Art Madrid'25 – ART GALLERIES OF THE 21ST CENTURY

The turn of the millennium seemed one of the main milestones that would mark the future of many economic sectors. The horizon was encouraging and full of thrilling challenges. After the threshold of 2000, we all had to face a strong economic crisis in 2008, which had a decisive influence on numerous business models, and we are now immersed in the recovery from the greatest health crisis ever experienced worldwide over the last hundred years. Reality is like a blank canvas on which the brushstrokes of events are slowly drawn and professionals must make their way without a road map.

Performance at La Juan Gallery

The cultural field has shown in this time an enormous resilience and an unstoppable spirit of improvement that has led to a redesign of traditional models of understanding the dissemination of art, especially contemporary art, and the relationship with visitors and clients. The change plays on both sides of the coin: the galleries must adapt to the new circumstances that modernity imposes, but also the public itself has modified the way they approach these spaces. How to reach a hyperconnected society, eager for innovation and novelty? The situation is also boosted by unforeseen events of great impact and the urgent need to adapt to a future as uncertain as full of possibilities.

In the contemporary art realm, it must be especially taken into account that galleries play a critical role. The preservation of the new generation of artistic manifestations occurs on many occasions thanks to their work of support, promotion and professionalisation. The most consolidated, classic art is accessible in museums; while the new creations lack their particular space to confirm their value and disseminate the works. This is where the agents of the contemporary art professional fabric play a determining role, starting with the galleries, without whose support the artists could not survive.

At the same time, consumption habits change, giving rise to permanent connectivity with the exterior, which eliminates the physical barriers and traditional obstacles associated with space and time. The opportunity to enjoy content remotely and to do it from the privacy of our homes is a defining condition of today's society. And to this trend, neither galleries nor artists can stay aside. One of the first consequences of this transformation is the generation of a huge volume of digital content that new galleries offer to complete the experience of getting to know the artists they promote. What's more, some of the younger galleries decide to enter the market without a venue and turn the web into their visibility platform. Although this is an upward trend, given the costs associated with traditional models in which having an exhibition space was essential, when we talk about art it is difficult to completely suppress the real experience and the desire of the visitor to see the work live.

So what do galleries make to satisfy this need? One of the ways to do it, and which has experienced true hatching in these past months given the situation of confinement we passed through, is the production of a wide content that amplifies the information provided about the artist and his work or that incorporates testimonials, opinions or contributions made by professionals in the sector. In addition, on many occasions, art lovers feel an unstoppable curiosity to know the details of the creation processes, understand the author's objectives, know his/her projects... which gives rise to exploit all the information associated with the artist's work and to show it in an attractive, accessible way. In relation to the latter, the combination of presentation formats that go beyond the static nature of the online artworks catalogues is also decisive. It is essential to try to humanise to the maximum the potential that the Internet holds, and to do so, one has to adapt to the tastes of the consumer and the content that it demands.

View of AP Gallery

Precisely for this reason, a strong commitment of the most leading galleries is to offer web platforms that largely emulate the clean and diaphanous aspect of an exhibition room, and that enrich its offer with the incorporation of explanatory videos, contributions from curators, testimonials from the artists themselves, virtual visits, online conversations and a long etcetera. One of the great innovations that have put many’s ingenuity to the test is the exploitation of communication skills through social networks and new interactive platforms for group conversations. The past months have been a challenge for the sector, which has managed to launch some of the most creative initiatives to maintain interest in art and promote online commerce.

But we must not forget the galleries that decide to keep a space open to the public, although adapted to the new times. Some of them choose to transform the traditional showroom into a meeting place where things happen. Creating a parallel program of activities linked to the current exhibition expands the visitor's experience and makes the venue a point of reference for live and changing art. In addition, others decide to open up to new fields of exploration capable of creating art constantly and not just being an exhibition space. For this reason, some galleries are actually idea labs and artist residencies that take advantage of their premises and location to carry out projects to which the public is invited.

Montana Gallery

Another line of work that modern galleries opt-in for is specialisation. The possibility of defining itself by hosting more outsider projects or disciplines that until recently were not yet established or recognised by agents in the sector. This option is also the way to make their way in a differential manner and decisively help to spread the art of new creation before it is even consolidated. A path of pioneers that little by little the most seasoned galleries dare.

In short, a sector in which the famous line “renew oneself or die” makes more sense than ever and which many galleries face with commitment, perseverance and determination.

 

From July 7 to 9, 2025, the Balsera Palace will host the First Course on Collecting and Contemporary Art, an intensive 15-hour program that will explore the complex and fundamental question of taste in contemporary art. Organized by the Nebrija Institute of Arts and Humanities at Nebrija University and the Avilés City Council, in collaboration with 9915 — Association of Private Collectors of Contemporary Art and the Institute of Contemporary Art, the course offers a unique opportunity for analysis and debate on the dynamics that shape aesthetic and symbolic value in today’s art scene.


