, and in line with the philosophy of pop art, his art was accessible to all, he sold t-shirts and novel articles with the images of his works and those of other contemporary artists like Kenny Scharf and Jean Michel Basquiat. In late 1987 Keith Haring traveled to Japan and acquired two 40-foot containers that would become the infrastructure of one of its larger scale projects. He painted and furnished the interiors with hand-painted wooden panels, creating an immersive experience in his line of aesthetic work. In January 1988, the Pop Shop Tokyo opened its doors in the capital of Japan with the intention of continuing the spirit of the Pop Shop New York store sharing its philosophy of art for all. The containers’ whereabouts were unknown for a long time. After a long search, they became part of Lio Malca’s collection in 2004.

Holton Rower

Anti Homophobic Leadership Summit


Holton Rower is an artist currently living and working in New York City who attended The Putney School in Vermont. Rower’s work has been the subject of numerous solo presentations both in the U.S. and abroad, including recent exhibitions at VENUS LA in Los Angeles, The Hole in New York and Arthur Roger Gallery in New Orleans; and previously at Galerie 6 in Aurau, Switzerland, Galleria Maeght in Barcelona, Galerie Maeght in Paris, John McWhinnie at Glenn Horowitz Booksellers in New York, and Cencebaugh Contemporary in New York. His work has also been featured in group exhibitions, recently at the Dubai Moving Image Museum, as well as in numerous publications and artists books, including “Pour” (2012), “Scrap” (2010), “Jaw Law” (1999), and “Nettles” (1991), a book of photographs, poems and drawings, published by Flockophobic Press. Rower’s newer works are a powerful exploration of movement, color, and form. By working with gravity while pouring paint onto various apparatuses, his works become psychedelic snapshots of his artistic process. Past works include sculptures constructed out of a variety of non-traditional materials including human hair, dollar bills, mutated locks, and fishhooks. While he does work within a wide variety of meaning, all of Rower’s works examine the processes and methods of creation, and reveal the inherent vibrancy that lies within each piece.


Companion, Passing Through


Brooklyn-based KAWS engages audiences far beyond the museums and galleries in which he regularly exhibits. His prolific body of influential work straddles the worlds of art and design to include paintings, murals, large-scale sculptures, street art, graphic and production design. Over the last two decades KAWS has built a successful career with work that consistently shows his formal agility as an artist, as well as his underlying wit, irreverence, and affection for our times. The nature of his work possesses a sophisticated humor and thoughtful interplay with consumer products and collaborations with global brands. He often draws inspiration and appropriates from pop-culture animations to form a unique artistic vocabulary for his works across various mediums. Now admired for his larger-than-life sculptures and hardedge paintings that emphasize line and color, KAWS’ cast of hybrid cartoon and human characters are perhaps the strongest examples of his exploration of humanity. KAWS has been exhibited at the High Museum, Brooklyn Museum, Yorkshire Sculpture Park in England, the Modern Art Museum of Fort Worth, and the Yuz Museum in Shanghai.

Navin Rawanchaikul

Quotations from Comrad Navin


Since 1994, upon founding his own artistic production company, leading Thai contemporary artist Navin Rawanchaikul has been working to bridge the divide between art and life in his wide-ranging projects. His works, as he writes, “rely heavily on team spirit and collaboration,” and include performances, films, public art projects, comic books, merchandise, and a “political party,” whose platform is to connect people named Navin worldwide. Such tongue-in-cheek projects stem from Rawanchaikul’s discontent with what he sees as the insularity of the art world. He wants to transform art into a product for mass consumption, without compromising its integrity. This democratic goal catalyzed the experiment that launched his career, “Navin Gallery Bangkok” (begun 1995), a taxicab-cum-gallery that surprised unsuspecting riders with a mobile art experience, and that models a vastly more generous system for distributing and presenting works of art.

Kenny Scharf

Scary Guy (Red)


Kenny Scharf is a world-renowned artist, born in California in 1958. After graduating from SVA in New York City, he quickly became an essential personality of the interdisciplinary East Village Art Scene of the ‘80s, alongside Andy Warhol, Jean Michel Basquiat and Keith Haring. Kenny is known as the father of Pop Surrealism, a movement that he coined and continues to represent today. His body of work spans across street art, painting, sculpture, and installations. Scharf’s most recent collaboration was with Christian Dior, working alongside designer Mr. Kim Jones to design and launch Dior’s Spring 2021 collection. The influence of graffiti, comics, cartoons, advertising, and Pop culture in general, is present in all of his works and form both a hallmark of style and a historical context. Kenny’s unmistakable aesthetic is marked by his irreverent and fun characters as well as the bright colors typically associated with the spray paint technique.

Kenny Scharf

Endless Totem


According to Scharf, “This Tiki Totem moniker is a fantasy come true. To realize something of this magnitude is beyond my wildest dreams. I love the way they relate to the Pacific Northwest culture as well as the universal Tiki culture, which extends from the South Pacific through the Northwest and up to Alaska. As I’ve said before, art should, above all, be fun, and these huge 3D forms translate that perfectly”

Yue Minjun

Contemporary Terracotta Warriors


Chinese artist Yue Minjun subverts the grand aura of art history by both adopting pop aesthetics and delving deeply into the potency of self-image. Known for repeating itself, in painting and in sculpture, through repeated, identical iterations, Minjun’s body of work is deeply self-critical and remarks on the prevalence of uniformity in modern society. This sculpture, belonging to a larger group of Chinese warriors, presents a contemporary reinterpretation of the historical terracotta warriors found in the tomb of Qin Shi Huangdi, one of China’s most influential emperors. Rather than exhibiting individualism, each of Minjun’s warriors is resolutely identical and thus the similarity of China’s current day plagues.

