The impact of cinema was, since its invention, the prelude to a whole discipline that continues to this day in constant evolution. The strength of the image and the appeal of the visual narrative has come to displace in many schools of arts the interest for more traditional forms of artistic expression. The world of contemporary creation did not escape this trend, and cinema, already consecrated as such, has been opening the way to other experimental forms that use the moving image as the main language.

René Magritte, “The Son of Man”, 1964

Frame from the movie “The Thomas Crown Affair”, 1999

We continue today talking about the 7th art as an unmistakable label to designate the cinema, without knowing very well where the classification comes from and what are the other previous six arts. Although classifying-tradition goes back to the time of ancient Greece, cradle par excellence of an artistic and technical wealthiness, and which also has rich mythology-stories to cover explanations for all kinds on the deeds of humanity, at that time the categorisation of the arts was based on combining both intellectual and physical aspects, resulting in enumerations that today are difficult for us to understand. Afterwards, the Romans assimilated this same tradition. Cicero spoke of three orders of arts: "Major Arts": military policy and strategy; "Medium Arts": science, poetry and rhetoric, and "Minor Arts": painting, sculpture, music, performance and athletics.

Left: Frame from “Meet Joe Black”, 1998 / Right: Mark Rothko, “Blue, Orange, Red”, 1961 (image from ©wikiart)

After many changes over the centuries, the classification handled today was established by the Italian artist Ricciotto Canudo in his treatise "Manifesto of the seven arts", of 1911, where he fixes this order as follows: 1) architecture, 2 ) sculpture, 3) painting, 4) music 5) poetry/literature, 6) dance and 7) cinema, list that has recently been enlarged with new disciplines such as photography, comics, video games, costumes or theater.

Goya, “Saturn Devouring His Children”, 1819-1823 (image from ©wikimedia)

Frame from the movie “Wall Street: Money Never Sleeps”, 2010

Beyond classifications, perhaps the cinema contains the potential to be a totalising art. Its capacity to refer all the other disciplines, to self-refer as well, and to be a vehicle of expression to which many multidisciplinary artists resort at one moment or another allows numerous readings and re-readings of the works. The seduction of the image tempts everyone and offers endless possibilities to capture new audiences and play with the fantasy of fiction. At the same time, it contains an accessible language and is an excellent way to recreate what has never been seen, what is not known or what has never existed.

Kandinsky, designs for “Der Blaue Reiter” almanac, 1911 (image from ©sammlungonline.lenbachhaus.de)

Frame from the film “Double jeopardy”, 1999.

Within this path of "meta-art", we bring you some examples of films that refer to other pieces of art, not necessarily in films dedicated to the life of artists, as well as productions made by creators that ridicule the media impact of cinema itself. This is, for example, the type of work that characterises Banksy and his piece "Exit through the gift shop", a film of the genre "false documentary" that ironises about the artist's own work and has been able to generate curious spin-off beyond the work itself. So it has happened with Mr Brainwash, a sort of Banksy’s alter ego in the film, who has become an internationally renowned pop-contemporary artist.

We remind you that CaixaForum Madrid is projecting this piece within a cycle of "Art and Cinema", on Friday 29th at 7 pm.

ART MADRID’ 26: 21 YEARS OF CONTEMPORARY ART

Discover all the information about the artists and galleries participating in the 21st edition of Art Madrid. The catalog features a curated selection of the works presented in this edition, along with the most relevant details of the event, making it an essential tool for engaging with the fair’s key figures and exploring the defining elements of today’s art scene.

In 2026, Art Madrid celebrates its 21st edition, further establishing itself as a leading event within Spain’s cultural sector. From March 4 to 8, the Galería de Cristal of the Palacio de Cibeles will once again become a meeting point for galleries, collectors, artists, and contemporary art enthusiasts.

Over the past twenty-one years, the fair has evolved into a dynamic and ever-expanding platform, fostering diversity in artistic languages, techniques, and discourses. In this edition, the Galleries Program brings together around 35 exhibitors from more than seven countries, offering a representative overview of the most recent developments in contemporary creation.

The Art Madrid ’26 catalog serves as a key publication for discovering the work of this edition’s galleries and artists —marked by experimentation and a plurality of perspectives— while also documenting the conceptual axes that shape the fair. As part of the Parallel Program, INHABITING THE EPHEMERAL: A Reflection on the “Species” of Spaces proposes a reflection on space, relationships, and shared experience, expanding the understanding of the fair beyond its commercial dimension and highlighting its cultural and experiential significance.

In addition, the catalog presents the initiatives that complete the program, such as the Open Booth dedicated to emerging creation, the Nebrija Space in collaboration with Nebrija University, the Performance Series “Open Infinite. What the Body Remembers,” the One Shot Collectors Program, and the Patronage Program, reaffirming the fair’s commitment to supporting, mediating, and accompanying contemporary art at every stage.

We invite you to discover more about Art Madrid ’26 through the catalog of its 21st edition — a publication that, beyond serving as documentary memory, becomes a cartography of the present artistic moment and an open door to new ways of inhabiting contemporary art.