Arte a un Click is a magazine, a platform for contemporary art and a catalyst for culture. It is also a fantastic team of committed professionals and for Art Madrid'18 it is a luxury to collaborate with them.

Arte a un click

Its main objective, as a communication platform of contemporary art, is to bring art to the general public, but, at the same time, they offer personalized and professional services for art fairs, artists, galleries and art centers.

Arte a un click

Arte a un Click activity focuses on fairs, festivals and exhibitions, although the web offers a wide variety of content. Interviews with gallerists, emerging and consecrated artists, directors of projects, combine with exhibition reviews, agenda... Always from a professional perspective marked by the search for understanding, approach and passion for art. José Luis Calleja Isla, deputy director of the space, explains that: "we want that the contents we offer reach the public in a fresh and sincere way, because our contents are not only curated but collected with art in mind and, above all, with the creators, authentic protagonists of our space."

Attentive to fairs and festivals, centers of sponsorship, exhibition and knowledge of all the novelties in the art of the moment and aware of the need for the collector and, therefore, the sale as a plausible and desirable option, another of their business branches it is the organization of exhibition projects for those fairs, such as those developed for Jäälphoto, ArtNitCampos, Room Art Fair, MARTE, Art & Breakfast, Art Photo Bcn and Cultur3 Club.

Obra de Irene Cruz

In 2017 its services have increased and they have specialized in online content, more adapted to the audience of the digital world. "The diffusion in social networks is nowadays a great challenge, the changes are vertiginous and continuous, and we can not pretend that the creator, the gallery owner or the curator is dedicated to follow those changes. For example, before twitter was a network that generated a huge movement, now, if you do not have a target audience very, very focused on what you offer, the scope is scarce. Facebook is still the most important network, although it may seem that Instagram is now the most influential network, we must bear in mind that these are different audiences. While the first one searches more personalized content, the second is aimed primarily at the younger generations. It is therefore necessary to define very well the market niche and decide which platform works best. Everything is tremendously fast, that is why it is so important that our networks are composed by a stable and faithful public that allows us to get quality content," explains Mercedes Palaín, responsible for RRSS in Arte a un Click.

"The starting point to establish a work strategy for a specific client is the detailed study of what he wants to offer to the public, it is not the same to promote an emerging artist in networks than to support the work of a gallery that has been open for years. We need to study in detail what he has done to spread his space or his work in order to be able to offer the resources that produce the most with the least possible investment, which is what everyone is looking for, "adds Mila Abadía, director of the platform .

Among its clients, in addition to Art Madrid, stand out MARTE, International Fair of Contemporary Art of Castellón, the gallery of Santiago de Compostela OlaLAB Cultural Action and the gallery of Barcelona Art Deal Project. "Writing about spaces and fairs of such interest is always a challenge, expressing what you feel and doing it trying to get the reader to penetrate what you are perceiving is a unique experience," explains Ana Gr Yñañez, journalist in Arte a un Click.

Mujeres Mirando Mujeres

One of the main and most recent projects of Arte a un Click, for the quality and the wide recognition obtained, is "Mujeres Mirando Mujeres", which celebrates its fourth edition. This online initiative claims the preponderant role of women in the artistic field and, year after year, thanks to the commitment of its participants, it is more and more relevant in the social debate about Art and Gender.

The project was based on the individual invitation to different agents of art, but now they have opened the call and its platform of visibility to all those cultural agents who want to apply to participate and join one of its formats: PRESENTATIONS of artists made by curators, galleries, directors of art fairs, managers of cultural spaces, museologists, or theoreticians. INTERVIEWS of artists made by bloggers or specialized journalists, and INVITED PROJECTS. Initiatives managed or curated by art managers, always oriented to implement actions of a collective that supports artists. They publish the articles daily starting on March 8, International Women's Day.

In this edition they extend the project with the collective exhibition "The power of the presence" (Est_Art Space, Alcobendas, Madrid, from 16 of March to the 15 of May), with artists of the three first editions. "With the exhibition we want to highlight the fact that the empowerment of women in all areas of life goes through presence, being and doing. We seek that the artists reflect on the positioning of women in the art world and the questioning of commons themes in which the women have been relegated. We seek works that change the discourse of dominance, narratives with a liberating perspective for women in art, also artists as transforming agents of reality", explains Adriana Pazos Ottón, artist, curator and part of the Arte a un Click.

The work of Carmen Baena (Benalúa de Guadix, Granada, 1967) is structured as a poetic investigation into the memory of territory and its material translation into forms, textures, and gestures. Her practice stems from a life experience deeply connected to a specific landscape in southern Spain, understood not only as a geographical space but also as an affective and symbolic sedimentation. In this sense, her pieces can be approached from a perspective centered on direct experience: the landscape not as representation, but as a lived trace that emerges through doing.

