Art Madrid'26 – A LOOK AT CONTEMPORARY GEOMETRY

The work of Ana Pais Oliveira, Iván Baizán and Rubén Fernández Castón starts from a shared interest in geometry and its plastic translation. The proposal of these creators conveys a clear interest in the construction of new physical spaces with which to body their concern for the environment and the role of the individual in the urban environment. On many occasions, it is about proposing alternative buildings, imaginary architectures that defy natural laws; in others, giving way to a geometric abstraction where the volumes are defined by contrasts of colour.

Rubén Fernández Castón

Entrelíneas III, 2016

Acrylic on wood

55 x 42cm

Ana Pais Oliveira

Heavy drawing #26, 2017

Mixed media on cardboard

70 x 50cm

Iván Baizán

XV (de la serie "Usted no está aquí"), 2018

Serigrafía, acrílico, poliestireno y papel montado en caja de madera (obra enmarcada en caja y cristal)

40 x 30cm

If something characterises contemporary geometry, is its ambition to exploit the plastic possibilities of the materials to generate the illusion of volume and depth from the linearity of the flat support. It is, in reality, a hand extended to the viewer, an invitation to transcend the physical limitations of our three-dimensional space to give free rein to alternative realities, to floating constructions, to buildings without support points, to impossible materials.

This is one of the strong points of the work of Iván Baizán. The pieces of the collection "In the limits of the structure" develops one of the most paradigmatic facets of this artist, specialised in engraving and printing. His work offers urban cartography based on the superposition of planes and the communicative power of colour. In the form of exquisite wooden boxes, his last works are like windows open to a new universe, the one where man has taken the reins of his time and space, where it is not necessary to live corseted by inherited forms and unbreakable laws. Its floating architectures pose a paradox in a perfect aesthetic balance that combines materials, design and staging.

Iván Baizán

VI (de la serie "Usted no está aquí"), 2017

Serigrafía, acrílico, poliestireno y papel montado en caja de madera (obra enmarcada en caja y cristal)

100 x 80cm

Iván Baizán

II (de la serie "Usted no está aquí"), 2017

Serigrafía, acrílico, poliestireno y papel montado en caja de madera (obra enmarcada en caja y cristal)

100 x 80cm

The Portuguese Ana Pais Oliveira follows a similar line. Her work is a compendium of structures where architecture is very present. All her work conveys that tricky balance between the colourist abstraction and the game of textures in a display of proposals that go from painting on canvas to collage on cardboard. Constructions of the imagination that make their way around two fundamental ideas: line and colour. The geometry of Ana Pais is solid and wide; it expands in ambitious formats and with friendly tones that transfer to the support the utopia of the impossible architectures.

Ana Pais Oliveira

Heavy drawing #35, 2017

Mixed media on cardboard

70 x 50cm

Ana Pais Oliveira

Heavy drawing #32, 2017

Mixed media on cardboard

70 x 50cm

Ana Pais Oliveira

Heavy drawing #40, 2017

Mixed media on cardboard

70 x 50cm

For his part, Rubén Fernández Castón exceeds the limits of traditional painting to create works that approach sculpture. His most recent work applies geometry to pieces that develop on two sides and participate in the double game of illusion, the "meta-geometry", inside and outside the work itself. With flat and clean colour strokes, the contours are created by opposition, with a dance of contrasts that risks with shocking tones, without overlapping, neat, concise and pure.

Rubén Fernández Castón

Entrelíneas IV, 2016

Acrylic on wood

59 x 40cm

Rubén Fernández Castón

Entrelíneas V, 2016

Acrylic on wood

60 x 40cm

|354:150


ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. CICLO DE PERFORMANCE X ART MADRID'26


Art Madrid, committed to creating a discursive platform for artists working within the field of performance and action art, presents Abierto Infinito: lo que el cuerpo recuerda, a proposal inspired by Erving Goffman’s ideas in The Presentation of Self in Everyday Life (Amorrortu Editores, Buenos Aires, 1997).

