Within the last edition of the fair, Art Madrid carried out a collaborative action, on Tuesday 25th of February, with the arts & crafts public school Artediez, also joined by Liquitex, a benchmark brand in the manufacture of products for fine arts.

This project rmatches one of the fair's essential goals: to support young talent and encourage artistic creation from its inception. The profile of students at the school is varied since it provides training in photography, audiovisuals, illustration, industrial, fashion and graphic design, but all of them share the same concerns about artistic expression as well as the vital choice to make of it their profession. Artediez, moreover, makes efforts to support the work of its students with various exhibition proposals, contests or conducting travelling exhibitions, a work of visibility that undoubtedly pays off.

On this occasion, and within the framework of the fair and the activities program that we carry out every year, the collaboration with the school was divided into two actions, one of training and the other one of artistic creation, and in both, we had the contribution of Liquitex. The brand supported the proposal with materials and the organisation of a practical workshop, for students and the general public, on the use of acrylics and conservation of works of art taught by one of its artist ambassadors: Miguel Torrús. The objective was, on the one hand, to promote the creativity of young people by carrying out an exclusive artwork that was exhibited in the school itself and, on the other hand, to expand their knowledge and skills with this workshop, which Miguel conceived as practical training on technique and methodology to get the most out of the materials used while taking into account the conservation of the works and their long-term durability.

Liquitex is a brand of high-quality acrylics part of the Winsor & Newton group, manufacturer of fine art products since 1820. Liquitex characterises by the production of high-quality pigment paints, something that guarantees its durability, colour preservation and brightness and luminosity over time. Several artists specialised in this technique have joined forces with the brand to serve as ambassadors. This is the case of Miguel Torrús, a creator with more than 30 years of experience that has wide international recognition and works particularly with acrylics and watercolours. His work moves between expressionist figurative art and pure abstraction, and is part of important collections inside and outside Spain, in addition to having obtained countless awards and mentions. His collaboration with Liquitex is also based on his deep knowledge of each technique and his ability to fully exploit the capabilities of the materials. As he himself explains:

“my main function is to be able to teach both the professional artist, the student and the amateur painter the possibilities of the material, make them know all the possibilities of colour, of a medium, force them to leave their 'comfort zone' and that they know new pigments, new materials, new possibilities.”

The result was a very busy training session in which both students and the general public participated. During the workshop, everything learned was put into practice and tests were made with the materials, the different pigments and their characteristics on different supports.

But in addition to this training workshop, Artediez invited one of his students, the artist María Elvira Bárbara (@elvirambarbara), to carry out an intervention on the school premises using the materials provided by Liquitex. The chosen space was the glass pane of the main entrance, which allows the work to be seen in front and behind, as well as playing with the dimensions and the fixed elements of the structure onto the piece. Elvira Bárbara chose for the occasion bird motifs with which she invaded the glass surface with feathers and wings outlined in white, grey and black. A whole day of painting that resulted in a spectacular artwork to welcome students and visitors to the school.

Ana García Angulo, Head of the Artediez Promotion and Development Department, has been in charge of this collaboration with Art Madrid and has managed the actions from the school, showing enormous enthusiasm for the project from the beginning. Given the interest of the centre to expand the range of options of its teaching programs, in addition to enabling new experiences for its students, this proposal has been widely appreciated by all and enjoyed not only by students but by all teachers and visitors to the school.

From Art Madrid, we will continue working to support the education sector and foster creativity and young talent from the beginning, because those will be the artists of tomorrow.


Buying the first work of art always instils respect. A difficult feeling to define that mixes vertigo with adrenaline. But over uncertainty and caution, a pleasurable sense of connection, understanding, and desire prevails. That work that, once seen, stays in the mind, reappears in the memory several times a day and seems to tell you that it is willing to be part of your home, is the perfect candidate to make the decision.