Baena activates unique dialogue between historically hierarchical materials. Marble, associated with permanence and monumental tradition, coexists with embroidery, a technique linked to domestic knowledge passed down through generations, historically relegated but here reactivated as a fully-fledged artistic language. This coexistence is not presented as confrontation, but as a field of resonances where the solid and the fragile, the enduring and the tactile, interpenetrate. From a perspective attentive to connections, embodied experience, and knowledge constructed from everyday life, thread becomes a tool for sensitive knowledge.

Color, particularly in her textile works, functions as vibrational energy rather than a purely formal attribute. In contrast to the chromatic restraint of marble, embroidery introduces an open temporality in which intuitive gestures and accidents acquire structural value. Thus, the process becomes a space for listening, where the unexpected does not interrupt the work but rather constitutes it. In Carmen Baena’s practice, creating means allowing the territory—both external and internal—to continue transforming itself.

The Garden Blooms X. 2025. Acrylic and embroidery thread on canvas. 50 x 70 cm.

Your works evoke landscapes, reliefs, and topographies. How does the relationship between physical territory and symbolic or emotional territory articulate itself in your practice?

The physical territory where I was born and spent my early childhood has shaped all my work. I was born in a cave in the Guadix region (Granada), home to the largest complex of troglodyte dwellings in Europe.

The landscape there is full of contrasts: alongside the greens of the vega—fruit trees and poplars—you find the reddish ochres of the eroded hills. And facing the white of Sierra Nevada, the white of snow that still lingers in spring, there are also the greens of the wheat fields and cereal plains. Thanks to erosion and the geological layers that have been exposed over time, the area contains a series of strata that preserve extremely important continental geological records.

For this reason, the area has been designated a UNESCO Global Geopark. I spent a happy, very simple childhood in this environment—living closely connected to nature—and that is the territory that surfaces throughout the symbolism of my work.

Circular Horizons XIV. 2023. Acrylic and embroidery thread on canvas. 72 x 72 cm.

You learned embroidery in a family context, and you draw on the landscapes of your childhood. When did you realise that your immediate world—people, gestures, everyday landscapes—was no longer just a memory, but an active driving force in the construction of your artistic language?

I realised that the universe of my childhood was an active driving force in the construction of my artistic language thanks to a friend, after she visited my cave-house. Through her perspective, she made me aware of what I had been doing intuitively up until that point. This happened more than twenty years ago, and since then—even though I’m aware of it—I continue working.

I like working intuitively, and most of the time I only discover what the landscape has been afterwards. What stays with me is the sensation that inspired the piece once I have finished it.

Sea Breeze III. 2025. Acrylic and embroidery thread on canvas. 60 x 80 cm.

Marble carries historical and symbolic weight linked to monumentality, while embroidery is often associated with traditions that have been overlooked or confined to the domestic sphere. How do you negotiate this clash of cultural status in your work?

For years, marble was the material I was most interested in, and the one I used for most of my sculptural work. It wasn’t until 2007–2008 that I felt the need to incorporate embroidery—a technique I had learned as a teenager.

I began experimenting on paper, using stitching to draw landscapes and trees directly connected to the sculptures I was making at the time, and also working on small scraps of different kinds of paper. I explored the technical and visual possibilities of thread, creating small works in which colour, texture, and the thread’s vibration became the protagonists.

Later, I moved on to larger formats on canvas, where I also incorporated acrylic. These two seemingly contradictory practices—marble and embroidery—have coexisted in my studio and my work without any difficulty. Today, embroidery has completely displaced marble.

Between Heaven and Earth III. 2020. Marble and wood. 25 x 14 x 14 cm.

In your marble pieces, white and gold create an almost meditative atmosphere; in contrast, embroidery and acrylic burst into colour, activating gesture and vibration. Is this a conscious choice, or do the materials reveal their own possible colour to you?

With marble, the choice of white and gold is a conscious decision: I want to convey the spiritual atmosphere of the landscape, and the relationship between human beings and nature. By contrast, the explosion of colour in the thread emerged gradually and more intuitively, and only later did I begin to understand and use the possibilities of this material in a more conscious way.

Whisper Between the Lines XIII. 2023. Acrylic and embroidery thread on canvas. 40 x 60 cm.

To what extent do you plan your work, and how much space do you leave for the unexpected—or even for mistakes?

When it comes to making my work, I don’t like to plan too much. With embroidered pieces, I do tests on small scraps of paper—trying out colour and the stitch I’m going to use—and with that I try to visualise the final result in my mind. This way of working leaves plenty of space for things to happen while I work. It allows me to discover, learn, and make use of the unexpected.

For example, in some pieces, while embroidering, tangles can occur because the thread tension isn’t right or the thread is too loose. At first, those tangles might seem like they could ruin the piece, but when I see them, I realise they’re visually very interesting. So later I have consciously reproduced that effect in other works.