Liquitex, market leader in acrylic paint, will once again participate in this new edition of Art Madrid as a collaborator through a very special project: #SomosKanva. Art and solidarity come together in a broad and admirable project led by (Kanva), International aid network through artistic creation; together with Shanga India, non-profit organization for schooling children from poor families in India; and Un Plato de Comida, a non-profit organization whose purpose is to provide the necessary meals at the "María Soliña" School (India).

The three organizations, together with Liquitex and Art Madrid as collaborators, offer you the possibility of contributing to a project aiming to improve the vital needs and education of children living a poverty situation, marginality or abandonment in India. Although Liquitex has collaborated in the #Somoskanva project from the beginning, donating painting materials for (Kanva), in their visit to India, especially in actions at the Uma Sankar School "María Soliña", giving them the possibility to paint murals and organizing art workshops with children -this uplifting experience was recorded in a brief documentary. Now, Liquitex joins forces with Art Madrid in a new project in which we propose a charity challenge. If you are an artist and you want to help this immense and necessary workforce, we encourage you to support the project in the best way you can: through your art.

The first step of the challenge is selecting or creating a work for the project; in the second, (4th of February-10th of March), you would publish your work with the hashtags #Somoskanva and #Liquitex, this way sharing the project with your followers. This work of art will be a part of the following exhibition (18th of March-18th of April) presented in Art Madrid's online art gallery, the Art Madrid market, where the work will be sold (under contract with the artist). Before, a team of specialists from Art of Madrid will carry out a selection process (11-17 March) of the participating works, choosing a total fifteen works that will form the online exhibition in the Art Madrid market. All 100% of the proceeds from the sale will be given to the NGO Un Plato de comida. In addition, Liquitex will select one of these fifteen works and will reward its author with 500 euros in supplies.

Liquitex, that has been innovating in the acrylic paint industry since 1955, for instance, inventing the first water-based acrylic paint, currently offers a range of intense and vibrant acrylic paints in all formats (thick and thin bodied paint, inks, markers and sprays), acrylic medium and various accessories. In addition, their products have the particularity that they can be mixed perfectly so that the palette of any artist will not encounter any experimentation limits. Thus, Liquitex offers infinite possibilities of expression in one of the cornerstones of creation, colour, something that has undoubtedly made the brand a great reference for contemporary creators.

Artists often as committed as the creators of (Kanva): Desi Civera, Nicolás Chiaravalloti and Rodrigo Molinero, who since 2018 have been working in this social and artistic action bringing the most disadvantaged children closer to art. An aspiration that they share with the organization Un Plato de Comida, founded by Antonio Valiente in 2011 to provide the children of rural Orissa the meals they need at the Uma Sankar School "María Soliña" (Pubai, Orissa, India) a school that offers free basic education and also takes in homeless children non-profit. Likewise, the organization founded by María (Neneta) Herrero, Shanga India, which their main goal since 2004 is educating children from humble families.

National and international artists such as Carla Fuentes, Thomas Cian, Anwei and Julio Linares, have united with this cause, creating and donating works that were later presented in a charity exhibition that raised 6,000 euros, entirely allocated to these NGOs. What about you, do you want to be a part of #SomosKanva?

Daniel Barrio. Guest artist of the third edition of OPEN BOOTH. Courtesy of the artist.

DESPIECE. PROTOCOLO DE MUTACIÓN

As part of the Art Madrid’26 Parallel Program, we present the third edition of Open Booth, a space conceived as a platform for artistic creation and contemporary experimentation. The initiative focuses on artists who do not yet have representation within the gallery circuit, offering a high-visibility professional context in which new voices can develop their practice, explore forms of engagement with audiences, and consolidate their presence within the current art scene. On this occasion, the project features artist Daniel Barrio (Cuba, 1988), who presents the site-specific work Despiece. Protocolo de mutación.

Daniel Barrio’s practice focuses on painting as a space for experimentation, from which he explores the commodification of social life and the tyranny of media approval. He works with images drawn from the press and other media, intervening in them pictorially to disrupt their original meaning. Through this process, the artist opens up new readings and questions how meaning is produced, approaching painting as a space of realization, therapy, and catharsis.