First Course on Collecting and Contemporary Art. Avilés, Asturias


The notion of taste, intrinsically tied to aesthetic judgments and power relations, has played a decisive role in the historical prominence of artists and artworks. However, contemporary art—marked by its breaking of conventions, diversity of media and techniques, and critical stance toward traditional canons—raises fundamental questions about the continued relevance of this concept.

This course will explore how the decisions made by key players in the art system—institutions, private collections, galleries, curators, and artists—continually redefine a field of taste shaped by aesthetic, symbolic, cultural, social, and political logics.


"¿But does it exist, and what is the prevailing taste of our time—so seemingly confused, fragmented, indecipherable?" - Omar Calabrese, The Neo-Baroque Era.


The academic program, directed by José Luis Guijarro Alonso, Director of the Master’s in Art Market and Related Business Management at Nebrija University, and Pablo Álvarez de Toledo, Head of the Department of Arts at Nebrija University and the Nebrija Institute of Arts and Humanities, will bring together a distinguished group of national experts—including collectors, critics, curators, gallery owners, and artists—whose contributions will address key issues in shaping aesthetic, symbolic, and market value in today’s art world.


PROGRAM

MONDAY, JULY 7

9:30 AM Registration.

10:00 AM Course Opening Nebrija University Avilés City Council Presented by Rosario López Meras – President of the Association of Contemporary Art Collectors, 9915, and Adrián Piera – President of the ICA, Institute of Contemporary Art.

10:30 AM Course Presentation By José Luis Guijarro Alonso – Art Historian and Anthropologist, Researcher, and Director of the Master’s in Art Market and Related Business Management at Nebrija University.

11:00 AM Coffee Break.

11:30 AM Panel Discussion The Taste of Private Collecting as a Prelude to History. Speakers: Candela Álvarez Soldevilla – Entrepreneur and Collector; Javier Quilis – INELCOM Collection; José Miguel Vegas Valle – Collector. Moderator: Luis Feás – Critic and Curator.

1:00 PM Lunch Break.

3:30 PM Individual Lecture On Good Taste in Contemporary Art. Speaker: Marisol Salanova – Curator and Art Critic, Director of Arteinformado.

4:45 PM Panel Discussion The Influence of Galleries in Shaping Contemporary Taste. Speakers: Elba Benítez – Gallerist; Ricardo Pernas – Gallerist (Arniches 26); Aurora Vigil-Escalera – Gallerist. Moderator: Rafael Martín – Coleccion@casamer.

6:00 PM End of Day.

6:30 PM Activity and Cocktail Visit to the Exhibition Asturian Artists in the Pérez Simón Collection – Avilés.

TUESDAY, JULY 8

10:00 AM Individual Lecture Contemporary (Bad) Taste: Kitsch, Camp, and Tacky. Speaker: Julio Pérez Manzanares – Autonomous University of Madrid.

11:00 AM Coffee Break.

11:30 AM Panel Discussion Institutions and the Formation of Contemporary Taste. Speakers: Virginia López – Artist, Founder of PACA_Proyectos Artísticos Casa Antonino; Julieta de Haro – Artistic Director of CentroCentro; Carlos Urroz – Director of Institutional Relations, Museo Nacional Centro de Arte Reina Sofía. Moderator: Laura Gutiérrez – Director, School of Art of Oviedo.

1:00 PM Lunch Break.

3:30 PM Panel Discussion Beyond the Eye: The Taste for Ethical, Ecological, Social, or Political Concerns in Contemporary Art. Speakers: Semíramis González – Independent Curator; Eugenio Ampudia – Artist; Claudia Rodríguez-Ponga – Independent Curator. Moderator: Bárbara Mur Borrás – PhD in Fine Arts.

5:00 PM End of Day.

5:30 PM Activity Visit to the Studiolo Exhibition – Candela Álvarez Soldevilla Collection.

WEDNESDAY, JULY 9

9:30 AM Meeting with Asturian Artists Speakers: María Castellanos – Artist; Avelino Sala – Artist; Consuelo Vallina – Artist. Moderator: Pablo Álvarez de Toledo – Nebrija University.

11:00 AM Activity Visit to the Niemeyer Center – Avilés.

Course Closing Ceremony.





This course is designed for art professionals, collectors, researchers, and students seeking an in-depth analysis of the dynamics that shape taste and collecting practices in contemporary art. Adopting a critical and multidisciplinary perspective, it provides a unique opportunity to rigorously examine the aesthetic, symbolic, and structural factors that underpin the legitimization of contemporary art.