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

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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: OFF LINE. JIMENA TERCERO

March 7 | 7:00 p.m. Galería de Cristal of the Palacio de Cibeles.



OFF LINE is a performance piece that reflects on the fragility of the body in the digital age. Our relationship with the outside world is mediated by a screen, which distances us further and further from physical contact and interpersonal relationships. Focusing on creating a digital identity causes the body to distance itself from the physical world and lose its memory.

Hyperconnectivity and fragmented attention lead to a more passive physical existence, characterised by reduced spontaneous movement and less direct sensory interaction. This raises fundamental questions: how is the concept of presence redefined when our relationship with the world relies on technological mediation? What will the experience of the body be like in a future where virtuality predominates over the physical? There is a risk of progressive bodily passivity: bodies that remain still, whose activity is determined by devices and whose memory is stored digitally. The fragmentation of physical experience and the primacy of technological representation create a scenario in which, although the body is visible, it is displaced from its original function as an agent of perception and action.

This conceptual framework invites reflection on the impact of digitisation on corporeality, memory and social relationships, and on the vulnerability and inertia experienced by bodies in environments that are increasingly mediated by technology.



ABOUT JIMENA TERCERO

Jimena Tercero (Madrid, 1998) is a multidisciplinary artist whose work explores the boundaries of the female body, identity, and the subconscious. She uses performance, video, and painting to address concepts such as memory, tangibility, and play. Tercero trained in painting with Lola Albín and in analog photography at Cambridge in 2014. She studied audiovisual direction from 2018 to 2020 with renowned figures such as Víctor Erice and the production company El Deseo. She is currently pursuing a Master's degree in Creative Direction at ELISAVA. She completed her performance training at La Juan Gallery. In 2011, she was part of the children's jury at the Isfahan Film Festival in Iran.

Her directed works include Private (2016) and Paranoid (2021), which were exhibited at the Aspa Contemporary Gallery. She has also worked on projects such as Yo, mi, me, conmigo (2023, Teatros del Canal), Inside Voices (2021, Conde Duque with Itziar Okariz), and La última regla (La Juan Gallery). She has directed fashion films for publishers and brands such as Puma, Dior, and Dockers. She has also provided art direction for artists such as Sen Senra and Jorge Drexler. Additionally, she directed the documentary Also Here for ArtforChange–La Caixa. She presented Out of View (Nebula Gallery), EDEN (White Lab Gallery), and Navel Bite (Sinespacio). She participates in residencies such as Medialab with Niño de Elche and Miguel Álvarez Fernández. In 2025, she will be part of the Special Jury of the Asian Film Fest in Barcelona and the International Cultural Museum of Assilah Art Residency in Morocco).