In the first steps, many collectors do point out that one does not start from an established plan, but rather that one acquires pieces based on taste and the connection one feels with them until, after time, they realise that the volume of works that accumulates can be labelled as a "collection". For example, this is how Alicia Aza explains it:

“I was not aware that I was collecting until many years later when a third party named me as a collector and talked about my collection. In 2005, I became aware of what collecting means and decided to articulate a collection with an identity of criteria and formats”.

Marcos Martín Blanco, co-founder, with his wife Elena Rueda, of the MER Collection, shares this same opinion:

“Collecting has been a passion, driven by a visceral state that encourages you to do so. The collection, in terms of acquisitions, has not been particularly complicated because, let's face it: it is easy to buy because they are all beautiful things and you have some clear idea of where you want to go, but at first those preferences were not so clear. It is with the time that a criterion is being formed”.

It is not always this way, of course, but for the buyer who starts out on this path, the personal connection that entails the first piece is essential. There it is the germ of a lasting relationship that is not limited to a simple aesthetic question but is an open window to knowledge, to exploration, to a world that is often unknown to us and awakens our fascination. The seed of that connection is purely sentimental, and it is precisely this impulse that determines the first acquisitions. The first piece is never forgotten.

Art Madrid'20, photo by Ana Maqueda

Exceeding the usual recommendations made by advisers and agents, rare is the occasion when the art lover decides to buy by pure investment. These paths usually open later, when the volume of pieces is large enough. In addition, there are those who are a bit against this classic concept of the traditional collector, approached from an eccentric, elitist and little accessible vision. On the contrary, art buyers are, above all, art lovers, sentient beings and permeable to creative stimulus who, at a given moment, decide to deepen the relationship they already have with art to take a piece home.

It is not that hard to overcome that small psychological barrier that turns the visitor into a buyer if one approaches the matter from a more personal and intimate perspective than from social consideration. Small-format works, graphic work or serial photography are of great help for this, whose price range, generally more affordable, allows a closer comparison to the daily basis expenses. In this way, the purchase of art falls within the range of feasible activities and becomes something close and possible.

Art Madrid'20, photo by Marc Cisneros

At that moment, a different relationship with art begins, based on pure experience and coexistence with the acquired piece. Perhaps it can be seen as an act of daring, but on many occasions, it is more a matter of necessity and transformation. Collectors also agree that the acquisition of an artwork is an exercise on personal analysis and opening up to a new field of knowledge that was previously alien to us. Alicia Aza explains that the reason she acquired her first piece of video art, by Sergio Prego, is because she did not understand it and because she saw it as a challenge and an opportunity to self-improve. This open window to knowledge creates new connections and bonds with creators, as one of the most fascinating parts of the process. Candela Álvarez Soldevilla explains that

"I think the most interesting thing in the art world is talking to artists. They are people with a special sensitivity to listen and understand.”

And Alicia Aza also says:

"I can share the satisfaction of being able to count on many artists in my circle of close friends today, and that is a long way to go."

Thus, with works that seem acceptable within the horizon of expenses that each one considers affordable, it is easy to find a piece that catches us. Since then, our home also evolves into a space in which art has a permanent place and presence, and there is no doubt that this transforms us inside.

Art Madrid'20, photo by Henar Herguera

Jaime Sordo, owner of Los Bragales collection and founder of the 9915 Contemporary Art Collectors Association, has always defined his relationship with art as a true passion and a vital necessity. For buyers who start on this path, he has the following recommendation:

“It is an essential condition that they feel the need to live with their passion to enjoy the works. Another very important aspect is that before making decisions for purchases, they are informed, so it is necessary to read specialised newspapers and books, visit exhibitions and museums and a lot of contact with galleries, which is an important and very specific source of information of the artists they represent. Finally, the presence in national and international art fairs. All this generates information and training.”

Indeed, fairs have become a good place for discovery because they condense a wide offer and allow diverse and global contact in a concentrated way. For this reason, many new generation buyers start in the context of an event such as Art Madrid, whose closeness and quality constitute a unique opportunity to meet, soak up and feed the passion for art.

(*) quotes taken from various interviews published in public media between 2013 and 2019.