Vasarely stated in 1955 in his famous Yellow Manifesto: "the art of tomorrow will be a collective treasure or it will not be art at all". Perhaps, at that time, the artists attached to the Op Art and Kinetic Art movements were not aware of the impact their works would have on the future of later art, but today there is no doubt that the concern and research surrounding the movement have left their mark.

Karl Gerstner

Op Art was officially inaugurated with the exhibition "The responsive eye" that MoMA organised in 1965. In fact, it was about labelling an artistic trend that had sprung up a few years ago and one of which main milestones was the collective exhibition organised by the gallery Denise René under the title "Le mouvement". At that time, the works of Duchamp, Calder, Vasarely, Jesús Rafael Soto, Robert Jacobsen... lived together in an enriching dialogue that gave birth to a new style defined within geometric abstraction: the Kinetic Art.

Carlos Cruz-Diez

Halfway between research and artistic production, the obsession of many of these creators was focused on, not capturing the movement, but incorporating it into their pieces, in a literal and physical way. From Calder's famous mobile-sculptures to multi-perspective works that force visitors to move around to find the exact point of view. Whether incorporated or projected, movement was the essence of this trend of art, where we cannot forget that the line of creative development was strongly linked to the recent sociological and psychological theories about the changing context of the 20th century and that it has its own background in the art world such as Futurism or Suprematism.

Francisco Sobrino. Sin título, 1989

Op Art delves into another kind of movement, the one generated by the viewer's own perception through a game of optics or repetition patterns. Geometry and colour are fundamental in these works, where a simple contrast effect can produce a sense of depth or superposition of planes with a volume. Symmetries, asymmetries, minimalism, pure forms ... ingredients of a composition designed to deceive and confuse the senses of the observer.

Yaacov Agam

The Würth Museum collects a total of 76 works (31 from its own collection) of the leading authors of these trends with pieces from 1921 to 2013. The colour, shape, light and perspective join around a paradigmatic collection of changes that the 20th century introduced in the art world. This exhibition opens the calendar of activities scheduled to celebrate the 10th anniversary of the opening of the Würth museum.

ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. PERFORMANCE CYCLE 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: ALTA FACTURA. BY COLECTIVO LA BURRA NEGRA

March 4 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.

"Discipline for Power.” Performance by La Burra Negra for Displacement of the Congress of Deputies by Roger Bernat. 2025.

Alta Factura subverts the conventional structure of the fashion runway to foreground the often-invisible processes that underpin artistic production. Through a series of conceptual textile works, the performance draws attention to the discipline of craft and the artist’s vulnerability, ultimately revealing those seams typically consigned to the margins, behind the scenes.

Colectivo La Burra Negra.

ABOUT EL COLECTIVO LA BURRA NEGRA

La Burra Negra is a nomadic performance art collective based in Málaga, founded in 2024 following its first residency in Totalán. The group is self-managed by Ascensión Soto Fernández, Gabriela Feldman de la Rocha, Sasha Camila Falcke, Sara Gema Domínguez Castillo, Sofía Barco Sánchez, and Regina Lagos González—six artists from diverse backgrounds and trajectories who met at the Hospital de Artistas at La Juan Gallery.

The collective brings together practitioners working across jewelry, painting, the performing arts, music, dance, cultural mediation, and arts management. Its activities include an annual residency in Totalán, the production of performative works, cultural mediation initiatives, and site-responsive interventions.

Since its inception, the collective has participated in the Periscopio series at La Térmica; presented A granel at the MVA in Málaga; carried out a number of actions in Totalán—the most recent during its second annual residency—and contributed its own proposals to the performance Displacement of the Congress of Deputies by Roger Bernat in Madrid.

At the core of La Burra Negra lies a commitment to collective creation and the exchange of knowledge. United in their effort to experiment with and disseminate performance art, the group explores the invisible dimensions of artistic labor—its temporalities, efforts, and relational dynamics, which so often remain unseen—as a form of critical affirmation.

Their practice emerges from dialogue and shared reflection, in the pursuit of decentralized spaces where art can be experienced and its processes made visible. Each residency and each action becomes an attempt to inhabit creation collectively, challenging conditions of precarity while fostering networks of care and collaboration that sustain both their own practice and that of those around them.