Art Madrid'24 – ALL READY FOR THE OPENING OF THE 13TH EDITION OF ART MADRID

A few hours before the opening of doors - on Wednesday, February 21 - the atmosphere within one of the great fairs of the Week of Art is exciting. Come to Art Madrid'18 to enjoy art like never before!

Foto de la pasada edición en Art Madrid'17

Carpet, cartels, paint, the staircase, be careful with that photograph... There are many months of work that precede the celebration of an event such as Art Madrid, one of the great fairs of the Art Week in Madrid, work of selection, contact and management of the participating galleries, the work of communication, the design of the graphic elements, the plan, the licenses, the technical sheets, the prices, the sending of invitations, the calendars, the parallel activities ... but at this point we would give our kingdom by a simple nail! A few hours before the opening of Art Madrid - tomorrow, Wednesday, February 21st at 11:00 am we open the doors of the CentroCentro Glass Gallery, and at 1:00 a wine will be served for the guests - all are nerves, but also an enormous confidence in the work done and in those who have helped us make it possible, our sponsors Suarez and Liquitex (who will have two spaces in the AM18 lounge area with activities that we will announce each day), our collaborator Ink and Movement, our media partner official Cultura Inquieta, or brands such as La Virgen brewery or the Pago de Cirsus winery that decided to ally with the fair for years and still accompany us.

At the official opening we will have the presence, among others, of the ambassadors of Germany, Brazil, Ukraine, France, Switzerland, Italy, Chile and the Ambassadors of Costa Rica and Jordan, example of the acceptance, Mr. Ryan Matheny Garrido, Aggregate Cultural Center of the Embassy of the United States, a good example of the importance that the fair already has among collectors and foreign professionals.

Foto de la pasada edición en Art Madrid'17

On the part of local institutions have confirmed their attendance D. Felipe Llamas, Chief of Staff of the Mayor's Office of Madrid and Dª. María Carmen Castell Díaz, Member of the Ordinary Permanent Commission of Culture and Sports of the Madrid City Council, as well as Dª. Alicia Durántez de Irezabal, D.G. of Cultural Heritage Community of Madrid. Subdirectorate General for Dissemination and Management and Dª. Elisa de Cabo de la Vega Deputy Director General for the Protection of the Historical Heritage of the Ministry of Culture MECD.

As a representation of cultural institutions and foundations we will have Juan Barja, Director of the Círculo de Bellas Artes, Javier del Campo of Fundación Caja de Burgos, with Dª. Fátima Sánchez Santiago, Director of Projects and Education Area of ​​the Botín Foundation, Dª. Leticia Martín, Manager Atlantic Center of Modern Art-CAAM, Mr. D. Michel Bertrand, Director of the Casa Velázquez, Dª. Laura Ramón Brogeras, manager of the Art Collection of the Fundación Telefónica or Dª. Elena Alonso, Director Carlos Amberes Foundation.

We are waiting for you all in # ArtMadrid18

Francesca Poza. Courtesy of the artist.

ARTE & PALABRA. CONVERSATIONS WITH CARLOS DEL AMOR

Thread is one of the most seemingly fragile materials in existence, yet a combination of threads can be indestructible. It is the triumph of fragility over brute force.

Among its many virtues, thread has its meaning, both real and imagined. It is a word that oozes poetry and makes us think of following a trail, sometimes infinite. Francesca Poza (Mataró, 1965) adds the written word to the many virtues of thread, giving her works a firmness that is always delicate but almost impossible to break. She weaves between letters and memory, pieces that seek to establish what has been lived, to leave a trace in a world that is increasingly ephemeral, more fleeting, more liquid, more elusive. In his work, poetry, literature and time intertwine in a harmonious way, resulting in creations of beautiful originality that are as subtle as they are powerful.

Perhaps Francesca has managed to give an answer to what Carmen Laforet wondered in "Nada", when she said: Who can understand the thousand threads that unite the souls of men and the reach of their words?

The poet reborn. Fabric made with book paper. 2023.

If you had to define yourself as an artist, in one sentence, how would you define yourself?

I could define myself as a multidisciplinary artist who poetizes matter.

The thread even predates the advent of writing, perhaps it's not exact, but I like to think that it began to "write" by spinning... Then came the written word, and in this encounter full of history and ancestors is your work. Spun words, sounds good, doesn't it?

Spun words sound good, the subtlety of the thread that organizes time, the connection, the continuity, the rhythm of literature without reading, because it is a very recurrent phrase in my work, that as the weft is made and unmade, the work and the poetry reappear.

As if they were chains. Fabric made with book paper. 2023.

Why does everyone say that you are unclassifiable? Don't you think we live for labels? It's nice to be difficult to classify. Do you feel like a "freak"?

No, I don't feel like a freak. I like the fact that I am unclassifiable. It's difficult to define me as a sculptor, an engraver, or a weaver. I try to make poetry with the material I have, to make the fragile speak to us, to transport us; the paper as matter and the thread as symbol, to penetrate us.

When one stops in front of your work one has two sensations, well three, one of tranquility, the other two are paradoxical because the first impression is one of fragility, however, after a while you realize that these "threads" are strong because they are united and have made common cause. It's a bit like so many things in life, isn't it?

Yes, that's really what I'm looking for, to express peace and tranquility above all. We are going through very difficult times and I like to express the good that people have inside us.

Testament of Oscar Wilde. Fabric made with book paper. 2023.

Memory is an intimate territory that sometimes betrays us, and forgetting is its main enemy. Is your work against forgetting?

Yes, the art of remembering and forgetting is a recurring theme in my work, because I had and still have the idea that we have to be something, that something has to remain in our memory. So I try to create a poetics that is embodied in different aspects of creativity. You could say that this essence of a series of needs, of leaving a permanent record, is because we don't want to be forgotten, and this is a way I have of expressing myself.

Your work is very poetic... What do you think is impossible to poeticise?

There is nothing impossible, nothing that cannot be poeticised. And yes, my work is poetic, why weave, what for? Poetry and weaving travel in the imagination and come together. Visual art, manual art, in short: poetry.

Music of broken windows.Hahnemühle paper 300gr. 2023.

The thread leaves a trace, the words leave a trace... Your work leaves a trace. Where do you want it to go?

Words leave traces and I want my work to leave traces: the feelings and sensations of the viewer. That the work of art is not just for decoration, but something that when you wake up in the morning, you look at it and you feel different again, that it leaves you with something to feel.

Where do you think your work is going?

My work itself, I don't know where it's going, it leads the way, it guides me day after day. I would like to be able to continue weaving poems that travel in the imagination, to enter and leave through the multiple paths that the material and the feelings take me.