In the 20s of the last century, Paris continued to have an undeniable power of attraction for the cultural movements of the time. And this was true although the United States, and especially New York, was beginning to emerge as a reference country in full artistic effervescence. The ravages of the successive wars tipped the balance of art in favour of North America, an extensive land, far from direct conflict, not yet worn down by the weight of history and with a promising future of multitudinous shows and film industry ahead.

Berenice Abbott, Aerial view of New York at Night, March 20th, 1936, International Center of Photography, Gift of Daniel, Richard, and Jonathan Logan, 1984 (786.1984) © Getty Images/Berenice Abbott

But let’s get back to the 20s. Back then, the Art Nouveau was last shining in Europe while in New York, the Art Decó appeared, by urban design and stylish skyscrapers, to make this city an emblem. The connection between both metropolis based on an exchange of free thought shown in the arts and architecture. Perhaps few were aware at the time that the builders of the Rockefeller Center or the Chrysler Building were making history. The Gilger Age echoed still, a time between the end of s. XIX and early S. XX where the great family monopolies of the North American industry were born around important innovations such as the railroad, the exploitation of steel, the vast corn harvests, the livestock production and other significant advances in the hands of a few. The empowered families became great art collectors and unconscionable builders who wanted to demonstrate their power by raising taller and more iconic buildings. They succeeded.

Berenice Abbott, West Street, 1932, International Center of Photography, Purchase, with funds provided by the National Endowment for the Arts and the Lois and Bruce Zenkel Purchase Fund, 1983 (388.1983) © Getty Images/Berenice Abbott

The beginning of the century was a breeding ground suitable for artists. The stimuli multiplied, and the options seemed endless. Despite this, old Europe still represented the bohemian refuge, the place where the environment of creation was appropriated to restless minds because there were tradition, history and shared story, away from the sudden boiling of New York built overnight and based on galloping capitalism, the prelude to the Crack of 29. That's why many American creators laid vital bridges between Paris and the American city. This was the case of Berenice Abbott, a photographer born in Ohio in 1898 who let her talent flow to both sides of the Ocean.

Berenice Abbott, Canyon: Broadway and Exchange Place, 1936, The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection. The New York Public Library, Astor, Lenox and Tilden Foundations © Getty Images/Berenice Abbott

Abbott worked on the portrait of celebrities, but for the documentary, not for dedication to entertainment and social reporting. She was interested in the representation of reality, without artifice, and was part of the movement of "direct photography" that claimed the artistic nature of this discipline without needing to intervene or compose the images. Her shots of New York and Paris are today invaluable documents that testify the vertiginous changes that both cities experienced. As thematic reports, her work allows us to know today a historical context full of misery, hope and ambition, in which the foundations of modern society were built. Although Abbott's artistic beginnings focused on sculpture, her connection with other artists of the moment and her interest in the representation of reality led her to try out photography, a discipline that she never left ever again.

Berenice Abbott, Rockefeller Center, ca. 1932, Courtesy Howard Greenberg Gallery © Getty Images/Berenice Abbott

The Mapfre Foundation dedicates to this artist its next exhibition "Berenice Abbott. Portraits of modernity ", which will open on June 1. The show brings together about 200 pieces of this indefatigable creator who made Paris and New York her spiritual homeland.

At the most recent edition of Art Madrid, artist Luis Olaso (Bilbao, 1986), represented by Kur Art Gallery (San Sebastián), received the Residency Prize of the Art Madrid Patronage Program. This award, the result of a collaboration between Art Madrid, DOM Art Residence, and the Italian association ExtrArtis, enabled him to undertake an artistic residency in Sorrento (Italy) in August 2025.

Through initiatives like this, the fair reaffirms its support for contemporary creation—a commitment aimed at increasing artists’ visibility and strengthening art collecting through concrete actions such as acquisition prizes, recognition of emerging talents, and international residencies.

Artists in Residence. DOM & ExtrArtis. Image courtesy of Agata D’Esposito.

The DOM & ExtrArtis 2025 Residency Program took place in Sorrento from August 1 to 31, 2025. The artists lived together at Relais La Rupe, a 16th-century villa surrounded by cliffs and centuries-old gardens, which became an ideal setting for experimentation and exchange.

In this edition, residents worked around the theme “Reimagining Genius Loci”, an invitation to reflect on how the movement of people and traditions transforms the “spirit of place.” During the residency, DOM organized two public group exhibitions: the first to present the artists’ previous work, and the second to showcase the projects developed in Sorrento.

Work by Luis Olaso. DOM & ExtrArtis. Image courtesy of Agata D’Esposito.

Luis Olaso’s work moves between expressionist figuration and abstraction, always employing a pictorial language charged with strength and emotion. Initially self-taught, he later graduated in Fine Arts and has developed a solid international career, with exhibitions at venues including JD Malat (London) and Makasiini Contemporary (Turku, Finland), and participation in fairs such as Untitled Miami, Estampa, and Art Madrid itself.

His work is part of prestigious collections, including the Tokyo Contemporary Art Foundation, Fundación SIMCO, and the Provincial Council of Bizkaia, and has been recognized in competitions such as the Reina Sofía Prize for Painting and Sculpture and the Ibercaja Young Painting Prize.

In Sorrento, Olaso found a unique context to expand his pictorial research, engaging in dialogue with the Mediterranean landscape and the region’s historical heritage. The residency provided him with time, resources, and a framework for exchange with other international artists, fostering the production of new works that were later presented in the group exhibitions organized by DOM.

Luis Olaso working on his project. DOM & ExtrArtis. Image courtesy of DOM.

Luis Olaso’s experience at DOM Art Residence concluded with a public showcase of the works produced, reinforcing his presence on the international circuit and consolidating his position as one of the most prominent Basque artists on the contemporary scene.

Through initiatives such as this, Art Madrid demonstrates its active role as a platform for direct support of contemporary creation, creating opportunities for research, production, and intercultural dialogue that extend beyond the fair itself and accompany artists in their professional development.