Art Madrid\'15 new selection committe in its tenth edition.

The Contemporary Art Fair Art Madrid, which will celebrate its tenth edition from February 25 to March 1, 2015, in the Galería de Cristal of CentroCentro Cibeles, premieres its Selection Committee. A select group of professionals from different branches of the world of Art will be responsible for shaping the General Program of Art Madrid’15 art fair, through a rigorous selection process among national and international galleries. 
 
Art Madrid’15 account for the first time with a committee composed of experts in gallerism, curating, art collectors and art fairs consultancy, in order to develop a more diverse and international program. 
 
The Selection Committee, composed by five renowned professionals will analyze the applications in a first meeting scheduled for September 9 at the Fundació Fran Daurel in Montjuic (Barcelona). A few days later, they will announce the definitive list of the participating galleries, about 50 in the next edition of the fair. 
 
Members of the Selection Comittee of Art Madrid’15
Mr. Ángel Samblancat / Ms. Silvia Lindner / Mr. Javier López Vélez
Mr. Ricardo Tenreiro da Cruz / Mr. Carlos Delgado Mayordomo
 
Mr. ÁNGEL SAMBLANCAT
 
Director of Editorial and Polígrafa Graphic&Print Art Gallery (Barcelona) for 40 years and member of the Direction Bureau in Joan Prats Art Gallery Barcelona) since its founding. Jury Member for the Triennial of Graphic Art in Grenchen (Switzerland) and a member of the Selection Committee for international Contemporary Art Fairs as Art Chicago (Illinois), Art Miami (Florida), Art Los Angeles (California), ARCO (Madrid ), Art Cologne (Germany), Art Basel (Switzerland), ArtBo - Bogota (Colombia) and Art Basel / Miami Beach (Florida). 
 
Ms. SILVIA LINDNER
 
Bachelor of Fine Arts from the University of the Basque Country and, since 2007, Director of the Museo Würth La Rioja. Between 1997 and 2007, Technical and Coordinator in the Department of Conservation in Guggenheim Museum Bilbao she worked also for private companies as AENA Foundation, Horizón Project II (EEC and Cantabria Regional Council). She has participated as a speaker at various seminars and roundtables, and has served on juries of international significance as the Velázquez Prize (2010). 
 
Mr. JAVIER LÓPEZ VÉLEZ
 
Since 1994, he is the artistic director of 3 Punts Art Gallery, based in Barcelona and Berlin. Expert in Technical Drawing Projects and with studies in Sociology, he has been independent curator in various institutional exhibitions in 
Barcelona, Hospitalet and Andorra. Under his direction, the gallery organizes seven to eight individual exhibitions per year, with a clear evolution towards new artistic languages and where the work of curating and selecting art-works and artists is impeccable. As a gallery owner, participates in art fairs and events inside and outside our borders for nearly two decades. 
 
Mr. RICARDO TENREIRO DA CRUZ
 
Director of ArtLounge Art Gallery in Lisbon (Portugal). While he was in London, at an International Business school, he discovered the taste for painting and the power of art as a key factor in the increase of culture of the cities. Since 
these days, he is usual visitor in galleries and art fairs in order to find new artists that are worth bringing to Portugal. Nowadays, he is member of the Chamber of Commerce of Portugal- Singapore and he develops commercial and artistic relations between these countries.
 
Mr. CARLOS DELGADO MAYORDOMO
 
BA in Art History at the Universidad Complutense de Madrid. Coordinator of exhibition projects of the International Fund for the Arts Foundation / FiArt, responsible for exhibitions in Culture Department of the City of Las Rozas (Madrid). Writer in Xtrart, on-line art magazine and professor of Contemporary art and Culture in Aularte. Since 2008, he is freelance curator for museums and institutions in Spain and Latin America. Has developed, among others, Ciria’s exhibition “Rare paintings” (2008), “Agustí Centelles: Case report” (2009), “Synergies. Contemporary Latin American art in Spain”, “Storymakers” (2013) and “David Trullo. Fauxtographies” (2013). Curator of the ONE PROJECT program in Art Madrid.

 

Buying the first work of art always instils respect. A difficult feeling to define that mixes vertigo with adrenaline. But over uncertainty and caution, a pleasurable sense of connection, understanding, and desire prevails. That work that, once seen, stays in the mind, reappears in the memory several times a day and seems to tell you that it is willing to be part of your home, is the perfect candidate to make the decision.