Jianguo Sui

Legacy Mantle


Leaving behind the purely abstract explorations of sculptural language in the Structure Series, in 1997 Sui Jianguo began working with the representational subject matter of the Mao suit (known in Chinese as a Zhongshan or Sun Yat-sen suit). Producing the Legacy Mantle series, he grasped this collective totemic symbol of several generations of Chinese and was repeatedly invited to international touring exhibitions, making this one of the most important projects in his practice. Although the jacket in question was designed for and, in Chinese, named after Sun Yat-sen, it became popular both in mainland China and abroad only after Mao Zedong took to wearing it on a regular basis, ultimately becoming a symbol of the Communist regime. Originally known as the Zhongshan suit, the uniform became known in the West as the Mao suit because it was the latter leader who chose to wear it with such regularity. Mao Zedong and the Chinese people share an inseparable bond of sentimentality, as demonstrated in Legacy Mantle, a large scale work of this series produced in 1997. With massive dimensions and immensely heavy, it stands tall like a monument for the Chinese people, representing not only the Communist regime but rather the deep memories of the period before Reform and Opening that have quietly disappeared. In 2011 China stands as an international power, but perhaps now more than ever it requires a monument like Legacy Mantle to document and reflect upon the past century, allowing us to move toward a new era.

Rafael Gomez Barros



Raised in Bogota, Colombia, where he still lives and works. He studied plastic arts at the Universidad Jorge Tadeo Lozano. His projects interrogate the political situation in Colombia and reflect on the duality of various themes: the individual and society, desire and reality, identity and anonymity. His most recognized work thus far has been giant ant sculptures created from the casts of two human skulls, bringing sharply to mind the thin veil between life and death, a theme continued in SONAJEROS. HOUSE TAKEN featured his ants covering the classical façade of the Colombian National Congress to address national security policies that have created violence for decades. In RATTLES and URNS, works that are strongly associated with the nature of the mind, Gomez Barros questions the fragility of life and its resistance to death, through his interest in ritual and repetitiveness. Gomez Barros has had eleven solo exhibitions and has been exhibited in numerous group shows internationally, in countries including Colombia, Venezuela, Mexico, United Kingdom, United States, Austria, and Cuba. His pieces are included in several prestigious private and public collections, such as that of the Museo de Arte Moderna, Colombia.

Mark Ryden

Rosie’s Tea Party


“Blending themes of pop culture with techniques reminiscent of the old masters, Mark Ryden has created a singular style that blurs the traditional boundaries between high and low art. His work first garnered attention in the 1990s when he ushered in a new genre of painting, “”Pop Surrealism,” dragging a host of followers in his wake. Ryden has trumped the initial surrealist strategies by choosing subject matter loaded with cultural connotation. Ryden’s vocabulary ranges from cryptic to cute, treading a fine line between nostalgic cliché and unsettling archetype. Seduced by his infinitely detailed and meticulously glazed surfaces, the viewer is confronted with the juxtaposition of the childhood innocence and the mysterious recesses of the soul. A subtle disquiet inhabits his paintings; the work is achingly beautiful as it hints at darker psychic stuff beneath the surface of cultural kitsch. In Ryden’s world cherubic girls rub elbows with strange and mysterious figures. Ornately carved frames lend the paintings a baroque exuberance that adds gravity to their enigmatic themes.

The artist stated: “The original painting has been in Lio Malca’s collection in New York since 2005 and thanks to his continuous support, it has been included in some of the most important exhibitions of my work to date. Lio has been a great supporter of my work and it was a pleasure to think of a way to, somehow, include this work in Casa Malca. Due to security challenges and weather conditions it was best way to install an oversize print to be displayed in Tulum. I then, authorized and gifted this paint to Lio”.”

Subodh Gupta

A Giant Leap of Faith


A painter by training, he is now one of the most famous artists. Gupta has also been interested in certain artistic forms such as performance, video, photography, sculpture, or installations. He makes most of his time his art using various utensils of everyday life, or by reproducing gigantic sculpture, as evidenced for example by his exhibition “Adda / Rendez-vous” at “La Monnaie de Paris” in 2018.

For Gupta, who for more than a decade has represented the dynamism of the Indian art scene, it is still, like his Chinese contemporaries Ai Weiwei or Chen Zhen, to mix a Western cultural form (here, for example, the endless Column of Constantin Brancusi) and objects inscribed in traditional ethnic customs (bucket and anodized metal). The meeting of the two universes produces these synthetic forms, hybrids which try the work of the artist, but also our globalized society.

In his work “A Giant Leap of Faith,” Gupta stacked 13 buckets for the old monumental column. The bucket, symbol of the daily labor of millions of individuals, acquires here a spiritual dimension, like the strange concrete monuments that are the Indian countryside.