Casa Falconieri, institution specializing in the research of contemporary engraving, will be at Art Madrid with a selection of artists in a true stamping marathon. And they bring a reward!

Founded in the late 80s in Cagliari (Sardinia) as a platform for experimentation and research, Casa Falconieri promotes the international diffusion of contemporary art, especially contemporary engraving and printing. They works with the main international research centers, national and private museums, with the national chalcography, with the Italian Ministry of Culture, the Museum of Fine Arts of Bilbao, National Calcography of Madrid, Estampa, Bologna Setup, Italian University and the Accademie di Belle Arti, and this year is one of the guests at Art Madrid'18.

Atelier Casa Falconieri

Casa Falconieri visits the fair with a large group of Sardinian artists: Gabriella Locci, Roberto Puzzu, Antonio Mallus, Rosanna Rossi, Adelaide Lussu, Anna Saba, Alberto Marci, Veronica Paretta, Veronica Gambula, Andrea Spiga, Mauro Rombi, Paolo Marchi, P & B , Francesco Alpigiano, Vicenzo Grosso, Veronica Fadda, Angelino Fiori, Giovanna Secchi, Salvatore Ligios, Paola Dessy, and editions of Simonetta Castia. During the five days of the fair and continuously, these creators will make their work available to the public to teach, explain and help to know how the engraving technique works. A printing machinery that matches perfectly with the ideals of Casa Falconieri and its work of disseminating the work on paper. With them, with their work, they reflect the evolution of an art sector in continuous development and symbiosis with sister disciplines such as photography, the artist's book, the work on paper... with the ultimate desire to change the vision that many have on the graphic art and printmaking, an inexhaustible source of inspiration.

Atelier Casa Falconieri

During the fair, the "Book of Artist - Casa Falconieri / Art Madrid" Award will be granted to one of the participating artists in this 13th edition. It is an artistic residence conceived as a 15-day experimentation workshop at Casa Falconieri Laboratory located in Sardinia, for the prize-winner to create graphic work or an artist's book. A trip to the cultural and artistic heritage of the area, a meeting point with other artists, each with its origins and its histories, to develop new projects together. It is about sharing experiences but also about carrying out a personal investigation on the transformations of the artistic creation sector, its relationship system, in search of new more sustainable and human methods.

A committee formed by professionals from Casa Falconieri and Art Madrid will choose the winner among the artists participating in the fair whose object or motive is the work on paper in its different forms. The award will be granted on Sunday 25th at 6pm, in the stand D1 of Casa Falconieri.

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.