Art Madrid'24 – Art Marbella first edition in the very summer

Art Marbella listed as "the first major art fair in the Mediterranean" and will involve 50 leading international galleries in addition to the sections dedicated to specific projects by guest artists, a VIP program for collectors and a space for research and education run by international curators.
Marbella, this summer, is a "hot spot" for art lovers, "one of the most important cities in the European summer and attracts many visitors with high purchasing power in Europe as well as Russia and the Middle East," explains his promoter Alejandro Zaia. "It's a great opportunity to establish an international fair of the highest level of quality aimed at this audience. We can help expand the frontiers of collectors, introducing new players and creating an environment in which artists, curators, gallery owners and collectors can communicate and share information on the latest trends in art, and with the work of the best artists exposed, "adds .
 
Zaia was co-founder of the fairs Pinta New York (2007) and Pinta London (2010), director of Mundus Novus collection dedicated to contemporary Latin American art, and member of the committee of international consultants Museum of Latin American Art of Los Angeles ( MOLAA) and the Art Museum for Private Collectors. Zaia is a recognized expert in communication and marketing. His idea is to "give the public a selection of art of exceptional quality, where the most innovative proposals coexist with great works of historical vanguards of the twentieth century."
Beside him, a committee of curators with big names in contemporary art as Omar Lopez-Chahoud, director of the Miami fair UNTITLED; Neri Torcello, in charge of the Masters section; and Maria Chiara Valacchi, director of Spazio Cabinet Foundation in Milan, in charge of special projects and Bruno Leitão, in charge of curating the Finistrella section. Its aim is to develop a contemporary art fair with some references to more established artists, giving meaning and context to young artists.
 
The fair is held at the Palace of Fairs, Exhibitions and Congresses of Marbella and it has a special guest: the actor and artista Jordi Molla.
 
 
List of participants:
 
Adhoc - Vigo, Spain
Alarcon Criado - Sevilla, Spain
Alimentacion 30 + Lounge - Madrid, Spain
APGallery - Madrid, Spain
Area 72 / Point - Valencia, Spain
Art Nine - Murcia, Spain
Bacelos - Vigo, Spain
Baro Gallery - Sao Paulo, Brazil
Carlos Carvalho - Lisbon, Portugal
Carreras Mugica - Bilbao, Spain
Daniel Cardani - Madrid, Spain
Elephant Kunsthall - Lillehammer, Norway
Minimum space - Madrid, Spain
F2 Gallery - Madrid, Spain
Fernando Pradilla - Madrid, Spain
Filomena Soares - Lisbon, Portugal
FL Gallery - Milan, Italy
Galeria de las Misiones - Montevideo, Uruguay
Galeria El Museo - Bogota, Colombia
Gallery Pelaires - Palma de Mallorca, Spain
Gema Llamazares - Gijon, Spain
L21 Gallery - Palma de Mallorca, Spain
Mark Hachem - Paris, France
Max Estrella - Madrid, Spain
Michel Mejuto - Bilbao, Spain
Narrative Projects - London, United Kingdom
Odalys Madrid - Spain Caracas, Venezuela
Operate Scelte - Turin, Italy
Red Penguin - San Pedro de Alcantara, Spain
Rodrigo Juarranz - Aranda de Duero, Spain
Rosa Santos - Valencia, Spain
Saro León - Las Palmas de Gran Canaria, Spain
September Espai D'Art - Valencia, Spain
STOA Gallery - Estepona, Spain
Twin Gallery - Madrid, Spain
Yusto / Giner - Marbella, Spain

 

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.