Art Madrid’20 turns this edition into a celebration of the latest and more dynamic contemporary art. On the occasion of the 15th anniversary, we have prepared an intense program of activities program of activities since February 12th and that extends during the five days of the fair. In collaboration with the video art platform PROYECTOR and under the curatorship of its director Mario Gutiérrez Cru, the program also has the MediaLab Prado and Sala Alcalá 31 spaces.

As a newness and on the occasion of this very festive edition, Art Madrid will have this year its own stand dedicated exclusively to video-creation, action art and performance. An immersive experience in the most complete artistic paradigm.

The program of activities will begin next February 12th in Medialab Prado with the masterclass (from 17:30 to 20:30) of Patxi Araújo under the title of All Prophets are Wrong. The artist will share his creative experience, the paths explored in communication and his production process incorporating technology without losing the burden of speech.Then as an opening the interactive work of Patxi, Sherezade will be projected on the facade of MediaLab Prado. This work proposes a game with the public through the random generation of sentences and phrases according to the position of the spectator in the front square of the facade.

During the next two days, the master classes of Olga Diego will be held in this space with El vuelo como materia viva and Lois Patiño with Tiempo e imagen. Olga Diego stages a practical, unique and exclusive meeting for the public: work on the construction of the concepts of Flight, Art and Action through the installation that will be part of his performance at the fair. An intimate experience between the artist, creation and the audience.

To close this cycle of masterclasses Lois Patiño proposes an approach to video art and feature film through his work and the treatment that is made of these universals, reflecting on time, image and contemplative experience.

Olga Diego, "The bubble woman show". Photo: Carolina Diego

For its part, the auditorium of Sala Alcalá 31, will host on Thursday 20th the meeting with professionals De la imagen fija al New Media . They will discuss the evolution of the image in contemporary culture and the impact it currently has for the creators and the society that enjoys and consumes it. The experts will make a tour of the still image, the video art or moving image and its multiple visions until reaching the new media. Rafael Doctor, historian, independent curator and cultural manager, critic and curator Karin Ohlenschläger, today director of activities of Laboral Centro de Arte y Industrial Creación, and Berta Sichel, cultural agent and curator who today directs Bureauphi Art Agency, all moderated by Miguel Álvarez-Fernández.

Finally, in this cycle of previous activities, Art Madrid organizes on Saturday, February 22nd, a visit to the artist Eduardo Balanza's workshop, in which we will have the opportunity to know his creative space and approach one of his last pieces “B71”, which combines sound and technology with an impressive result. B71 organ is an instrument that works activated by vibrating speakers on plates capable of connecting to meteorological data websites, works in manual and automatic mode, generating its own sounds. The visit will also end with performance in petit committee.

Eduardo Balanza, "B71"

Art Madrid wants to accommodate less visible artistic disciplines that, however, house some of the most groundbreaking and contemporary languages. An own stand inside the fair, from February 26th to March 1st, will be dedicated to moving image and contact with more ephemeral manifestations such as installation or performance.

Every day at the fair, we will enter the video art thanks to the screenings of a selection of award-winning pieces and finalists from the main international festivals dedicated to the moving images. Mario Gutiérrez Cru presents an international tour of Argentina, Colombia, France, Greece, Mexico, the Netherlands, Morocco, Peru and Portugal.

Among its goals, this programming is to promote dialogue and understanding of the new working methods that the authors follow in the field of video creation and the action art. For this, every afternoon at 5:00 p.m. we will attend the presentation and meeting with an outstanding artist from the field of video creation: Abelardo Gil-Fournier, Fernando Baena, Mario Santamaría y Maia Navas will star in this space where he will introduce his work and then proceed to the visualization of a selection of his most recent work on the screen.

To end this art festival, we will have an exclusive experience every evening at 8:00 p.m: live audiovisual performances by artists with great international recognition. Iván Puñal, Olga de Diego, Eunice Artur con Bruno Gonçalves y Arturo Moya con Ruth Abellán.