The project unfolds within a theoretical framework that directly engages with these premises, conceiving social interaction as a stage of carefully modulated performances designed to influence others’ perceptions. Goffman argues that individuals deploy both verbal and involuntary expressions to guide the interpretation of their behavior, sustaining roles and façades that define the situation for those who observe.

The body — the first territory of all representation — precedes both word and learned gesture. Human experience, conscious and unconscious alike, is inscribed within it. Abierto Infinito: lo que el cuerpo recuerda departs from this premise: representation inhabits existence itself, and life, understood as a succession of representations, transforms the body into a space of constant negotiation over who we are. In this passage, boundaries blur; the individual opens toward the collective, and the ephemeral acquires symbolic dimension. By inhabiting this interstice, performance simultaneously reveals the fragility of identity and the strength that emerges from encounter with others.


PERFORMANCE: TRAYECTORIA. BY AMANDA GATTI

March 6 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.


Amanda Gatti. Escaparate. 2023. DT-Espacio. Photograph by Pedro Mendes.


The proposal expands Amanda Gatti’s research initiated in La Plasti Ciudad del Cuerpo — an ongoing series of performance and installation presented since 2023 in spaces such as Fundación Antonio Pérez, Galería Nueva, CRUCE, and the Acción Spring(t)/UCM Congress — where she explores the relationship between her body and objects found in urban space. There, body and materials are articulated through a constant negotiation between functionality, weight, and support, generating temporary architectural compositions.

In Trayectoria, this research shifts toward the act of dragging: a gesture that makes visible the friction between body, objects, and space. The corridor ceases to be a neutrality to be crossed and becomes an operative intermediate zone, where form and content — veil and what is veiled, as Walter Benjamin points out — become confused. The space, saturated with objects turned into a mobile chain, clears and remakes itself with each step. Clearing, for Benjamin, is already an experience of space: each advance sustains this unfinished separation, always oriented toward a destination that may never be reached.


La Plasti Ciudad del Cuerpo #3. Amanda Gatti. Performance documentation. CRUCE 2054 exhibition, Galería CRUCE. Photograph by Pedro Mendes.


Displacement is not limited to material friction: it also becomes a symbolic inscription of that which every life trajectory drags along. The objects — remnants of past uses — function as metaphors for what remains attached to the body even when it no longer serves any function. The performance makes visible the condition of moving forward while carrying heterogeneous weights: material, affective, social. Thus, the gesture of walking linked to these objects turns the route into a writing in motion, where each step simultaneously activates a physical transit and a vital transit. Trayectoria proposes that every life is also a dragging: a continuous recomposing from what we insist on carrying with us.

The action operates objects as verbs: to push, to tense, to trip, to pull. From it emerges an operativity that involves the entire body and exceeds the visual. The image ceases to be representation and becomes gesture: a gesture that founds new spatial forms, that overflows, that produces an ephemeral mode of reappropriation of the corridor.

The trajectory thus becomes an affective map inscribed in the body, a way of merging with the environment by putting past and future, durability and wear, utility and obsolescence into friction. The action returns to public space what was taken from it, but now stripped of function: freed from meaning, freed from commodification, freed to be imagined otherwise.


ABOUT AMANDA GATTI

Amanda Gatti (1996, Porto Alegre, Brazil) is an artist and researcher whose practice unfolds across performance, video, photography, and installation. She explores the intersections of body, object, and space, investigating how we occupy — and are occupied by — the spaces around us. Drawing from experiences of displacement and the observation of domestic and urban environments, her work conceives the body as mediator and archive, transforming found objects, spatial arrangements, and everyday gestures into ephemeral architectures and relational situations.

She studied the Master’s in Scenic Practice and Visual Culture at Museo Reina Sofía/UCLM (Spain, 2023) and the Bachelor’s degree in Audiovisual Production at PUCRS (Brazil, 2018), where she received scholarships such as the Santander Universities grant. In Spain, her work has been presented in institutions and contexts such as Museo Reina Sofía, Fundación Antonio Pérez, Galería Nueva, CRUCE, and Teatro Pradillo, as well as in exhibitions and festivals in Brazil, Germany, Ireland, the United Kingdom, and the United States. She currently resides in Madrid, with secondary bases in Brazil and the United Kingdom.