One more year, Art Madrid reinforces its position as one of the most outstanding contemporary art fairs in the Art Week, closing its fourteenth edition with a very positive results: more than 20,000 people visited the fair and the vast majority of the participating gallery directors claim that they are very satisfied with the sales balance made during the five days celebration.

This edition, the fair has once again surpassed the numbers of visitors being, in the general public’s opinion, one of the most welcoming, close and pleasant fairs in its route. Furthermore, this edition has achieved excellent impressions on behalf of the professional sector, outlining this year for having a greater role in national and international media. Secondly, the Activities Program also stood out for receiving great acceptance from the general audience and an excellent review from the professional sector. This year the program was dedicated to video art, it was curated by Mario Gutiérrez Cru, director of the Proyector Video Art Festival and held at CaixaForum Madrid and Sala Alcalá 31.

Photo: Diana Fernández.

In general, the media has highlighted the new and more qualitative selection criteria of both the Committee and gallerists, presenting strictly contemporary selections and leaving behind the so-called "secondary market". Furthermore, in this edition, all current artistic disciplines have been accommodated, from painting, sculpture, photography, video art to the more hybrid disciplines also including living arts such as performance. The most outstanding reviews have been associated, on the one hand, with the new One Project program, curated by Nerea Ubieto; and on the other hand, with the “Copying Claudia” performance by the artist Pachi Santiago (Zielinsky Gallery). Undoubtedly, critics have also especially celebrated the new media installation within the series “Repúblicas Mínimas” by the Guest Artist, Rubén Martín de Lucas.

Photo: Paola Aloise.

As the critic and curator Alfonso de la Torre, member of the Art Madrid Committee, explains, the fair "has come of age", highlighting "the quality of the galleries selection" that this year have been exhibited "with greater clarification of the space, which has allowed a better reading and appreciation of the works".

The fair has generated a high volume of sales and the vast majority of gallerists are very satisfied with the sales balance made. In general, the increase in the presence of private and institutional collectors is worth pointing out, from local and regional entities to international entities. Professionals from the Public sector visits also stand out; in charge of cultural institutions, museums or art centres such as the Ministry of Culture, MUSAC, IVAM, MARCO, ARTIUM, CA2M, CEART or the Picasso Museum; specialists and academics from national universities such as the Universidad Complutense de Madrid, the Universidad Autónoma de Madrid or the Universidad de Nebrija; as well as representatives of private collections such as Iberdrola, Repsol, Iberia, Mercedes-Benz and Inelcom have toured the art show.

Photo: Melisa Medina.

National exhibitors such as Víctor Lope Arte Contemporáneo (Barcelona), Bea Villamarín (Gijón), Moret Art (A Coruña), Marita Segovia (Madrid), Miquel Alzueta (Barcelona), Aurora Vigil-Escalera (Gijón), Zielinsky (Barcelona), Hispánica Contemporánea (Madrid-Mexico City), 3 Punts (Barcelona), BAT Alberto Cornejo (Madrid), DDR Art Gallery (Madrid) or About Art (Lugo), togheter with foreign exhibitors such as Paulo Nunes-Arte Contemporânea (Vila Franca de Xira, Portugal), Schmalfuss (Berlin) or Yiri Arts (Taipei, Taiwan), made a positive balance.

Photo. Ione Adán.

On the one hand, one of the gallerists especially satisfied was Víctor Lope (Barcelona), whose selection integrated by the works of Patrik Grijalvo, Kepa Garraza, Jacinto Moros and Dirk Salz, together with the solo show of Alejandra Atarés in the One Project program, have been acquired both by private collectors and by collectors of large foundations. In addition, the gallery owner Víctor Lope is grateful to have been highlighted and awarded as one of the two best booths of this edition. On the other hand, the Taiwanese Yiri Arts gallery, directed by Orton Huang, has been participating in Art Madrid for years. The director comments that "our artists are already and much better known by the wider audience; this edition we decided to create a more intense dialogue between the Taiwanese and the Spanish artists, including multiple connections between them: two women (Chen Yun and Mònica Subidé) and two men (Guim Tió and Lai Wei-Yu)". Also, the gallerist commented, “Guim Tió’s works were the most sellers”, as well as the gallery team expressed their delight at the new edition of Art Madrid.

Photo: Ione Adán. Work in the image by Pepa Salas.

David Delgado Ruiz, director of the online gallery DDR Art Gallery, one of the first-time participating galleries within the One Project program, recognizes that, although there are some deals to be completed in the coming days, the balance is good and he noted that the work by Virginia Rivas was very well received: "the reception has been excellent, as much on the part of the specialized critic and the collectors, as on the part of the general public".

Photo. Ione Adán. Work in the image by François Bel.

Art Madrid, in addition to showing a unique showcase of contemporary creation and promoting the contemporary art collecting, is a space in which artists, gallerists, curators, critics and other cultural agents create new relationships, propose future collaborations or commission upcoming works. And, although the show has concluded, the work of Art Madrid team continues the rest of the year in its digital version, through communication and the online art shopping platform: Art Madrid Market.

Thank you very much for being part of one of the most successful editions of Art Madrid!

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.