The circle as critical device and the marker as contemporary catalyst

POSCA, the Japanese brand of water-based paint markers, has established itself since the 1980s as a central instrument within contemporary artistic practices associated with urban art, illustration, graphic design, and interdisciplinary experimentation. Its opaque, highly pigmented, fast-drying formula—compatible with surfaces as diverse as paper, wood, metal, glass, and textiles—has enabled a technical expansion that extends beyond the traditional studio, engaging public space, objects, and installation practices alike.

In this context, POSCA operates as more than a working tool; it functions as a material infrastructure for contemporary creation. It is a technical device that enables immediacy of gesture without sacrificing chromatic density or formal precision. Its versatility has contributed to the democratization of languages historically associated with painting, fostering a more horizontal circulation between professional and amateur practices.

This expanded dimension of the medium finds a particularly compelling conceptual framework in The Rolling Collection, a traveling exhibition curated by ADDA Gallery. The project proposes a collective investigation of the circular format, understood not merely as a formal container but as a symbolic structure and a field of spatial tension.

Historically, the circle has operated as a figure of totality, continuity, and return. Within the framework of The Rolling Collection, the circular format shifts away from its classical symbolic charge toward an experimental dimension, becoming a support that challenges the hegemonic rectangular frontality of the Western pictorial tradition. The absence of angles demands a reconsideration of composition, balance, and directional flow.

Rather than functioning as a simple formal constraint, this condition generates a specific economy of visual decisions. The curved edge intensifies the relationship between center and periphery, dissolves internal hierarchies, and activates both centrifugal and centripetal dynamics. The resulting body of work interrogates the very processes through which images are constructed.

Following its 2025 tour through Barcelona, Ibiza, Paris, London, and Tokyo, a selection of the exhibition is presented at Art Madrid, reinforcing its international scope and its adaptability to diverse cultural contexts. The proposal for Art Madrid’26 brings together artists whose practices unfold at the intersection of urban art, contemporary illustration, and hybrid methodologies: Honet, Yu Maeda, Nicolas Villamizar, Fafi, Yoshi, and Cachetejack.

While their visual languages vary—ranging from graphic and narrative approaches to chromatic explorations charged with gestural intensity—the curatorial framework establishes a shared axis: a free, experimental, and distinctly color-driven attitude. In this sense, color functions as a conceptual structure that articulates the works while simultaneously connecting them to the specific materiality of POSCA.

The marker’s inherent chromatic vibrancy engages in dialogue with the formal assertiveness of the circle, generating surfaces in which saturation and contrast take center stage. The tool thus becomes embedded within the exhibition discourse, operating as a coherent extension of the participating artists’ aesthetic vocabularies.

One of the project’s most significant dimensions is the active incorporation of the public. Within the exhibition space—activated by POSCA during Art Madrid’26—visitors will be invited to intervene on circular supports installed on the wall using POSCA markers, thereby symbolically integrating themselves into The Rolling Collection during its presentation in Madrid.

This strategy introduces a relational dimension that destabilizes the notion of the closed artwork. Authorship becomes decentralized, and the exhibition space transforms into a dynamic surface for the accumulation of gestures. From a theoretical standpoint, the project may be understood as aligning with participatory practices that, without compromising formal coherence, open the artistic dispositif to contingency and multiplicity.

The selection of POSCA as the instrument for this collective intervention is deliberate. Its ease of use, line control, and compatibility with multiple surfaces ensure an accessible experience without diminishing the visual potency of the outcome. In this way, the marker operates as a mediator between professional practice and spontaneous experimentation, dissolving technical hierarchies.

The title itself, The Rolling Collection, suggests a collection in motion—unfixed to a single space or definitive configuration. Its itinerant nature, combined with the incorporation of local interventions, transforms the project into an organism in continuous evolution. Within this framework, POSCA positions itself as a material catalyst for a transnational creative community. Long associated with urban scenes and emerging practices, the brand reinforces its identity as an ally of open, experimental, and collaborative processes.

POSCA x The Rolling Collection should not be understood merely as a collaboration between a company and a curatorial initiative; rather, it constitutes a strategic convergence of tool, discourse, and community. The project proposes a reflection on format, the global circulation of contemporary art, and the expansion of authorship, while POSCA provides the technical infrastructure that makes both individual works and collective experience possible.