From Taiwan to Brazil and from Ecuador to Thailand

More than 200 artists represented by 41 galleries make up the general program of this edition of Art Madrid. During the fifteen years of the fair, the international presence of both artists and galleries has increased to 40% of the total.

Artists have come from Cuba, Venezuela, the United States, South Africa, Algeria, Iran, Taiwan, Brazil, Argentina... and dozens of countries that have participated in Art Madrid over the years.

In this edition we have such a variety of artists from faraway countries that we have found the line of the antipodes among several of them.

Mu Pan, Taiwan. Represented by Galerie LJ

Mu Pan describes his work as "simply about telling stories " In his intricate battle scenes, human figures, beasts and strange mixtures of the two come together in epic life-and-death struggles. In his "origaMU" paper sculptures, colorful creatures take on a 3D form. The artist is "a creator of worlds" as he puts it. He portrays critical stories full of details taken to the extreme, entering into an art where references to literary, political and cultural stories are intermingled.

Mu Pan

Locusts, 2015

Acrílico sobre panel de madera

121 x 91cm

Mu Pan of Taiwanese origin studied Art at the School of Visual Arts in New York, where he now teaches illustration. During the past 2019 the collection SOLO welcomed part of this peculiar world in which one can get lost for hours discovering in every detail and in every corner of the painting something new.

With a critical and incisive look, but without losing his sense of humour and irony, the author captures in his paintings everything that displeases him, such as racism, violence or lies, and puts both the present time and nature in focus.

His artworks reflect the many cultural influences to which he has been exposed, from Chinese literature to superheroes, from ukiyoe to cinema and comics. To contemplate a work of Mu Pan is to soak up action, dynamism and energy through his meticulously constructed battles. His paintings have an extreme degree of detail that is reminiscent of the paintings of El Bosco, with connotations of the end of the world, hybrid characters, half man, half animal, on the verge of caricature, as well as epic scenes in which he mixes references to current events and manga culture. Mu Pan's work is a pretext to highlight everything that displeases him: violence, conflict or lies, which he captures in his paintings in the key of anger and humour. In the artist's words: "Drawing and painting are for me the most obvious ways to claim justice". Global warming, racism, classism or the trade wars between superpowers serve as inspiration for this artist who puts current events and human nature in the spotlight.

Mu Pan

Jesura The Holy Kaiju, 2019

Acrílico sobre panel de madera

92 x 243cm

Mu Pan

Tiger, 2017

Acrílico sobre panel de madera

92 x 243cm

Chen Yun, Taiwan. Yiri Arts Gallery

Chen Yu's drawings have evolved from horizontal to vertical constructions, a compositional style that grows upwards, visually exploring the dimensional and psychological impact. Behind this methodically planned composition, and as in poetry, there are clues that allude to time and reality. With scenes in fixed camera, a detailed shot on one side, the silhouette of a woman on the opposite side, an image full of symbolism... Chen acts as a guide, carrying a weak light that accompanies the viewer into the depths of memory.

Chen Sheng-Wen studied Visual Communication Design at National Yunlin University in Taiwan. He has had several solo and group exhibitions in Taiwan and Japan. He has been awarded with Taipei Free Art Fair, Huashan 1914 Taipei.

Chen Yun

Indigo. The light from the forest shine on the blue ocean, 2018

Ácrilico sobre lienzo (2 piezas)

130 x 194cm

Lai Wei-Yu, Taiwan. Yiri Arts Gallery

The artist Lai Wei-Yu takes seemingly absurd situations and explores them with childlike amazement. However, in the dark corners we can also glimpse the frustration and desolation of life. Lai Wei-Yu studied at the MFA Institute of Arts in Taiwan. His artwork has been shown in several individual and collective exhibitions and is also present in public collections such as that of the National Museum of Fine Arts in Taiwan.

Lai Wei-Yu

My Family, 2018

Acrylic and charcoal on canvas

160 x 160cm

Paul Rosero Contreras (Quito, 1982). Más arte Galería

Paul is a conceptual artist who works with scientific information, speculative realism and different fictional narratives. His work explores issues related to geopolitics, environmental problems and the relationship of humans in extreme ecosystems. Rosero received an MFA from the California Institute of Arts - CalArts and an Interdisciplinary Master's Degree in Cognitive Systems and Interactive Media from Pompeu Fabra University in Barcelona. Her work has received national and international awards and has been widely exhibited at the 57th Venice Biennale, Antarctic Pavilion, Italy, at the 5th Moscow Biennale of Young Art, at the Quai Branly Museum in Paris, France, at the Cervantes Institute in Rome, Italy, at the Museum of History in Zaragoza, Spain, the H2 Art Center in Augsburg, Germany, at the 11th Moscow Biennale of Young Art. Biennial of Cuenca, Ecuador, in Import Projects, Berlin, Germany, in the 1st Antarctic Biennial, in the 1st Southern Biennial in Argentina, in the SIGGRAPH 2017 in Los Angeles, among others. Rosero teaches and researches at the Universidad San Francisco de Quito.

Chamnan Chongpaiboon

Girl, 2019

Acrylic on canvas

120 x 100cm

Chamnan Chongpaiboon, Thailand. Soraya Cartategui

Chamnan Chongpaiboon is part of the new generation of young Thai artists. He attended the Faculty of Fine Arts in Shupanburi and obtained his Bachelor of Fine Arts with a major in Printmaking from the King Mougkut Institute of Technology in Ladkrabang.

