The Crystal Gallery of CentroCentro Cibeles, a space in which the Art Madrid Contemporary Art Fair has been held for the fifth consecutive year, has received more than 20,000 visitors, between Wednesday, February 21 and Sunday, February 25, among which it has increased up to a 20% the percentage of professional public and collectors, both private and institutional.

Photo by Julia Mateo from Madphoto

For this 13th edition, the selection committee of Art Madrid’18, formed by the international art market specialist Ángel Samblancat; the theorist and art critic Alfonso de la Torre, the gallery owner Javier López Vélez, from 3 Punts (Barcelona) and, the independent curator Carlos Delgado Mayordomo, assessed more than a hundred proposals to give shape to a program with quality and potential of sales, demanding to the galleries coherent and avant-garde proposals.

“I liked the hyperactivity of the fair and the ambient of permanent enthusiasm and, of course, the meeting space that is created between established artists and new emerging voices. Art Madrid has become a very different proposal, in the sense of distinguished, in the hectic artistic February”, says Alfonso de la Torre. On the other hand, Samblancat highlights “the best selection of proposals by exhibitors at the fair and greater openness to international galleries, for example in Latin America with magnificent representations such as Collage Havana of Cuba, Italy with Casa Falconieri of Cagliari, Asia with Yiri Arts of Taipei and his new contributions, from Germany with Schmalfuss and Robert Drees, from Ukraine with Nebo Art Gallery from Kiev and his exciting fabrics of exquisite talent”.

Photo by Miguel Ángel Satué from Madphoto

ENTHUSIASM AMONG COLLECTORS AND FEATURED ARTISTS

Frasco Pinto and Pedro Pinto, directors of the Artizar de Tenerife Gallery, highlight the variety of the public in “a very visited fair, with art lovers of all kinds. Veteran collectors, young collectors, visitors with no more aim than to see and enjoy art and curious". In terms of sales, his proposal, a ONE PROJECT by Carlos Nicanor “has covered and exceeded expectations. The truth is that it has worked very well”, they say. Jaime Sordo, president of the Association of Collectors 9915 was one of the collectors who chose a piece of Nicanor for his collection “Los Bragales”. For the gallerist Arancha Osoro from Oviedo, the balance has been very positive and “adespite bringing a new and personal choice, difficult in some case to defend in such a large market, we are happy because we have sold work of all our artists, highlighting especially the pieces of artists that have gone to private collections, such as an acrylic by Jezabel Rodríguez, a large-scale work by Nuria Formenti and a piece by the sculptor Kiko Miyares ”.

Along with the artists already mentioned, there are other artists appreciated by the collectors and buyers of this edition, such as the painter Lino Lago (with several pieces sold with the Moret Art gallery in A Coruña), Taiwanese Lai Wei-Yu drom the Yiri Arts gallery (the youngest painter in the collection of the Taiwan Museum of Fine Arts), the sculptor Candela Muniozguren who sold several pieces of her ONE PROJECT with the gallery Bea Villamarín, the Korean Joo Eun Bae, an authentic revelation from the MH Art Gallery in Bilbao, Carmen Calvo, National Fine Arts Prize, from which several collages were sold in the Art Lounge gallery in Lisbon, or Roldán Lauzán from the Cuban gallery Collage Habana, one of whose portraits is already part of the Colección Bassat.

Lino Lago

1.Rojo, 2017

Oil on linen

30 x 24cm

Candela Muniozguren

Tetrix 04, 2017

Lacquered steel

50 x 20cm

Lai Wei-Yu

After School Fight, 2017

Oil on canvas

116 x 91cm

For Sara Joudi, from the Galería Shiras Valencia) for the first time in Art Madrid, “there was a profile of new collectors and occasional buyers who were very interested in our proposal and acquired work. There was a favorable environment for the sale and very positive comments on the general proposal of the fair. We sold works of all the artists we carry. “ From another of the new galleries, Diwap Gallery (Sevilla), his co-director Juan Cruz says that his time at Art Madrid has been "a rewarding experience seeing how the work of urban artists and environments different from the usual one is being introduced, it’s a slow road but you have to do it and be patient and Art Madrid has made a very good bet “.

Javier López, from Galeria 3 Punts highlights an “increasingly interesting and younger audience” that surprised them as potential buyers because in this edition they have “exceeded sales expectations”. The 3 Punts proposal included, among others, Okuda San Miguel, Samuel Salcedo, Gerard Mas, Mark Jenkins and Ramon Surinyac. In this sense, the German gallery Robert Drees, reference space for contemporary art in Hannover, highlights “the energy and enthusiasm of buyers and art lovers among the public of Art Madrid” without forgetting “the space, an unparalleled location to show art”.

