Art Madrid'26 – Contemporary Art Fair
Outstanding Works
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Fabian Treiber
You Wouldn’t Believe, What I’ve Been Through, 2025
Acrílico, tinta, pastel al óleo, pastel y papel sobre lienzo
170 x 180 cm
Carlos Sebastiá
Resonancia desplazada (círculo en movimiento I), 2025
Mixed media on board
120 x 100 cm
CHIU Huai-Hsuan
Read After Cutting 30, 2025
Various types of wood, metal, gear, motor
43.1 x 30.6 x 9.5 cm
DIMASLA (Diana + Álvaro)
Sobre los márgenes del cielo, 2024
Polvo de cemento en suspensión, lluvia, sol, viento, polen de tomillo y romero sobre acrílico en tela de algodón natural cosida, expuesta sobre suelo de arcilla calcáreo durante cuatro meses
130 x 162 cm
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28 ene. 2026
art madrid
COLLECTING CODES: A GUIDE FOR NEW BUYERS
Contemporary art has ceased to be an exclusive territory reserved for elites and has become an increasingly democratic and accessible space. In the context of fairs such as Art Madrid, which in 2026 brings together more than 200 artists from five continents, a new generation of collectors is emerging—one that challenges the traditional codes of the art market. But how do you make the leap from admirer to collector? What do you need to know before acquiring your first artwork?
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27 ene. 2026
art madrid
CARMEN BAENA: LANDSCAPES OF MEMORY AND SUTURE
The work of Carmen Baena (Benalúa de Guadix, Granada, 1967) is structured as a poetic investigation into the memory of territory and its material translation into forms, textures, and gestures. Her practice stems from a life experience deeply connected to a specific landscape in southern Spain, understood not only as a geographical space but also as an affective and symbolic sedimentation. In this sense, her pieces can be approached from a perspective centered on direct experience: the landscape not as representation, but as a lived trace that emerges through doing.
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23 ene. 2026
art madrid
CEDRIC LE CORF: THE BODY AS LANDSCAPE
The work of Cedric Le Corf (Bühl, Germany, 1985) is situated in a territory of friction, where the archaic impulse of the sacred coexists with a critical sensibility characteristic of contemporary times. His practice is grounded in an anthropological understanding of the origin of art as a foundational gesture: the trace, the mark, the need to inscribe life in the face of the awareness of death.
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