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.

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.