One of the design works that most impact and that usually falls into oblivion is the advertising posters. Metres and metres of billboards, bulletin boards, canopies, banderoles... covered with numerous layers of glued paper. Although the nostalgic people always want to keep the concert that made history or the movie that marked his childhood.

A group of entrepreneurs Bilbao has launched an app that develops a cultural agenda based on the posters designed to announce each of the activities: Postwall. This initiative has already exceeded 5,000 downloads in its five months of life. With these figures, it is evident that the communicative power of the poster resides in its visual impact and that the public is still sensitive to the quality of good design, something increasingly demanding and complicated in an environment of permanent competition in digital communication.

Beyond the fetishists and collectors who paper the walls of their rooms with posters of their small vital "milestones" (where there is no movie poster - especially Star Wars or similar - or a musical star - from Michael Jackson to Beyoncée-?), it is good to keep in mind that behind all good posters there are many hours of work. It is about harmonizing the information with an image that impacts, and a lot of design work in which the main artistic trends of the moment concentrate.

In fact, a poster can be used for much more than to announce an activity. It can create a tendency, influence the style of an era, become a reference of art for posterity. This has happened with communist aesthetics during the Cold War, with a propaganda poster that today is updated in the hands of authors such as Shepard Fairey, apart from other paradigmatic examples such as Mucha and his compositions Art Deco (sometimes it is difficult to know what was before , the poster or the style itself), or the total fusion of trends by Víctor Moscoso, a Galician poster designer based in California who set a trend in the 60s to generate an unmistakable style.

As Patrick San Juan, one of the founders of Postwall, explains, a good poster anticipates the experience of the event it announces. However, the graphic designer, the true alma mater of these works, goes completely unnoticed and remains forgotten to the value chain associated with the event at stake. This idea, added to the need to collect in one place all the cultural offer of the city, motivated the creation of this app that so far, without reaching the half year of life, already works in all Basque Country, Barcelona and Madrid and continues to expand to Seville and Valencia.

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).