Pepa Salas

Alles wird gut, 2017

Acrylic on canvas

80 x 80cm

Okuda San Miguel

Punk Horse, 2017

Synthetic enamel and fiberglass

68 x 60cm

The proposal of the galería Luisa Pita, according to the gallerist, “has captured the attention of collectors and entities such as the Caja Burgos Foundation with whom I have closed an exhibition project for Christian Villamide, or collaborations with two architectural studios to integrate works by Pierre Louis Geldenhuys in his next projects”, says the gallerist.

This possibility of new projects, the meeting with other professionals, is one of the experiences the artists most appreciate. “EIt is the perfect link to contact other galleries, private collectors, share experiences with other artists... Participate in Art Madrid opens a range of possibilities for any artist, motivating him to continue creating with the spirit and perspective of being able to live of art”, explains the Spanish Pepa Salas, represented by the Robert Drees gallery.

For Rubén Martín de Lucas, one of the most valued artists in the latest editions of Art Madrid with the BAT alberto cornejo gallery, the fairs “are a great energizer, especially at the art market level (necessary to support the entire structure). It serves very well as a complement to the more leisurely and profound work carried out by the artists in the galleries and institutions. In addition, being able to meet the public, have their opinion, have their opinion firsthand... shortens the distance between artist and audience. The image of the deified artist in his pulpit is deceptive and unreal. “

Rubén Martín de Lucas

Large Wild Garden 03, 2017

Crayon, oil and enamel

180 x 240cm

“It’s one of the fairs where I’ve most socialized and I’ve felt very comfortable in contact with the public, I’ve felt very loved. I really liked participating in one of the best fairs in my country, championing a series of artists that symbolize certain changes in the art market, “ adds Okuda San Miguel, Guest Artist at Art Madrid’18.

Okuda San Miguel, Photo by Miguel Ángel Satué from Madphoto

GUESTS AND PERSONALITIES

The official inauguration of Art Madrid’18 was attended by, among other personalities, the ambassadors of Germany, Brazil, Ukraine, France, Switzerland, Sweden, Italy, Chile, Russia, the ambassador of Costa Rica, Mexico, as well as Mr. Pedro Berhan da Costa, Culture Counselor of the Embassy of Portugal, Mrs. Natasha Díaz, First Secretary of the Embassy of Cuba, Mr. Antonio Lee, Cultural Attaché of the Economic and Cultural Office of Taipei, Mr. Ryan Matheny Garrido, Deputy Cultural Attaché of the United States Embassy, a good example of the importance that the fair already has among collectors and foreign professionals.

On the part of the local institutions have visited the fair Dª. Manuela Carmena, Mayor of Madrid, D. Óscar Sáenz de Santa María, Director of Cultural Industries and the Book of MECD, Mr. Luis Serrano, of the General Directorate of Cultural Heritage of the Community of Madrid, as well as Dª. Elisa de Cabo de la Vega Deputy Director General for the Protection of the Historical Heritage of the Ministry of Culture MECD.

Dª Manuela Carmena and the artist Antonyo Marest. Photo by Sara Ortega from Madphoto

As a representative of cultural institutions and foundations: Luis Lafuente Batanero, General Director of Fine Arts and Cultural Heritage, Javier del Campo of Fundación Caja de Burgos, Dª. Leticia Martín, Manager Atlantic Center of Modern Art-CAAM, Mr. D. Santiago Miralles, General Director of the Casa de América, Dª. María Brancós Barti, Head of Exhibitions of the Fundación Telefónica and Ms. Rosario López Director of Cultural Projects of the Banco de Santander Foundation.

The work of Julian Manzelli (Chu) (Buenos Aires, Argentina, 1974) is situated within a field of research in which art adopts methodologies close to scientific thinking without renouncing its poetic and speculative dimension. His practice is structured as an open process of experimentation, in which the studio functions as a laboratory: a space for trial, error, and verification, oriented less toward the attainment of certainties than toward the production of new forms of perception. In this sense, his work enters into dialogue with an epistemology of uncertainty, akin to philosophical traditions that understand knowledge as a process of becoming rather than closure.

Manzelli explores interstitial zones, understood as spaces of transit and transformation. These ambiguous areas are not presented as undefined but as potential—sites where categories dissolve, allowing the emergence of hybrid, almost alchemical configurations that reprogram the gaze. Geometry, far from operating as a normative system, appears tense and destabilized. His precarious constructions articulate a crossing between intuition and reason, play and engineering, evoking a universal grammar present in both nature and symbolic thought. Thus, Manzelli’s works do not represent the world but rather transfigure it, activating questions rather than offering closed answers.

Avícola. Escultura magnética. Madera, imanes, laca automotriz y acero. 45 x 25 cm. 2022.

Science and its methods inspire your process. What kinds of parallels do you find between scientific thinking and artistic creation?

