Fortunately, speaking today of the World Book Day is something familiar. It is a consolidated celebration that we all look forward to. Spring and good weather come, and walks in the park and reading a book are one of the greatest pleasures in life.

Artwork by Alicia Martín in A Cidade da Cultura, Santiago de Compostela

April 23rd is a designated date. We celebrate the anniversary of the death of Cervantes, along with the birth of Shakespeare, in 1616, as well as other important milestones for universal literature. For this reason, UNESCO decided in 1995 to dedicate a day to this celebration, and since 1996 it is celebrated worldwide, although the organisation of fairs and meetings around the book are much earlier. In fact, in Spain the first book fair is recorded in 1926 during the reign of Alfonso XIII.

There are many activities ongoing on these dates. We can highlight the exhibition "Pasa pagina. An invitation to read", in the National Library Museum. It is a proposal in which visitors are invited to reflect on the role of reading and the impact on people's personal lives. What does reading mean? A tour completed with audio and visual elements, photographs and books gathered under the maxim "the more you read, the more you live". A great truth.

Paradoxically, the Madrid Book Fair (the 77th edition) is held within a month in the Retiro park, this year with Romania as the guest country. This meeting is the ideal occasion to combine different artistic disciplines where boundaries are blurred and confused, starting with the poster of the fair, made this year by the illustrator Paula Bonet, or booths dedicated to the artist book or publishers focused on mixed illustration and narrative projects.

And for those who want to get started in art with a good reading, we bring you a short list of recommendations:

“Letters to Theo” (Vincent Van Gogh): compiles the letters that Van Gogh sent to his brother Theo and are a direct testimony of the personal artistic experience of this essential author.

“Salvador Dalí: the diary of a genius” (Salvador Dalí): a personal diary to know the most hidden intimacy of this genius so often described as lunatic.

"Leonardo da Vinci. The biography", by Walter Isaacson. This writer has already addressed the biography of other great masters. On this occasion, he reviews the vital story of this renaissance figure that is still up-to-date.

"Joan Miro. The child who spoke with trees", by Josep Massot. The writer has made a profound investigation into the life of this iconic artist of the 20th century around which there is still a great ignorance.

"Guernica. The unknown masterpiece", by José María Juarranz. This book is the result of several years of research that deals with the historical, political, social and personal context that motivated the realization of this masterpiece of the 20th century.

ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. PERFORMANCE CYCLE X ART MADRID'26

Art Madrid, committed to creating a discursive platform for artists working within the field of performance and action art, presents Abierto Infinito: lo que el cuerpo recuerda, a proposal inspired by Erving Goffman’s ideas in The Presentation of Self in Everyday Life (Amorrortu Editores, Buenos Aires, 1997).

The project unfolds within a theoretical framework that directly engages with these premises, conceiving social interaction as a stage of carefully modulated performances designed to influence others’ perceptions. Goffman argues that individuals deploy both verbal and involuntary expressions to guide the interpretation of their behavior, sustaining roles and façades that define the situation for those who observe.

The body — the first territory of all representation — precedes both word and learned gesture. Human experience, conscious and unconscious alike, is inscribed within it. Abierto Infinito: lo que el cuerpo recuerda departs from this premise: representation inhabits existence itself, and life, understood as a succession of representations, transforms the body into a space of constant negotiation over who we are. In this passage, boundaries blur; the individual opens toward the collective, and the ephemeral acquires symbolic dimension. By inhabiting this interstice, performance simultaneously reveals the fragility of identity and the strength that emerges from encounter with others.

PERFORMANCE: ALTA FACTURA. BY COLECTIVO LA BURRA NEGRA

March 4 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.

"Discipline for Power.” Performance by La Burra Negra for Displacement of the Congress of Deputies by Roger Bernat. 2025.

Alta Factura subverts the conventional structure of the fashion runway to foreground the often-invisible processes that underpin artistic production. Through a series of conceptual textile works, the performance draws attention to the discipline of craft and the artist’s vulnerability, ultimately revealing those seams typically consigned to the margins, behind the scenes.

Colectivo La Burra Negra.

ABOUT EL COLECTIVO LA BURRA NEGRA

La Burra Negra is a nomadic performance art collective based in Málaga, founded in 2024 following its first residency in Totalán. The group is self-managed by Ascensión Soto Fernández, Gabriela Feldman de la Rocha, Sasha Camila Falcke, Sara Gema Domínguez Castillo, Sofía Barco Sánchez, and Regina Lagos González—six artists from diverse backgrounds and trajectories who met at the Hospital de Artistas at La Juan Gallery.

The collective brings together practitioners working across jewelry, painting, the performing arts, music, dance, cultural mediation, and arts management. Its activities include an annual residency in Totalán, the production of performative works, cultural mediation initiatives, and site-responsive interventions.

Since its inception, the collective has participated in the Periscopio series at La Térmica; presented A granel at the MVA in Málaga; carried out a number of actions in Totalán—the most recent during its second annual residency—and contributed its own proposals to the performance Displacement of the Congress of Deputies by Roger Bernat in Madrid.

At the core of La Burra Negra lies a commitment to collective creation and the exchange of knowledge. United in their effort to experiment with and disseminate performance art, the group explores the invisible dimensions of artistic labor—its temporalities, efforts, and relational dynamics, which so often remain unseen—as a form of critical affirmation.

Their practice emerges from dialogue and shared reflection, in the pursuit of decentralized spaces where art can be experienced and its processes made visible. Each residency and each action becomes an attempt to inhabit creation collectively, challenging conditions of precarity while fostering networks of care and collaboration that sustain both their own practice and that of those around them.