Art Madrid, which will be held from February 23 to 27 at the Galería de Cristal del Palacio de Cibeles, has selected 5 works that will be donated to the Museo de Arte Contemporáneo (MMAC), which depends on the Madrid City Council. The selected pieces are: 'Isabel II' by Kepa Garraza; 'Humo VI' by Isabel Alonso Vega; 'Palacio de Cristal' and 'Madrid, Gran Vía, 2018' by Leticia Felgueroso; and 'Flexia 9' by Toño Barreiro. The four Spanish artists have an already consolidated career within the contemporary art scene in our country and with an important international projection. The works are currently on display at the fair and once it is over, this Sunday, February 27, they will be moved to the museum so that they can be admired by all visitors.

Kepa Garraza

Isabel II, 2021

Carbón comprimido sobre papel

100 x 75cm

Las piezas elegidas son:

"Isabel II' by Kepa Garraza made in compressed charcoal on paper in 2021. The works of Kepa Garraza (Berango, Vizcaya, 1979) reflect on the nature of the images we consume every day. Through fictitious scenarios where a parallel reality is recreated, he invites the viewer to question issues related to identity and the manipulation of information. His work questions official discourses, and questions the processes of institutional legitimization. His ironic and acid look offers alternatives to the reality we know and proposes a healthy exercise: to always doubt the official version. This piece can be seen at Victor Lope Contemporary Art Gallery.

Isabel Alonso Vega

Humo VI, 2018

Fumes and methacrylate

50 x 50cm

'Humo VI', exhibited at Hispánica Contemporánea gallery, is Isabel Alonso Vega's sculpture created with smoke and methacrylate in 2018. The works of Isabel Alonso (Madrid, 1968) speak of the intangible, of that which is there but can hardly be seen, it is almost impossible to touch, let alone catch. The intangible becomes present and presents itself enclosed, but not immobile, since the forms have their own life and change according to the lighting and the perspective from where you look at them.

Leticia Felgueroso

Madrid, Gran Vía 2018, 2018

Fotografía y gelatina de plata sobre papel RC

150 x 205cm

The photographs 'Palacio de Cristal' and 'Madrid, Gran Vía 2018', exhibited at the BAT Alberto Cornejo gallery, are two of the pieces that will be donated belonging to Leticia Felgueroso. The works of Felgueroso (Madrid, 1963) are based on urban scenes of an attractive chromatism that make us imagine a different city. Her photographs can be found in numerous Spanish embassies around the world and she has been commissioned by entities such as Ifema or the Thyssen-Bornemisza National Museum.

Toño Barreiro

Flexia 9, 2018

Esmalte sobre aluminio

65 x 65cm

'Flexia 9' by Toño Barreiro, made in enamel on aluminum in 2018, is another of the pieces that will be incorporated into the collection of the Museum of Contemporary Art and can be seen at Shiras Galería. Toño Barreiro (Zamora, 1965) has been developing, since the mid-1980s, a multidisciplinary work that alternates photography, painting, sculpture and digital processes. In his work we can observe a whole series of new methodologies and creative processes that give rise to sinuous and synaesthetic paintings, playing with the concept of deconstruction, the symbiotic or the most elementary biological processes.

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.