Science and art are two disciplines that I believe share a great deal and are undoubtedly deeply interconnected. I am interested in that point of intersection, and although they are often placed in opposition, I think they share a common origin. Both involve a continuous search, a need for answers that stems from curiosity rather than certainty, and that often—or in many cases—leads both artists and scientists into uncomfortable, uncertain positions, pushing them out of their comfort zones. I believe this is a fundamental and very compelling aspect shared by these two disciplines, which in some way define us as human beings.

In this sense, both share experimentation as a core axis of their practice. Trial and error, testing, and the entire process of experimentation are what generate development. In my case, this applies directly to the studio: I experience it as a laboratory where different projects are developed and materials are tested. It is as if one formulates a hypothesis and then puts it to the test—materials, procedures, forms, colors—and outcomes emerge. These results are not meant to be verified, but rather, in art, I believe their function is to generate new modes of perception, new ways of seeing, and new experiences.

Receptor Lunar #01. Ensamble de Madera Reciclada torneada. 102 x 26 x 26 cm. De la serie Fuerza orgánica. 2023.

You work within the interstices between the natural and the artificial, the figurative and the abstract. What interests you about these ambiguous zones, and what kinds of knowledge emerge from them?

I have always been quite restless, and that has led me to immerse myself in different fields and disciplines. I believe there is a special richness in interstitial spaces—in movement back and forth, in circulation between media. These spaces have always drawn my attention: ambiguous places, hybrid zones. There is something of an amphibious logic here—amphibians as entities that carry and transmit information, that share, that cross boundaries and membranes. In my case, this is closely linked to what I understand as freedom, especially at a time marked by categorization, labeling, and a profound distortion of the very concept of freedom.

On another level, more metaphysical in nature, it is within the mixture—within that blending—that the living energy of creating something new appears, which is undoubtedly a fundamental aspect of what it means to be human. It is as if “one thing becomes something else outside the mold.” This interaction is necessary to break structures, to build new ones, to transmute—to undergo something almost alchemical. I believe fixation is the enemy. In a way, ambiguity is what allows us to reprogram our gaze and generate new points of view.

De la serie Naturaleza orgánica. Madera torneada recuperada de podas de sequía y rezagos de construcción. 2025.

Movement, repetition, and sequence appear as visual strategies in your work. What role does seriality play in the generation of meaning?

Movement, repetition, and sequence are very present in my work. I have a long background in animation, and in some way that interest begins to filter into the other disciplines in which I work. Thus, movement also appears in my visual art practice.

Seriality is a way of thinking about time and of introducing a certain narrative and sense of action into the work, while at the same time conditioning the viewer’s experience. It invites the viewer to try to decipher repetition as a kind of progression. I am particularly interested in more abstract forms of narrative. In this type of narrative, where there is no clear figuration, repetition begins to establish a pulse, a “beat” that marks the passage of time. What is interesting, I think, is the realization that repetition is not exactly duplication, and that what seems identical begins to mutate over time, through rhythm, or through its own unfolding history.

De la serie Naturaleza orgánica. Madera torneada recuperada de podas de sequía y rezagos de construcción. 2025.

You work with geometric and constructive systems. What role does geometry play as a symbolic language within your practice?

Geometry is present in my work in multiple forms and dimensions, generating different dynamics. Generally, I tend to put it into crisis, into tension. When one engages closely with my works, it becomes clear that constructions based on imprecise and unstable balance predominate. I am not interested in symmetry or exactness, but rather in a dynamic construction that proposes a situation. I do not conceive of geometry as a rigid system.

I believe this is where a bridge is established between the intuitive and the rational, between playfulness and engineering—those unexpected crossings. At the same time, geometry functions as a code, a language that connects us to a universal grammar present in nature, in fractals, and that undoubtedly refers to symbolism. It is there that an interesting portal opens, where the work begins to re-signify itself and becomes a process of meaning-making external to itself, entirely uncertain. The results of my works are not pieces that represent; rather, I believe they are pieces that transfigure and, in doing so, generate questions.

WIP. Madera torneada recuperada de podas de sequía y rezagos de contrucción. 2022.

To what extent do you plan your works, and how much space do you leave for the unexpected—or even for error?

In terms of planning, it depends greatly on the project and even on the day. Some projects, due to their scale or complexity, require careful planning, especially when they involve the participation of other people. In many cases, planning is undoubtedly essential.

That said, in the projects I do plan, I am always interested in leaving space for improvisation, where chance or the unfolding of the process itself can come into play. I believe this is where interesting things begin to emerge, and it is important not to let them pass by. Personally, I would find it very boring to work on pieces whose outcome I already know in advance. For me, the realization of each work is an uncertain journey; I do not know where it will lead, and I believe that is where its potential lies—not only for me, but also for the work itself and for the viewer’s experience.