Art Madrid'24 returns to the art scene to celebrate its nineteenth edition. From March 6th to 10th, 2024, the Galería de Cristal of the Palacio de Cibeles will become the epicentre where the most innovative and current artistic trends from both national and international scenes will converge.

To celebrate its 19th edition, Art Madrid presents its General Gallery Program as well as exciting news about the Parallel Programme. Both initiatives aim to enrich the presence of an event that has already surpassed its satellite season, establishing itself in each edition as a reference point on the agenda of both the general and specialized public.

Photo by Coke Riera

Thirty-six national and international galleries are represented in the General Gallery Programme of Art Madrid'24. The proposals, characterized by experimentation and the plurality of aesthetic discourses, will transform the space into an open window to the most cutting-edge artistic trends.

The participating galleries will offer the opportunity to see the production developed by their artists over the past year— a period dedicated to research and experimentation with new aesthetic codes. Throughout the fair, visitors will be able to see how their creative results are redefining the cultural landscape and positioning themselves within the ever-turning wheel of the contemporary art market.

Spanish galleries: a view of the national creation

Twenty-five Spanish galleries will participate in this new edition, two of them for the first time. Continuity and novelty intertwine to show the richness of the Spanish artistic landscape.

CLC ARTE (Valencia) and La Mercería (Valencia) are making their debut as participants in this new edition. Returning to Art Madrid'24 are: 3 Punts (Barcelona), Alba Cabrera (Valencia), Arancha Osoro (Oviedo), Arma Gallery (Madrid), Aurora Vigil-Escalera (Gijón), BAT Alberto Cornejo (Madrid), Bea Villamarín (Gijón), DDR (Madrid), Dr. Robot (Valencia), Espiral (Noja), Flecha (Madrid), Hispánica Contemporánea (Madrid/CDMX), Inéditad Gallery (Barcelona), Kur Art Gallery (San Sebastián), La Aurora (Murcia), Luisa Pita (Santiago de Compostela), Metro (Santiago de Compostela), MoretArt (A Coruña), OOA Gallery (Sitges/London), Pigment Gallery (Barcelona/Paris), Rodrigo Juarranz (Aranda de Duero), Shiras Galería (Valencia), and Uxval Gochez (Barcelona).

Photo by Ricardo Perucha

International Galleries: an expanding dialogue

The cultural dialogue will be present with the participation of eleven prominent international galleries. Five of them join the fair for the first time, enriching the experience with new proposals and perspectives. The galleries that continue to support Art Madrid'24 are: Collage Habana (La Habana, Cuba), Galleria Stefano Forni (Bologna, Italy), Nuno Sacramento Arte Contemporânea (Ílhavo, Portugal), Sâo Mamede (Lisbon, Portugal), Trema Arte Contemporânea (Lisbon, Portugal), and Yiri Arts (Taipei, Taiwan).

The new galleries: Banditrazos Gallery (Seoul, South Korea), Galerie One (Strasbourg, France), Gallery Tableau (Seoul, South Korea), Kleur Gallery (Santiago de Chile, Chile), and Loo & Lou Gallery (Paris, France), will bring a fresh and diverse perspective to Art Madrid as an international meeting point.

Photo by Paola Becerra, courtesy of TOO MANY FLASH

The Parallel Programme of Art Madrid'24 will feature a wide range of activities and initiatives that will take place in the lead-up to the event and during the days of the 19th editionof the fair in its usual location at the Galería de Cristal of the Palacio de Cibeles. During its 19th edition, Art Madrid renews its commitment to the cultural ecosystem. Aware of its transcendence as a reference event within the sector, it offers an edition tailored to new artistic languages and committed to society, all practices in which the creative spirit of its organization is recognized.

Art Madrid'24 returns with the vitality of its first editions, accompanying growing art and structuring an open and transversal fair proposal that highlights the most relevant issues of our context.

Photo by Florencia, courtesy of TOO MANY FLASH

ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. CICLO DE PERFORMANCE X ART MADRID'26

Art Madrid, committed to creating a discursive platform for artists working within the field of performance and action art, presents Abierto Infinito: lo que el cuerpo recuerda, a proposal inspired by Erving Goffman’s ideas in The Presentation of Self in Everyday Life (Amorrortu Editores, Buenos Aires, 1997).

