Our life is mostly marked by the time dedicated to work. Much of what we are and others see, is linked to our profession. Art is no apart to this phenomenon, and in fact, some artistic movements are to some extent indebted to the influence that technological advances in work have established in production processes and large factories. As a kind of second industrial revolution, the innovation of the production guidelines and the modernisation of the machinery, as well as the professional specialisation, have generated a work culture today almost inseparable from the idea of an advanced and up-to-date society.

Frame from the film "Modern Times", by Charles Chaplin

The impact of these changes on production processes appears in the arts. We all know the parody of the assembly line that Charles Chaplin made in his film "Modern Times" (1936). Although the context of this film is the crisis that emerged after the Great Depression, the adverse working conditions of the personnel of the large factories reflected in the movie can be extrapolated to any other place in the world. A paradox poses between the inclusion of machinery that replaces human labour and relieves them of mechanical work, and a higher demand for workers forced to perform more and better.

Fortunato Depero, 'Rascacielos y túneles' (Gratticieli e tunnel), 1930 (image from elpais.com)

But art has also echoed the positive effect of these advances for the work-life. Futurism, an artistic movement of the early s. XX that preceded Cubism and expanded worldwide, is essentially based on the capture of movement, speed, dynamism and progress. For this reason, many of the most representative pieces of this trend include machinery and technological devices associated with the evolution of society and the dizzy speed with which things happen in modern times. Futurists also developed a manifesto, released in 1909 by the Italian artist Filippo Tommaso Marinetti, which reflects some of their main ideas, always around the treatment of speed and beauty of machinery as a sign of an era marked by advance and innovation.

Soviet poster of the 30's. (image from magnet.xataka.com)

The inclusion of references to the labour world in the Soviet propaganda posters is also paradigmatic. While Futurism was a free artistic movement initiated in Italy, for the Soviet Union, propaganda was an essential diffusion tool, which the regime knew how to use skillfully to expand its message and win supporters. The communication of a discourse based on the duty of citizens to work, on the dignification of men and women with effort, on the benefits of collective commitment and rural sacrifice, resulted in posters with numerous work scenes that today shape a style and an aesthetic unmistakable.

Antonio Berni, “Manifestación”, 1934 (image from prevenblog.com)

In the decade of the 30s, other artists also began to portray the hardships of work and collective demands asking for better conditions for employees. Do not forget that the date chosen to commemorate Labour Day, the 1st of May, is a tribute to the martyrs of Chicago, some anarchist trade unionists who were executed for fostering and participating in various revolts to claim an 8-hour workday, in 1886. Half a century later, the demands of the workers still originate protest movements, reflected by the artists of the moment.

Mural by Diego Rivera – Detroit Institute of Arts

Paradoxically, it was also at this time when companies tried to spread a different image of collective effort, to dignify the role of the working class around the idea of ​​the New Deal. This attempt to make a call to the social contribution to recover the economy, especially after the debacle of the Crack of 1929, led some companies to finance motivational murals that represented employees in the North American factories. This happened with some orders made to Diego de Rivera for Ford factories in Detroit.

At the most recent edition of Art Madrid, artist Luis Olaso (Bilbao, 1986), represented by Kur Art Gallery (San Sebastián), received the Residency Prize of the Art Madrid Patronage Program. This award, the result of a collaboration between Art Madrid, DOM Art Residence, and the Italian association ExtrArtis, enabled him to undertake an artistic residency in Sorrento (Italy) in August 2025.

Through initiatives like this, the fair reaffirms its support for contemporary creation—a commitment aimed at increasing artists’ visibility and strengthening art collecting through concrete actions such as acquisition prizes, recognition of emerging talents, and international residencies.

Artists in Residence. DOM & ExtrArtis. Image courtesy of Agata D’Esposito.

The DOM & ExtrArtis 2025 Residency Program took place in Sorrento from August 1 to 31, 2025. The artists lived together at Relais La Rupe, a 16th-century villa surrounded by cliffs and centuries-old gardens, which became an ideal setting for experimentation and exchange.

In this edition, residents worked around the theme “Reimagining Genius Loci”, an invitation to reflect on how the movement of people and traditions transforms the “spirit of place.” During the residency, DOM organized two public group exhibitions: the first to present the artists’ previous work, and the second to showcase the projects developed in Sorrento.

Work by Luis Olaso. DOM & ExtrArtis. Image courtesy of Agata D’Esposito.

Luis Olaso’s work moves between expressionist figuration and abstraction, always employing a pictorial language charged with strength and emotion. Initially self-taught, he later graduated in Fine Arts and has developed a solid international career, with exhibitions at venues including JD Malat (London) and Makasiini Contemporary (Turku, Finland), and participation in fairs such as Untitled Miami, Estampa, and Art Madrid itself.

His work is part of prestigious collections, including the Tokyo Contemporary Art Foundation, Fundación SIMCO, and the Provincial Council of Bizkaia, and has been recognized in competitions such as the Reina Sofía Prize for Painting and Sculpture and the Ibercaja Young Painting Prize.

In Sorrento, Olaso found a unique context to expand his pictorial research, engaging in dialogue with the Mediterranean landscape and the region’s historical heritage. The residency provided him with time, resources, and a framework for exchange with other international artists, fostering the production of new works that were later presented in the group exhibitions organized by DOM.

Luis Olaso working on his project. DOM & ExtrArtis. Image courtesy of DOM.

Luis Olaso’s experience at DOM Art Residence concluded with a public showcase of the works produced, reinforcing his presence on the international circuit and consolidating his position as one of the most prominent Basque artists on the contemporary scene.

Through initiatives such as this, Art Madrid demonstrates its active role as a platform for direct support of contemporary creation, creating opportunities for research, production, and intercultural dialogue that extend beyond the fair itself and accompany artists in their professional development.