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

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.