For this new edition of Art Madrid'22 the video art platform PROYECTOR, once again under the curatorship of Mario Gutiérrez Cru, proposes a programme that revolves around the concept of loop. During the fair, the ARTMADRID-PROYECTOR'22 stand will allow us to enjoy a proposal by the pioneer of new media art Gary Hill together with a performance on 23 February at 8 pm. On 25 February, the pioneer of Spanish sound art Llorenç Barber will close the fair with a performance at 20:00h.

Pioneers" professional meeting

On the other hand, on Saturday 19 February in the Sala Auditorio El Águila at 12 noon there will be a professional round table organised by PROYECTOR on the concept of "loop" in video art, new media, festivals and media collecting.

We will have Gary Hill (usa), pioneer of new media art; Tom Van Vliet (hol), collector and director since 1982 of WWVF, one of the first video art festivals in the world; Sandra Lischi (ita) director of Ondavideo and INVIDEO, pioneering video art festivals since 1985; as well as the presentation and moderation of Tamara García (spa), specialist in the concept of the loop.

The meeting will be held in English, without translation, and can be watched both in person and virtually via streaming. A video with subtitles will be uploaded afterwards on the fair's channel.

Performance, Llorenç Barber

Screening of international curators

After the professional meeting in the morning, several of these experts will present a historical selection of video art. Tom Van Vliet (hol), collector and director since 1982 of WWVF, one of the first video art festivals worldwide, and Sandra Lischi (ita), director of Ondavideo and INVIDEO, pioneering video art festivals since 1985, will each present a 40-minute curatorial presentation of works from 1978 to 2003.

We will also have a presentation, this time online, by Irit Batsry, also a pioneer of video art and director of Loops.Lisboa and one of the components of the international project LOOPS.Expanded, which is an international network dedicated to exhibiting and investigating the concept and form of the Loop. With the aim of experimenting with decentralized video art / moving image exhibitions, symposiums, talks and masterclasses.

The network, founded in 2019, expands the original Loops.Lisboa initiative that started at the National Museum of Contemporary Art MNAC in Lisbon in 2015. The founders of LOOPS.Expanded are curators and organizations in the field of video art from five different countries: António da Câmara (Duplacena / Festival Temps d'Images, Lisbon - Portugal), Mario Gutiérrez Cru and Araceli López (PROYECTOR, Madrid - Spain); Sandra Lischi (Ondavideo, Milano - Italy); Tom Van Vliet (WWVF, Amsterdam - The Netherlands); Jaqueline Beltrame and Alisson Avila (collective Cine Esquema Novo (Porto Alegre - Brazil) and Irit Batsry and Alisson Avila (Loops. Lisboa / Festival Temps d'Images, Lisbon - Portugal).

Performance, Gary Hill

Also, to close a day dedicated to video art, the artist Lina Jiménez Nampaque will give a live performance at 19:30h in the same Sala El Águila.

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.