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.

The circle as critical device and the marker as contemporary catalyst

POSCA, the Japanese brand of water-based paint markers, has established itself since the 1980s as a central instrument within contemporary artistic practices associated with urban art, illustration, graphic design, and interdisciplinary experimentation. Its opaque, highly pigmented, fast-drying formula—compatible with surfaces as diverse as paper, wood, metal, glass, and textiles—has enabled a technical expansion that extends beyond the traditional studio, engaging public space, objects, and installation practices alike.

In this context, POSCA operates as more than a working tool; it functions as a material infrastructure for contemporary creation. It is a technical device that enables immediacy of gesture without sacrificing chromatic density or formal precision. Its versatility has contributed to the democratization of languages historically associated with painting, fostering a more horizontal circulation between professional and amateur practices.

This expanded dimension of the medium finds a particularly compelling conceptual framework in The Rolling Collection, a traveling exhibition curated by ADDA Gallery. The project proposes a collective investigation of the circular format, understood not merely as a formal container but as a symbolic structure and a field of spatial tension.

Historically, the circle has operated as a figure of totality, continuity, and return. Within the framework of The Rolling Collection, the circular format shifts away from its classical symbolic charge toward an experimental dimension, becoming a support that challenges the hegemonic rectangular frontality of the Western pictorial tradition. The absence of angles demands a reconsideration of composition, balance, and directional flow.

Rather than functioning as a simple formal constraint, this condition generates a specific economy of visual decisions. The curved edge intensifies the relationship between center and periphery, dissolves internal hierarchies, and activates both centrifugal and centripetal dynamics. The resulting body of work interrogates the very processes through which images are constructed.

Following its 2025 tour through Barcelona, Ibiza, Paris, London, and Tokyo, a selection of the exhibition is presented at Art Madrid, reinforcing its international scope and its adaptability to diverse cultural contexts. The proposal for Art Madrid’26 brings together artists whose practices unfold at the intersection of urban art, contemporary illustration, and hybrid methodologies: Honet, Yu Maeda, Nicolas Villamizar, Fafi, Yoshi, and Cachetejack.

While their visual languages vary—ranging from graphic and narrative approaches to chromatic explorations charged with gestural intensity—the curatorial framework establishes a shared axis: a free, experimental, and distinctly color-driven attitude. In this sense, color functions as a conceptual structure that articulates the works while simultaneously connecting them to the specific materiality of POSCA.

The marker’s inherent chromatic vibrancy engages in dialogue with the formal assertiveness of the circle, generating surfaces in which saturation and contrast take center stage. The tool thus becomes embedded within the exhibition discourse, operating as a coherent extension of the participating artists’ aesthetic vocabularies.

One of the project’s most significant dimensions is the active incorporation of the public. Within the exhibition space—activated by POSCA during Art Madrid’26—visitors will be invited to intervene on circular supports installed on the wall using POSCA markers, thereby symbolically integrating themselves into The Rolling Collection during its presentation in Madrid.

This strategy introduces a relational dimension that destabilizes the notion of the closed artwork. Authorship becomes decentralized, and the exhibition space transforms into a dynamic surface for the accumulation of gestures. From a theoretical standpoint, the project may be understood as aligning with participatory practices that, without compromising formal coherence, open the artistic dispositif to contingency and multiplicity.

The selection of POSCA as the instrument for this collective intervention is deliberate. Its ease of use, line control, and compatibility with multiple surfaces ensure an accessible experience without diminishing the visual potency of the outcome. In this way, the marker operates as a mediator between professional practice and spontaneous experimentation, dissolving technical hierarchies.

The title itself, The Rolling Collection, suggests a collection in motion—unfixed to a single space or definitive configuration. Its itinerant nature, combined with the incorporation of local interventions, transforms the project into an organism in continuous evolution. Within this framework, POSCA positions itself as a material catalyst for a transnational creative community. Long associated with urban scenes and emerging practices, the brand reinforces its identity as an ally of open, experimental, and collaborative processes.

POSCA x The Rolling Collection should not be understood merely as a collaboration between a company and a curatorial initiative; rather, it constitutes a strategic convergence of tool, discourse, and community. The project proposes a reflection on format, the global circulation of contemporary art, and the expansion of authorship, while POSCA provides the technical infrastructure that makes both individual works and collective experience possible.