Action art is a varied group of techniques or artistic styles that emphasize the creative act of the artist, the action. The term was created by Allan Kaprow, who pointed out the interrelationship between the artist and the viewer at the moment of the artistic creation.

It can be said that the concept of action art was born in the 1920s with Dadaism and Surrealism, in artistic montages such as collage and assemblage. Among the various forms of expression of action art are happening, performance, environment and installation.

In its most festive edition, this year Art Madrid presents its most innovative commitment with a specific programme dedicated to new media and action art. In this 15th edition we will have a booth at the fair for the realization of presentations and live actions in collaboration with the video art platform PROYECTOR and under the curatorship of its director Mario Gutiérrez Cru.

If you come to Art Madrid, you will be able to enjoy the different parts of the programme throughout the day. From the morning onwards, you will be able to view the best selection of pieces from the most outstanding international video art festivals in the world, with proposals from Portugal, Mexico, Morocco, Colombia, Peru, Argentina, France, Greece and the Netherlands. A selection made by Mario Gutiérrez Cru that will present us with new languages of artistic expression in the field of video creation so that we can compose a general idea of the international artistic paradigm of this area.

Then, every afternoon at 5pm we will attend the presentation and meeting with an outstanding artist to end the day of the fair with a performance at 8pm from Wednesday to Saturday. This program seeks to be an immersive experience in contemporary art and explore new languages linked to technology.

Opening the program on Wednesday 26th we will have Abelardo Gil-Fournier, in the presentation we will be able to contemplate the installation of the work "The Quivering of the Reed" and comment it with its creator in the whole of its trajectory. His work revolves around the hybridization between the real and the sensitive, approached from a perspective in which perception, image and material production are fused in a practice based on research into territorial planning and plant growth. His projects are conceived as material operations proposed for an open space between art, nature and politics.

Art Madrid will host at 8pm the performance of Iván Puñal “RRAND 0-82.” The artist Iván Puñal (a.k.a. The Pleasant View) will explore through a live audiovisual performance the concept of "random" and "chaos". Iván Puñal, works with determinism and freedom in his performances questioning how much belongs to the conscious self and how much is a mirage of illusion. To this end, uncontrolled elements will be introduced into the performance using mathematical algorithms, both to generate visual pictures and improvised sound spaces so that the result is "non-repeatable", "uncontrolled" and "non-voluntary". Atonal music within the territory of "musique concretè" or "noise" will accompany the projections, also framing the concept of "all sound is music".

On Thursday 27th, the public will be enjoy an encounter with Fernando Baena, a multidisciplinary artist who cultivates video, photography, installation and performance as means to reach the spectator with greater strength. His works seek to interact by approaching them through the use of common materials, and the use of direct discourses that demonstrate his communicative intention.

Afterwards, a site-specific participatory action will be carried out for the 'Partidura'. A project by Eunice Artur with the collaboration of Bruno Gonçalves. This project is part of the fascinating and vast panorama of the creation of graphic annotations. The evolution of electronic music requires a new system of notations where, among others, we seek to understand the relationship of new phenomena, such as the relationship between sound and plastic manipulation in performance; unpredictability and error as ways of generating non-linear readings and/or new graphic forms of notation.

On Friday 28th, Mario Santamaría will investigate the phenomenon of the contemporary observer, paying attention to two processes that shape him: the representational practices and the apparatuses of vision and mediation. Mario explores areas such as conflict, memory, virtuality and surveillance through tactics such as appropriation, remake and montage.

Two performers each sing inside the other's mouth. This is how the performance that Arturo Moya and Ruth Abellán will give on Friday 28th begins. The sound resulting from the interaction of the two voices in a single cavity, controls live the water produced by the same performers in a video that is projected during the performance. The same sound also governs the appearance of sounds from water recordings. "Danaides' Barrel", a physical and sound exploration that will leave no one indifferent.

And to finish the program of this edition Art Madrid-PROYECTOR, on Saturday 28th we will have two unmissable activities: on the one hand the meeting with the Argentine artist and curator Maia Navas, Bachelor of Arts and Technology, Bachelor of Psychology and Specialist in Creativity and Innovation, who will explore in a direct conversation with the public all these areas, giving way later to the performance of Olga Diego "The bubble woman show". The girl of plastics. The bubble woman. Outside, the audience interprets the movements of those two pairs of legs under the translucent inflatable. Sharing the air, the emptiness, the fragility…

Art Madrid'20 becomes a space for artistic immersion, involving all those who come and let art flood their lives from February 26 to March 1 in the Crystal Gallery of the Palacio de Cibeles.