The project unfolds within a theoretical framework that directly engages with these premises, conceiving social interaction as a stage of carefully modulated performances designed to influence others’ perceptions. Goffman argues that individuals deploy both verbal and involuntary expressions to guide the interpretation of their behavior, sustaining roles and façades that define the situation for those who observe.

The body — the first territory of all representation — precedes both word and learned gesture. Human experience, conscious and unconscious alike, is inscribed within it. Abierto Infinito: lo que el cuerpo recuerda departs from this premise: representation inhabits existence itself, and life, understood as a succession of representations, transforms the body into a space of constant negotiation over who we are. In this passage, boundaries blur; the individual opens toward the collective, and the ephemeral acquires symbolic dimension. By inhabiting this interstice, performance simultaneously reveals the fragility of identity and the strength that emerges from encounter with others.

PERFORMANCE: TRAYECTORIA. BY AMANDA GATTI

March 6 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.

Amanda Gatti. Escaparate. 2023. DT-Espacio. Photograph by Pedro Mendes.

The proposal expands Amanda Gatti’s research initiated in La Plasti Ciudad del Cuerpo — an ongoing series of performance and installation presented since 2023 in spaces such as Fundación Antonio Pérez, Galería Nueva, CRUCE, and the Acción Spring(t)/UCM Congress — where she explores the relationship between her body and objects found in urban space. There, body and materials are articulated through a constant negotiation between functionality, weight, and support, generating temporary architectural compositions.

In Trayectoria, this research shifts toward the act of dragging: a gesture that makes visible the friction between body, objects, and space. The corridor ceases to be a neutrality to be crossed and becomes an operative intermediate zone, where form and content — veil and what is veiled, as Walter Benjamin points out — become confused. The space, saturated with objects turned into a mobile chain, clears and remakes itself with each step. Clearing, for Benjamin, is already an experience of space: each advance sustains this unfinished separation, always oriented toward a destination that may never be reached.

La Plasti Ciudad del Cuerpo #3. Amanda Gatti. Performance documentation. CRUCE 2054 exhibition, Galería CRUCE. Photograph by Pedro Mendes.

Displacement is not limited to material friction: it also becomes a symbolic inscription of that which every life trajectory drags along. The objects — remnants of past uses — function as metaphors for what remains attached to the body even when it no longer serves any function. The performance makes visible the condition of moving forward while carrying heterogeneous weights: material, affective, social. Thus, the gesture of walking linked to these objects turns the route into a writing in motion, where each step simultaneously activates a physical transit and a vital transit. Trayectoria proposes that every life is also a dragging: a continuous recomposing from what we insist on carrying with us.

The action operates objects as verbs: to push, to tense, to trip, to pull. From it emerges an operativity that involves the entire body and exceeds the visual. The image ceases to be representation and becomes gesture: a gesture that founds new spatial forms, that overflows, that produces an ephemeral mode of reappropriation of the corridor.

The trajectory thus becomes an affective map inscribed in the body, a way of merging with the environment by putting past and future, durability and wear, utility and obsolescence into friction. The action returns to public space what was taken from it, but now stripped of function: freed from meaning, freed from commodification, freed to be imagined otherwise.

ABOUT AMANDA GATTI

Amanda Gatti (1996, Porto Alegre, Brazil) is an artist and researcher whose practice unfolds across performance, video, photography, and installation. She explores the intersections of body, object, and space, investigating how we occupy — and are occupied by — the spaces around us. Drawing from experiences of displacement and the observation of domestic and urban environments, her work conceives the body as mediator and archive, transforming found objects, spatial arrangements, and everyday gestures into ephemeral architectures and relational situations.

She studied the Master’s in Scenic Practice and Visual Culture at Museo Reina Sofía/UCLM (Spain, 2023) and the Bachelor’s degree in Audiovisual Production at PUCRS (Brazil, 2018), where she received scholarships such as the Santander Universities grant. In Spain, her work has been presented in institutions and contexts such as Museo Reina Sofía, Fundación Antonio Pérez, Galería Nueva, CRUCE, and Teatro Pradillo, as well as in exhibitions and festivals in Brazil, Germany, Ireland, the United Kingdom, and the United States. She currently resides in Madrid, with secondary bases in Brazil and the United Kingdom.