Chamnan artworks with an innovative graphic style, under the modern bases of multimedia art and Japanese printing forms. His inspiration is closely linked to artists such as the Japanese Yayoi Kusama (1929, Matsumoto, Japan) whose work revolves around psychedelia, repetition and patterns. Her artistic production is limited due to the artist's meticulous work in making each piece. He is an artist with a great international career. Among the countries and cities where he has exhibited his pieces we find Australia, London, New York, Malaysia, Hong Kong, Jakarta, Miami, Singapore, etc.

Eduardo Marco, Porto Alegre (Brazil). Zielinsky Gallery

The artistic envoy that moves this photographer is the concern to clear up what is hidden from the common gaze; to reveal in its most literal sense what is apparently insignificant, but which the artist's gaze makes us perceive as a harmonic, igniting in us the spark of enthusiasm. In this process, Marco's honesty does not carry the heavy burden of theoretical assumptions; it is given without learned dogmas. Marco's gaze rescues the pristine beauty of the lotus lit in the mud puddle. He has participated in many projects in different parts of the world, such as China and Brazil.

Nina Franco. Rio de Janeiro (Brazil), Paulo Nunes Arte Contemporânea

The work of the visual artist Nina Franco leads us into the depths of contemporary socio-political conflicts. She has had two solo exhibitions presenting her main series: "Soul Black" in Brazil and "Let Me Scream" in Ireland, as well as several group exhibitions in Brazil, Ireland, Greece and the United Kingdom.

The circle as critical device and the marker as contemporary catalyst

POSCA, the Japanese brand of water-based paint markers, has established itself since the 1980s as a central instrument within contemporary artistic practices associated with urban art, illustration, graphic design, and interdisciplinary experimentation. Its opaque, highly pigmented, fast-drying formula—compatible with surfaces as diverse as paper, wood, metal, glass, and textiles—has enabled a technical expansion that extends beyond the traditional studio, engaging public space, objects, and installation practices alike.

In this context, POSCA operates as more than a working tool; it functions as a material infrastructure for contemporary creation. It is a technical device that enables immediacy of gesture without sacrificing chromatic density or formal precision. Its versatility has contributed to the democratization of languages historically associated with painting, fostering a more horizontal circulation between professional and amateur practices.

This expanded dimension of the medium finds a particularly compelling conceptual framework in The Rolling Collection, a traveling exhibition curated by ADDA Gallery. The project proposes a collective investigation of the circular format, understood not merely as a formal container but as a symbolic structure and a field of spatial tension.

Historically, the circle has operated as a figure of totality, continuity, and return. Within the framework of The Rolling Collection, the circular format shifts away from its classical symbolic charge toward an experimental dimension, becoming a support that challenges the hegemonic rectangular frontality of the Western pictorial tradition. The absence of angles demands a reconsideration of composition, balance, and directional flow.

Rather than functioning as a simple formal constraint, this condition generates a specific economy of visual decisions. The curved edge intensifies the relationship between center and periphery, dissolves internal hierarchies, and activates both centrifugal and centripetal dynamics. The resulting body of work interrogates the very processes through which images are constructed.

Following its 2025 tour through Barcelona, Ibiza, Paris, London, and Tokyo, a selection of the exhibition is presented at Art Madrid, reinforcing its international scope and its adaptability to diverse cultural contexts. The proposal for Art Madrid’26 brings together artists whose practices unfold at the intersection of urban art, contemporary illustration, and hybrid methodologies: Honet, Yu Maeda, Nicolas Villamizar, Fafi, Yoshi, and Cachetejack.

While their visual languages vary—ranging from graphic and narrative approaches to chromatic explorations charged with gestural intensity—the curatorial framework establishes a shared axis: a free, experimental, and distinctly color-driven attitude. In this sense, color functions as a conceptual structure that articulates the works while simultaneously connecting them to the specific materiality of POSCA.

The marker’s inherent chromatic vibrancy engages in dialogue with the formal assertiveness of the circle, generating surfaces in which saturation and contrast take center stage. The tool thus becomes embedded within the exhibition discourse, operating as a coherent extension of the participating artists’ aesthetic vocabularies.

One of the project’s most significant dimensions is the active incorporation of the public. Within the exhibition space—activated by POSCA during Art Madrid’26—visitors will be invited to intervene on circular supports installed on the wall using POSCA markers, thereby symbolically integrating themselves into The Rolling Collection during its presentation in Madrid.

This strategy introduces a relational dimension that destabilizes the notion of the closed artwork. Authorship becomes decentralized, and the exhibition space transforms into a dynamic surface for the accumulation of gestures. From a theoretical standpoint, the project may be understood as aligning with participatory practices that, without compromising formal coherence, open the artistic dispositif to contingency and multiplicity.

The selection of POSCA as the instrument for this collective intervention is deliberate. Its ease of use, line control, and compatibility with multiple surfaces ensure an accessible experience without diminishing the visual potency of the outcome. In this way, the marker operates as a mediator between professional practice and spontaneous experimentation, dissolving technical hierarchies.

The title itself, The Rolling Collection, suggests a collection in motion—unfixed to a single space or definitive configuration. Its itinerant nature, combined with the incorporation of local interventions, transforms the project into an organism in continuous evolution. Within this framework, POSCA positions itself as a material catalyst for a transnational creative community. Long associated with urban scenes and emerging practices, the brand reinforces its identity as an ally of open, experimental, and collaborative processes.

POSCA x The Rolling Collection should not be understood merely as a collaboration between a company and a curatorial initiative; rather, it constitutes a strategic convergence of tool, discourse, and community. The project proposes a reflection on format, the global circulation of contemporary art, and the expansion of authorship, while POSCA provides the technical infrastructure that makes both individual works and collective experience possible.