The uses of artificial intelligence extend to many aspects of our reality with potential applications ranging from the design of patterns of social behaviour, the prediction of economic fluctuations or the treatment of data for the development of political measures in times of crisis. All this shows us a futuristic situation that we still see as science fiction, perhaps due to the abundance of explanations and the use of terms that our minds are not yet capable of transferring to a tangible plane. Furthermore, the union of the words "intelligence" and "artificial" to refer to these advances, in turn, generates a shadow of doubt about the value that human intervention continues to have in this context. Will we become expendable?

Pierre Fautrel, Obvious collective, “Edmond de Bellamy”, AI portrait, 2018. (image from Christie's)

The art world is no stranger to this reality and many suggest that artificial intelligence art will be the great art movement of the 21st century. Although the resource and research on these methods began in the last decades of the last century, the matter has gained popularity since in August 2018 a work done by AI was auctioned for the first time at Christie’s (and for a price never thought of). Before long, the same thing happened with a piece by Mario Klingemann auctioned at Sotheby’s.

One of the main drawbacks that arise when dealing with artificial intelligence art is the questioning of authorship, a concept that, in art, is intimately linked to creativity, talent or genius. The fear of being replaced by a machine raises suspicions. And, probably, it is not because of acknowledging the technical achievement of programming an algorithm capable of creating a work of art, but for the insecurity caused in the spectator not being able to distinguish a work created by a human or a machine. It is a slippery terrain that affects some of the most fundamental principles of our conception of art and creativity, as we have always considered these qualities to be genuinely human and impossible to replicate.

Mario Klingemann, "Memories of Passersby I", installation of auction at Sotheby's. (Image from La Vanguardia).

In connection with this, other difficulties arise, such as the recognition of authorship and the intellectual property rights associated with the work. Who is the true creator? Could an algorithm see its copyright recognised? In reality, the answer to these unknowns is simple, since such rights are only applicable to human beings. The future, however, is about to be written and perhaps we will reach a dystopian (or utopian) world where machines also enjoy this recognition.

As we wait this to happen, artificial intelligence is always the result of truly human design and programming work that gives rise to the codes and algorithms that are then used, in this case, to create art. Although the term "computational creativity" exists to refer to the study of the behaviour of software whose performance and results can be considered creative, we do not doubt yet about human creativity. In fact, in the 1950s the Turing test was designed to analyse the degree of intelligence displayed by the software. According to this method, if in a set of objects, some made by computer and others made by man, could not be distinguished ones from each other, then it is that the intelligent software works correctly. The original test consisted of a set of questions that the machine had to answer, something very similar to the interrogations represented in Blade Runner to identify the replicants.

Lars Dietrich, “Lucy. A modernised Music Box”, Collection SOLO.

Today we undoubtedly know that the concept of intelligence is a complex notion determined by many individual factors, so giving a coherent answer to a given question would not be enough to determine if there is true intelligence. What's more, this word applied to today's programmed codes comes to identify rather the "autonomy" with which this software and algorithms work. In all this, it should be borne in mind that to generate new work, it is necessary to previously feed a database that allows the code to identify patterns and replicate them in a different creation. None of this can be done autonomously, from choosing the image bank for the database to the specific encoding system that is developed, whose syntax can guide the machine to identify movement or identify portraits. The human factor is still essential.

Artwork by DeepDream, developed by Google in 2015.

Despite doubts and uncertainty, we must admit that artificial intelligence opens a horizon of infinite possibilities in which many creators want to delve. It is one more window of exploration that contributes to expanding the limits of the feasible and facilitates new languages in which the intervention of the spectator is often required. For a long time, and especially since the beginning of the new millennium, art wants to get over usual spaces and overcome the traditional contemplative relationship it had with consumers. Now it is necessary the active participation of the visitor for the message to arrive. The viewer completes the discourse or affects in some way in the final result. And for this, artificial intelligence is ideal.

ART MADRID CLOSES ITS 21ST EDITION AS A KEY EVENT OF MADRID ART WEEK

The Galería de Cristal of the Palacio de Cibeles hosted the 21st edition of Art Madrid from March 4 to 8, once again consolidating its role as one of the must-see events of Madrid Art Week. Over the course of five days, the fair brought together 35 national and international galleries and more than 200 artists, turning the venue into a meeting point for gallerists, collectors, professionals, and lovers of contemporary art.

Throughout its trajectory, Art Madrid has built a distinct identity, with a constant focus on giving visibility to both emerging and established galleries and on opening contemporary art to diverse audiences. Rather than being structured around a single curatorial line, the fair embraced a plural proposal, respecting the unique DNA of each exhibitor.

Art Madrid’26 presented a Gallery Program distinguished by the diversity of artistic proposals and languages, encouraging dialogue between different generations and contemporary practices. Painting, sculpture, photography, drawing, installation, and new hybrid forms coexisted in an edition that once again confirmed the dynamism of today’s art scene

During the days of the fair, nearly 20,000 visitors explored the booths of the participating galleries and enjoyed a parallel program that expanded the experience beyond the traditional exhibition format.