In the first steps, many collectors do point out that one does not start from an established plan, but rather that one acquires pieces based on taste and the connection one feels with them until, after time, they realise that the volume of works that accumulates can be labelled as a "collection". For example, this is how Alicia Aza explains it:

“I was not aware that I was collecting until many years later when a third party named me as a collector and talked about my collection. In 2005, I became aware of what collecting means and decided to articulate a collection with an identity of criteria and formats”.

Marcos Martín Blanco, co-founder, with his wife Elena Rueda, of the MER Collection, shares this same opinion:

“Collecting has been a passion, driven by a visceral state that encourages you to do so. The collection, in terms of acquisitions, has not been particularly complicated because, let's face it: it is easy to buy because they are all beautiful things and you have some clear idea of where you want to go, but at first those preferences were not so clear. It is with the time that a criterion is being formed”.

It is not always this way, of course, but for the buyer who starts out on this path, the personal connection that entails the first piece is essential. There it is the germ of a lasting relationship that is not limited to a simple aesthetic question but is an open window to knowledge, to exploration, to a world that is often unknown to us and awakens our fascination. The seed of that connection is purely sentimental, and it is precisely this impulse that determines the first acquisitions. The first piece is never forgotten.

Art Madrid'20, photo by Ana Maqueda

Exceeding the usual recommendations made by advisers and agents, rare is the occasion when the art lover decides to buy by pure investment. These paths usually open later, when the volume of pieces is large enough. In addition, there are those who are a bit against this classic concept of the traditional collector, approached from an eccentric, elitist and little accessible vision. On the contrary, art buyers are, above all, art lovers, sentient beings and permeable to creative stimulus who, at a given moment, decide to deepen the relationship they already have with art to take a piece home.

It is not that hard to overcome that small psychological barrier that turns the visitor into a buyer if one approaches the matter from a more personal and intimate perspective than from social consideration. Small-format works, graphic work or serial photography are of great help for this, whose price range, generally more affordable, allows a closer comparison to the daily basis expenses. In this way, the purchase of art falls within the range of feasible activities and becomes something close and possible.

Art Madrid'20, photo by Marc Cisneros

At that moment, a different relationship with art begins, based on pure experience and coexistence with the acquired piece. Perhaps it can be seen as an act of daring, but on many occasions, it is more a matter of necessity and transformation. Collectors also agree that the acquisition of an artwork is an exercise on personal analysis and opening up to a new field of knowledge that was previously alien to us. Alicia Aza explains that the reason she acquired her first piece of video art, by Sergio Prego, is because she did not understand it and because she saw it as a challenge and an opportunity to self-improve. This open window to knowledge creates new connections and bonds with creators, as one of the most fascinating parts of the process. Candela Álvarez Soldevilla explains that

"I think the most interesting thing in the art world is talking to artists. They are people with a special sensitivity to listen and understand.”

And Alicia Aza also says:

"I can share the satisfaction of being able to count on many artists in my circle of close friends today, and that is a long way to go."

Thus, with works that seem acceptable within the horizon of expenses that each one considers affordable, it is easy to find a piece that catches us. Since then, our home also evolves into a space in which art has a permanent place and presence, and there is no doubt that this transforms us inside.

Art Madrid'20, photo by Henar Herguera

Jaime Sordo, owner of Los Bragales collection and founder of the 9915 Contemporary Art Collectors Association, has always defined his relationship with art as a true passion and a vital necessity. For buyers who start on this path, he has the following recommendation:

“It is an essential condition that they feel the need to live with their passion to enjoy the works. Another very important aspect is that before making decisions for purchases, they are informed, so it is necessary to read specialised newspapers and books, visit exhibitions and museums and a lot of contact with galleries, which is an important and very specific source of information of the artists they represent. Finally, the presence in national and international art fairs. All this generates information and training.”

Indeed, fairs have become a good place for discovery because they condense a wide offer and allow diverse and global contact in a concentrated way. For this reason, many new generation buyers start in the context of an event such as Art Madrid, whose closeness and quality constitute a unique opportunity to meet, soak up and feed the passion for art.

(*) quotes taken from various interviews published in public media between 2013 and 2019.