Despiece. Protocolo de mutación is built from urban remnants, industrial materials, and fragments of history, inviting us to reflect on which memories we inherit, which we consume, and which ones we are capable of creating. Floors, walls, and volumes come together to form a landscape under tension, where the sacred coexists with the everyday, and where cracks matter more than perfection.

The constant evolution of art calls for ongoing exchange between artists, institutions, and audiences. In its 21st edition, Art Madrid reaffirms its commitment to acting as a catalyst for this dialogue, expanding the traditional boundaries of the art fair context and opening up new possibilities of visibility for emerging practices.

Despiece. Protocolo de mutación emerges from a critical and affective impulse to dismantle, examine, and reassemble what shapes us culturally and personally. The work is conceived as an inseparable whole: an inner landscape that operates as a device of suspicion, where floors, walls, and volumes configure an ecosystem of remnants. It proposes a reading of history not as a linear continuity, but as a system of forces in permanent friction, articulating space as an altered archive—a surface that presents itself as definitive while remaining in constant transformation.

The work takes shape as a landscape constructed from urban waste, where floors, walls, and objects form a unified body made of lime mortar, PVC from theatrical signage, industrial foam, and offering wax. At the core of the project is an L-shaped structure measuring 5 × 3 meters, which reinterprets the fresco technique on reclaimed industrial supports. The mortar is applied wet over continuous working days, without a pursuit of perfection, allowing the material to reveal its own character. Orbiting this structure are architectural fragments: foam blocks that simulate concrete, a 3D-printed and distorted Belvedere torso, and a wax sculptural element embedded with sandpaper used by anonymous workers and artists, preserving the labor of those other bodies.

A white wax sculptural element functions within the installation as a point of sensory concentration that challenges the gaze. Inside it converge the accumulated faith of offering candles and the industrial residues of the studio, recalling that purity and devotion coexist with the materiality of everyday life. The viewer’s experience thus moves beyond the visual: bending down, smelling, and approaching its vulnerability transforms perception into an intimate, embodied act. Embedded within its density are sanding blocks used by artists, artisans, and laborers, recovered from other contexts, where the sandpaper operates as a trace of the effort of other bodies, following a protocol of registration with no autobiographical intent.

Despiece. Protocolo de mutación addresses us directly, asking: which memory do we value—the one we consume, or the one we construct with rigor? The audience leaves behind a purely contemplative position to become part of the system, as the effort of moving matter, documentary rigor, and immersive materiality form a body of resistance against a mediated reality. The project thus takes shape as an inner landscape, where floor, surface, and volume articulate an anatomy of residues. Adulteration operates as an analytical methodology applied to the layers of urban reality, intervening in history through theatrical and street advertising, architectural remnants, and administrative protocols, proposing that art can restore the capacity to build one’s own memory, even if inevitably fragmented.

ABOUT THE ARTIST

DANIEL BARRIO (1988, Cuba)

Daniel Barrio (Cienfuegos, Cuba, 1988) is a visual artist whose practice articulates space through painting, understanding the environment as an altered archive open to critical intervention. He studied at the Academy of Fine Arts of Cienfuegos (2004–2008), specializing in painting, and later at the Madrid Film School (ECAM, 2012–2015), where he studied Art Direction. His methodology integrates visual thinking with scenographic narrative.

His trajectory includes solo exhibitions such as La levedad en lo cotidiano (Galería María Porto, Madrid, 2023), Interiores ajenos (PlusArtis, Madrid, 2022), and Tribud (Navel Art, Madrid, 2019), as well as significant group exhibitions including Space is the Landscape (Estudio Show, Madrid, 2024), Winterlinch (Espacio Valverde Gallery, Madrid, 2024), Hiberia (Galería María Porto, Lisbon, 2023), and the traveling exhibition of the La Rioja Young Art Exhibition (2022).

A member of the Resiliencia Collective, his work does not pursue the production of objects but rather the articulation of pictorial devices that generate protocols of resistance against the flow of disposable images. In a context saturated with immediate data, his practice produces traces and archives what must endure, questioning not the meaning of the work itself but the memory the viewer constructs through interaction—thus reclaiming sovereignty over the gaze and inhabiting ruins as a method for understanding the present.