The Parallel Program: An Expanded Art Fair

The Parallel Program once again took center stage in the Art Madrid experience, activating the fair space through projects that explored new forms of interaction between artworks, artists, and the public.

Among the most notable initiatives was the performance series Open Infinite: What the Body Remembers, which presented a daily performative action at the fair featuring works by Colectivo La Burra Negra, Rocío Valdivieso, Amanda Gatti, and Jimena Tercero. The pieces incorporated the body as a critical device and a space of memory, reinforcing the presence of performance within Art Madrid’s programming.

The third edition of Open Booth presented Despiece. Protocolo de mutación, by Daniel Barrio, a site-specific project that transformed the booth into a landscape constructed from urban remnants and industrial materials. The installation invited visitors to physically engage with the work, creating an immersive experience within the exhibition space.

Meanwhile, Espacio Nebrija hosted the project Estancias transitorias (NotanIA SipedagogIE), a proposal by Nebrija University that reflected on Aesthetic Intelligence in the face of the growing dominance of algorithmic logic. The installation proposed a reclamation of gesture, materiality, and the time inherent to the creative process as dimensions that cannot be reduced to automation.

Lecturas. Curated Walkthroughs also returned, with itineraries designed by Zuriñe Lafón and Marisol Salanova that offered curatorial insights for exploring the fair from specific critical perspectives and expanding the visitor experience.

Patronage, Awards, and Acquisitions

Support for contemporary creation once again stood as one of the fair’s central pillars through the second edition of the Art Madrid Patronage Program, which recognizes the work of artists and strengthens the connections between galleries, collectors, and private entities.

On this occasion, the following awards were presented:

Cervezas Alhambra Emerging Artist Award Iyán Castaño, represented by Galería Arancha Osoro

One Shot Hotels Breakthrough Artist Award Joost Vandebrug, represented by KANT Gallery

In the Acquisition Awards category, several private collections incorporated works presented at the fair into their collections.

Studiolo Collection Roger Sanguino — DDR Art Gallery

Devesa Law Kim Han Ki — Banditrazos Gallery

E2IN2 Collection Albert Bonet — Inéditad Gallery

dn2 Collection Iván Baizán — Galería Arancha Osoro

These acquisitions reflect the private sector’s commitment to the development of contemporary art and contribute to advancing the professional trajectories of emerging and mid-career artists.

Collecting and Support for the Artistic Ecosystem

The promotion of collecting once again played a prominent role in this edition thanks to the One Shot Collectors program, which offered personalized advice to both new buyers and more experienced collectors, facilitating access to the contemporary art market and fostering direct relationships between artists, galleries, buyers, and collectors.

This program, together with the Patronage Program, continues to strengthen the professional ecosystem surrounding the fair and reinforce Art Madrid’s commitment to supporting contemporary creation.

Among the most notable sales were works by Antonio Ovejero, represented by CLC ARTE; Leticia Feduchi and Ángela Mena, represented by Galería Sigüenza; Idoia Cuesta and Iyán Castaño, represented by Galería Arancha Osoro; and Yasiel Elizagaray, represented by Nuno Sacramento Arte Contemporânea. Likewise, the proposals presented by Inéditad Gallery were very well received, with notable sales of works by artists Albert Bonet and Eduardo Urdiales, as well as Carmen Mansilla, who debuted at Art Madrid'26 and achieved a sold out.

The overall balance of the edition has been particularly positive, with sales reported by all 35 participating galleries, confirming the strong interest from collectors and the dynamism of the market throughout the fair. Among the galleries that recorded notable commercial activity are La Mercería (Valencia), LAVIO (Murcia–Shanghai), 3 Punts Galería (Barcelona), Galerie One (Paris), Shiras Galería (Valencia), Galería Rodrigo Juarranz (Aranda de Duero), Galería São Mamede (Lisbon), Yiri Arts (Taiwan), and Trema Arte Contemporânea (Lisbon), among others.

A Fair made possible thanks to Its network of Partners

The success of Art Madrid’26 has been made possible thanks to the support of its official sponsors: Cervezas Alhambra, One Shot Hotels, Liquitex, Universidad Nebrija, and Posca, as well as the trust of its collaborators: Asociación 9915, Colección Studiolo, E2IN2, Colección dn2, Devesa Law, Enviarte, Cova 13, and Vanille Bakery Lab & Café. The fair also benefits from the involvement of its media partners and the support of various cultural organizations, private collections, and institutions that contribute to strengthening the contemporary art ecosystem.

Art Madrid: A Future Full of Possibilities

After 21 years of history, Art Madrid continues to consolidate its position as a key event in the contemporary art calendar, both nationally and internationally. Its ability to bring together galleries, artists, collectors, and institutions reinforces its role as a space for encounter, exchange, and discovery. The fair maintains a steadily growing outlook, driven by a program that evolves each year and increasingly opens up to more innovative proposals.

Thank you for being part of the 21st edition of Art Madrid. Your support is essential for continuing to promote art and culture.