We are waiting for you!

The work of Cedric Le Corf (Bühl, Germany, 1985) is situated in a territory of friction, where the archaic impulse of the sacred coexists with a critical sensibility characteristic of contemporary times. His practice is grounded in an anthropological understanding of the origin of art as a foundational gesture: the trace, the mark, the need to inscribe life in the face of the awareness of death.

The artist establishes a complex dialogue with the Spanish Baroque tradition, not through stylistic mimicry, but through the emotional and material intensity that permeates that aesthetic. The theatricality of light, the embodiment of tragedy, and the hybridity of the spiritual and the carnal are translated in his work into a formal exploration, where underlying geometry and embedded matter generate perceptual tension.

In Le Corf’s practice, the threshold between abstraction and figuration is not an opposition but a site of displacement. Spatial construction and color function as emotional tools that destabilize the familiar. An open methodology permeates this process, in which planning coexists with a deliberate loss of control. This allows the work to emerge as a space of silence, withdrawal, and return, where the artist confronts his own interiority.

The Fall. 2025. Oil on canvas.195 × 150 cm.

In your work, a tension can be perceived between devotion and dissidence. How do you negotiate the boundary between the sacred and the profane?

In my work, I feel the need to return to rock art, to the images I carry with me. From the moment prehistoric humans became aware of death, they felt the need to leave a trace—marking a red hand on the cave wall using a stencil, a symbol of vital blood. Paleolithic man, a hunter-gatherer, experienced a mystical feeling in the presence of the animal—a form of spiritual magic and rituals linked to creation. In this way, the cave becomes sacred through the abstract representation of death and life, procreation, the Venus figures… Thus, art is born. In my interpretation, art is sacred by essence, because it reveals humankind as a creator.

Between Dog and Wolf II. 2025. Oil on canvas. 97 × 70 cm.

Traces of the Spanish Baroque tradition can be seen in your work. What do you find in it that remains contemporary today?

Yes, elements of the Spanish Baroque tradition are present in my work. In the history of art, for example, I think of Arab-Andalusian mosaics, in which I find a geometry of forms that feels profoundly contemporary. In Spanish Baroque painting and sculpture, one recurring theme is tragedy: death and the sacred are intensely embodied, whether in religious or profane subjects, in artists such as Zurbarán, Ribera, El Greco, and also Velázquez. I am thinking, for example, of the remarkable equestrian painting of Isabel of France, with its geometry and nuanced portrait that illuminates the painting.

When I think about sculpture, the marvelous polychrome sculptures of Alonso Cano, Juan de Juni, or Pedro de Mena come to mind—works in which green eyes are inlaid, along with ivory teeth, horn fingernails, and eyelashes made of hair. All of this has undoubtedly influenced my sculptural practice, both in its morphological and equestrian dimensions. Personally, in my work I inlay porcelain elements into carved or painted wood.

Between Dog and Wolf I. 2025. Oil on canvas. 97 × 70 cm.

What interests you about that threshold between the recognizable and the abstract?

For me, any representation in painting or sculpture is abstract. What imposes itself is the architectural construction of space, its secret geometry, and the emotion produced by color. It is, in a way, a displacement of the real in order to reach that sensation.

The Anatomical Angel. 2013. Ash wood and porcelain. 90 × 15 × 160 cm.

Your work seems to move between silence, abandonment, and return. What draws you toward these intermediate spaces?

I believe it is by renouncing the imitation of external truth, by refusing to copy it, that I reach truth—whether in painting or in sculpture. It is as if I were looking at myself within my own subject in order to better discover my secret, perhaps.

Justa. 2019. Polychrome oak wood. 240 × 190 × 140 cm.

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

It is true that, on occasions, I completely forget the main idea behind my painting and sculpture. Although I begin a work with very clear ideas—preliminary drawings and sketches, preparatory engravings, and a well-defined intention—I realize that, sometimes, that initial idea gets lost. It is not an accident. In some cases, it has to do with technical difficulties, but nowadays I also accept starting from a very specific idea and, when faced with sculpture, wood, or ceramics, having to work in a different way. I accept that.