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MOMENTUM: AN AUGMENTED REALITY EXPERIENCE (AR) AT ART MADRID'25

From March 5 to 9, Montalbán street will transform into an immersive digital environment with Ciudad Sutil, an innovative augmented reality experience led by multimedia artist Susi Vetter. This project is curated in collaboration with CRU and is part of the parallel program of Art Madrid'25. The proposal invites the public to explore an alternative layer of reality through technology, offering a sublimated vision of the urban environment and the city's landscape.

Momentum. Digital scketch. WIP.

Ciudad Sutil: A new way of inhabiting urban space.

Ciudad Sutil is a program that proposes ephemeral artistic interventions in public spaces, exploring new ways of inhabiting and perceiving the city. Through digital art and augmented reality, it seeks to reveal hidden layers of the urban environment, questioning the rigidity of the built landscape and opening spaces for imagination and reflection on our relationship with the city and nature.

Susi Vetter. Momentum. AR Art Installation. Technologies used: Adobe After Effects & Photoshop, Procreate, Blender. Processor: 8th Wall. 2025.

Momentum: Redefining the relationship between City and Nature

In Momentum, the urban landscape with its ordered architecture, paved streets, and precise geometry suddenly opens up to reveal a living canvas that challenges our perception of city spaces. At the end of the street, a forest emerges between the buildings. From this wild growth, a giant mask arises, initially blank and inert, which is pushed upward toward a triangulated glass ceiling, reminiscent of the Galería de Cristal of the Palacio de Cibeles. The mask remains suspended there, between the artificial world below and the contained sky above.

Its eyes slowly open, as if seeing the world for the first time. From one of them, tender plants begin to sprout, initially shy, then with increasing vigor, transforming the sterile façade into a living, organic entity.

As nature claims the mask, the glass ceiling above it – that meticulous human attempt to frame the sky – begins to crack. Fragments of glass fall like rain, breaking the barrier between the built space and the open air. The mask, now covered in vegetation, slowly descends until it disappears.

Momentum. Digital scketch.

A reflection about the urban future

This augmented reality experience invites us to reconsider our relationship with the natural world in urban environments. The street, with its rigid lines and concrete certainty, becomes a space for exploration to imagine new forms of coexistence between the built and the organic. The mask symbolizes our artificial relationship with nature — how we perceive ourselves as separate from the wild, until nature finds ways to break into our spaces.

In the age of the Anthropocene, where human impact shapes every ecosystem, Urban Rewilding questions whether our future lies in continuous separation or in seeking new ways of coexistence between our built world and natural systems. As the boundaries between the city and the forest blur in this augmented reality experience, we glimpse possibilities for urban spaces where nature is not just a contained or decorative element, but an essential and transformative force.

Technology and creative process

The piece Momentum has been developed using various digital tools, including Adobe After Effects, Photoshop, Procreate, and Blender. Its processing is based on the 8th Wall platform, allowing for a seamless and immersive integration of virtual elements into the urban landscape.

Susi Vetter. Invited artist at Ciudad Sutil.

About the artist: Susi Vetter

Susi Vetter is an illustrator and multimedia artist based in Berlin. Her work focuses on telling immersive stories that blur the boundaries between physical and digital realities. Her tools include the web, augmented reality, and map projections, with the aim of creating experiences that invite reflection on the relationship between humans and their environment.

From March 5th to 9th, at Montalbán street 1, at the entrance of the Galería de cristal of the Palacio de Cibeles, you can enjoy Momentum.

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.