Catawiki is a curated online platform that makes buying & selling of special, hard to find objects extremely easy & reliable. The renowned art buying and selling platform Catawiki establishes itself as one of the official sponsors of Art Madrid in its 17th edition, also being part of the Art Week in Madrid.

Founded in 2008 with the mission to make special objects more accessible, Catawiki currently offers more than 600 auctions every week, in multiple categories such as collectibles, art, design, jewellery, watches, classic cars, among others.

Catawiki welcomes more than 650,000 visits from art, design and antiques enthusiasts every week. This international audience looks forward to discovering rare interior design pieces, paintings by their favourite artists or new original work by the artists and designers who sell directly with Catawiki.

Buyers | Offering inspiration in art, antiques and design

Catawiki fuels the passion of art, antiques and design lovers around the world, and it is the place to be for people who want to showcase special objects that reflect their personality in their homes. Over 90 experts select 20,000 items per week, ensuring that there are plenty of high-quality items for users to bid on. Catawiki’s experts combine years of experience with huge amounts of historical data on selling prices in a range of categories.

Ranging from contemporary art to vintage furniture, every week Catawiki offers the most coveted pieces. Whether they are interested in an antique Chinese vase, an impressionist artwork or an Eames chair, buyers with Catawiki can rest assured that every object on the platform is truly special.

Sellers | Helping the art world move online

Galleries and artists are increasingly choosing Catawiki as a platform to help transition their business online and reach new audiences. The weekly Direct from the artist auction empowers artists to submit their own work for expert review and it is becoming one of Catawiki’s most popular auctions. Respected artists such as Karl Lagasse, Kev Munday and FAKE have all appeared in the Catawiki auctions.

Reliability is of paramount importance at Catawiki, and the priority is to create a platform that is a safe place for buyers and sellers alike. The Catawiki payment system ensures secure and swift transactions. Payments from buyers are stored in a secure account and will only be released to the seller after the buyer has received their purchase.

Over 90 experts, recruited from the most prestigious art institutions in the world, select more than 20,000 objects in auction every week.

Whether they are interested in an antique Chinese vase, an impressionist artwork, iconic pop art, or an Eames chair, buyers with Catawiki can rest assured that every object on the platform is truly special. Interesting objects up for auction on Catawiki included: artwork by Andy Warhol, Banksy, Picasso, Monet and Man Ray, as well as design furniture by Eames or Sottsass.

More information about our sponsor Catawiki

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.