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. CICLO DE PERFORMANCE 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: TRAYECTORIA. BY AMANDA GATTI

March 6 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.

Amanda Gatti. Escaparate. 2023. DT-Espacio. Photograph by Pedro Mendes.

The proposal expands Amanda Gatti’s research initiated in La Plasti Ciudad del Cuerpo — an ongoing series of performance and installation presented since 2023 in spaces such as Fundación Antonio Pérez, Galería Nueva, CRUCE, and the Acción Spring(t)/UCM Congress — where she explores the relationship between her body and objects found in urban space. There, body and materials are articulated through a constant negotiation between functionality, weight, and support, generating temporary architectural compositions.

In Trayectoria, this research shifts toward the act of dragging: a gesture that makes visible the friction between body, objects, and space. The corridor ceases to be a neutrality to be crossed and becomes an operative intermediate zone, where form and content — veil and what is veiled, as Walter Benjamin points out — become confused. The space, saturated with objects turned into a mobile chain, clears and remakes itself with each step. Clearing, for Benjamin, is already an experience of space: each advance sustains this unfinished separation, always oriented toward a destination that may never be reached.

La Plasti Ciudad del Cuerpo #3. Amanda Gatti. Performance documentation. CRUCE 2054 exhibition, Galería CRUCE. Photograph by Pedro Mendes.

Displacement is not limited to material friction: it also becomes a symbolic inscription of that which every life trajectory drags along. The objects — remnants of past uses — function as metaphors for what remains attached to the body even when it no longer serves any function. The performance makes visible the condition of moving forward while carrying heterogeneous weights: material, affective, social. Thus, the gesture of walking linked to these objects turns the route into a writing in motion, where each step simultaneously activates a physical transit and a vital transit. Trayectoria proposes that every life is also a dragging: a continuous recomposing from what we insist on carrying with us.

The action operates objects as verbs: to push, to tense, to trip, to pull. From it emerges an operativity that involves the entire body and exceeds the visual. The image ceases to be representation and becomes gesture: a gesture that founds new spatial forms, that overflows, that produces an ephemeral mode of reappropriation of the corridor.

The trajectory thus becomes an affective map inscribed in the body, a way of merging with the environment by putting past and future, durability and wear, utility and obsolescence into friction. The action returns to public space what was taken from it, but now stripped of function: freed from meaning, freed from commodification, freed to be imagined otherwise.

ABOUT AMANDA GATTI

Amanda Gatti (1996, Porto Alegre, Brazil) is an artist and researcher whose practice unfolds across performance, video, photography, and installation. She explores the intersections of body, object, and space, investigating how we occupy — and are occupied by — the spaces around us. Drawing from experiences of displacement and the observation of domestic and urban environments, her work conceives the body as mediator and archive, transforming found objects, spatial arrangements, and everyday gestures into ephemeral architectures and relational situations.

She studied the Master’s in Scenic Practice and Visual Culture at Museo Reina Sofía/UCLM (Spain, 2023) and the Bachelor’s degree in Audiovisual Production at PUCRS (Brazil, 2018), where she received scholarships such as the Santander Universities grant. In Spain, her work has been presented in institutions and contexts such as Museo Reina Sofía, Fundación Antonio Pérez, Galería Nueva, CRUCE, and Teatro Pradillo, as well as in exhibitions and festivals in Brazil, Germany, Ireland, the United Kingdom, and the United States. She currently resides in Madrid, with secondary bases in Brazil and the United Kingdom.