Raquel Sánchez and Pablo Torrealba, who are the founders and directors of the Anémona Editores project, imagine this editorial space as a proposal to produce and disseminate limited edition graphic works that expose the meaning of contemporary graphics. They defend the search for technical and conceptual solutions on different materials and formats as part of the concern of the graphic work they edit. The proposal is to take care of every step of the process of creation, publication and dissemination of projects in order to create an international network of artists and lovers of contemporary art.

Raquel Sánchez (Puebla, Mexico) has a degree in Fine Arts (2003) from the Universidad de las Américas de Puebla (UDLAP), and a diploma in "Exhibition Design and Management" (2005) from the Benemérita Universidad Autónoma de Puebla (BUAP). She also has a master's degree in Museology (2008-2009) and a specialty in Museography (2007), both from the Escuela Nacional de Conservación, Restauración y Museografía (ENCRyM). His experience in exhibition design and installation is vast: she has participated in the management of the contemporary art collection of the UDLA-Cholula Foundation (2004-2006); has overseen the production of graphics for museums and art graphics projects at the Pablo Torrealba Workshop (2005-2017); carried out the museographic design and digital modeling of the Museo Modelo de Ciencias e Industria MUMCI (2008); and planned the museographic script and the museography of the temporary exhibition "Finanza Personal" at the Museo Interactivo de Economía (MIdE) in 2009. In this same area, for the Museo de las Constituciones she evaluated the museography of the permanent exhibitions (2012), coordinated the temporary exhibition "Apatzingán: fundamento constitucional de una nación independiente" (2014) and carried out the museographic preliminary project for the renovation of its permanent galleries and public spaces (2015-2016). In 2013 she designed, produced and mounted the temporary exhibition "Bicentenario de los Sentimientos de la Nación y el Congreso de Chilpancingo" for the Instituto Nacional de Estudios Históricos de las Revoluciones de México (INEHRM). In San Cristóbal de las Casas, Chiapas, she provided consultancy to the Na Bolom Association to renovate its museum and Casa de La Enseñanza, as well as its temporary exhibitions (2017-2020). Her passion for art has led her to create editorial projects of graphic work and to found Anémona Editores in 2017, of which she is also director. In this project she carries out fundamental activities such as curatorship, design, selection, management and mounting of graphic work in contemporary art fairs, as well as the movement and collection lending. She is currently working on the project for a temporary exhibition of contemporary graphic artwork from the Pablo Torrealba archive.

Pablo Torrealba (Santiago, Chile) began his career as a graphic printer at a very early age. He began working with Jan Hendrix in his studio as part of his training at this early stage (1979-1982). In addition to working as a serigrapher for artists and graphic designers, in the studio he collaborated with museums, including the Museo del Vidrio (1992), the Museo de Palenque and the Museo del Pueblo Maya (1994), the mobile mural "El Universo lo es todo" at the Museo Descubre (1997), the Museo del Desierto and the Museo Nacional de Antropología e Historia (2000), the Pedro Coronel Museum in Zacatecas and the Zoology and Paleontology Museums in Tuxtla Gutierrez (2001, 2002), the Tamux Museum in Tamaulipas (2003), the Arocena Museum and the National Palace Museum (2006), the Northeast Museum (2007), the Sarape and Mexican Costumes Museum (2008), the Tijuana History Museum (2010), the Graphic Arts Museum (2012) and the Museum of the Constitutions (2013), among others. Different materials such as glass, porcelain steel, acrylic and diverse types of paper were used in techniques such as serigraphy and digital printing, taking production to different scales: for example, from the reproduction of facsimiles for the International Book Fair in Frankfurt (1992) or the Museum of the Legislative Palace (1994) to large format prints such as the facade of the Discovery Channel Building in Washington DC (2002), the facade of the Centro Diseño Cine y Televisión (2004), the facade of the Universidad Autónoma Metropolitana (2004) and the ceiling of the Librería Rosario Castellanos. Other projects such as the realization of urban street signs in Belfast, Ireland (2006 and 2009) show us the magnitude of the reproduction that was carried out in the workshop. From 1996 to 2006 he directed the professional serigraphy workshop at Alfher Porcewol where, in addition to the previously mentioned projects in Washington and Belfast, he carried out serigraphy on porcelain steel for the Madrid Subway, the Boston Subway, the Elevated Train in Puerto Rico and urban street signs in the Historic Center of Mexico City. He is a founding partner of Anémona Editores since 2017 and the director of production with specialization in art printing in serigraphy and fineart digital printing, production and printing of graphic elements for museums, facsimile printing, urban and architectural elements and street signs.