It seems that the cultural sector is reluctant to abandon its almost endemic precariousness. Since the crisis made its appearance a decade ago, the blows are still there, though they adopt, it’s true, different forms and produce consequences of very different nature. In turn, culture, as such, is still a sector of economic content, subject to the same avatars as the other areas of activity, and a sphere in which the same patterns of inequality and imbalance perceived in other business fields repeated.

The professionalisation of culture has led to a high degree of specialisation of the profiles, giving light to new lines of activity that a few years ago were completely unknown. In parallel, consumption habits, the way of approaching art and the place that exhibition spaces had traditionally occupied have had to adapt to a change in circumstances. This evolution is motivated not only by the prevailing economic situation, right after the new millennium started, but also by the beginning of a period of transition in which a generational change comes together with a deep social identity crisis. This gap in the sense of belonging and the path towards a dehumanising individualism poses numerous challenges, and more so in an area such as culture, whose reason for being rests with the individual and his development in society. Many of these turning points usually coincide with significant world milestones, such as, without a doubt, the beginning of a new century, a situation that in our case came along with a technological revolution that opens up new ways of exploration but also contributes to deepening the uncertainty of our immediate context.

Campaign "no por amor al arte" launched by Plataforma PAC in 2018

All these changes don’t imply a strengthening of the profession or a revaluation of the work done. Although some slightly hopeful data emerge every year, a joint analysis shows that culture remains a very precarious sector that feeds on the passion of those who want to keep it alive. Paradoxically, there is an exploitation of our culture by tourism. The increasing volume of visitors that come to our country every year is a good indicator that, in addition to the excellent weather and the gastronomic variety, our cultural wealth plays a decisive role in. However, mechanisms to achieve a better distribution of these revenues or systems that serve to put culture in its place are not enhanced.

Other contradictions also coincide: the cultural sector is one of the most demanding in terms of required training and specialisation. 69.3% of cultural workers have higher education, compared to 42.9% of the national average (Yearbook of Cultural Statistics MCD 2018), a circumstance that is not accompanied by higher salary compensation. Likewise, there is a slight increase in employment generation (3.6% of the national total), although the number of single enterprises or self-employed is 64.7% and temporary contracts have increased by 19.4% since 2017. Thus, these data draw a sensitive, poorly resistant and depleted panorama to fight against setbacks.

Guided tour in Cádiz Museum

To make it worse, this sector replicates some of the imbalances seen in other economic areas: 60.9% of workers are men, and the remaining percentage are women. This could be an inner feature without major significance, as we know that in other sectors it happens in reverse; but the gap is noticed because there is a high percentage of artists who decide to establish themselves professionally abroad, where they get stability and better pay. A recent study carried out by Marta Pérez-Ibáñez and Isidro López-Aparicio on the situation of Spanish female artists (“Women artists and job insecurity in Spain. Analysis and comparison based on a global study”, Revista Arte, Individuo y Sociedad, vol. 31 (4), 2019) shows that 60% of them move abroad, of which 75% are under 40 years old. It also highlights the data collected on income, where 46.9% of the artists declare to obtain less than € 8,000 per year.

With all this, it is clear that the cultural sector has to face many future challenges, not only to overcome the difficulties inherent to its economic sensitivity, but also to many other circumstances that require a response more in line with the new times and the course of historical events. We will be here working to contribute to this (r)evolution.

Daniel Barrio. Guest artist of the third edition of OPEN BOOTH. Courtesy of the artist.

DESPIECE. PROTOCOLO DE MUTACIÓN

As part of the Art Madrid’26 Parallel Program, we present the third edition of Open Booth, a space conceived as a platform for artistic creation and contemporary experimentation. The initiative focuses on artists who do not yet have representation within the gallery circuit, offering a high-visibility professional context in which new voices can develop their practice, explore forms of engagement with audiences, and consolidate their presence within the current art scene. On this occasion, the project features artist Daniel Barrio (Cuba, 1988), who presents the site-specific work Despiece. Protocolo de mutación.

Daniel Barrio’s practice focuses on painting as a space for experimentation, from which he explores the commodification of social life and the tyranny of media approval. He works with images drawn from the press and other media, intervening in them pictorially to disrupt their original meaning. Through this process, the artist opens up new readings and questions how meaning is produced, approaching painting as a space of realization, therapy, and catharsis.

Despiece. Protocolo de mutación is built from urban remnants, industrial materials, and fragments of history, inviting us to reflect on which memories we inherit, which we consume, and which ones we are capable of creating. Floors, walls, and volumes come together to form a landscape under tension, where the sacred coexists with the everyday, and where cracks matter more than perfection.

The constant evolution of art calls for ongoing exchange between artists, institutions, and audiences. In its 21st edition, Art Madrid reaffirms its commitment to acting as a catalyst for this dialogue, expanding the traditional boundaries of the art fair context and opening up new possibilities of visibility for emerging practices.

Despiece. Protocolo de mutación emerges from a critical and affective impulse to dismantle, examine, and reassemble what shapes us culturally and personally. The work is conceived as an inseparable whole: an inner landscape that operates as a device of suspicion, where floors, walls, and volumes configure an ecosystem of remnants. It proposes a reading of history not as a linear continuity, but as a system of forces in permanent friction, articulating space as an altered archive—a surface that presents itself as definitive while remaining in constant transformation.

The work takes shape as a landscape constructed from urban waste, where floors, walls, and objects form a unified body made of lime mortar, PVC from theatrical signage, industrial foam, and offering wax. At the core of the project is an L-shaped structure measuring 5 × 3 meters, which reinterprets the fresco technique on reclaimed industrial supports. The mortar is applied wet over continuous working days, without a pursuit of perfection, allowing the material to reveal its own character. Orbiting this structure are architectural fragments: foam blocks that simulate concrete, a 3D-printed and distorted Belvedere torso, and a wax sculptural element embedded with sandpaper used by anonymous workers and artists, preserving the labor of those other bodies.

A white wax sculptural element functions within the installation as a point of sensory concentration that challenges the gaze. Inside it converge the accumulated faith of offering candles and the industrial residues of the studio, recalling that purity and devotion coexist with the materiality of everyday life. The viewer’s experience thus moves beyond the visual: bending down, smelling, and approaching its vulnerability transforms perception into an intimate, embodied act. Embedded within its density are sanding blocks used by artists, artisans, and laborers, recovered from other contexts, where the sandpaper operates as a trace of the effort of other bodies, following a protocol of registration with no autobiographical intent.

Despiece. Protocolo de mutación addresses us directly, asking: which memory do we value—the one we consume, or the one we construct with rigor? The audience leaves behind a purely contemplative position to become part of the system, as the effort of moving matter, documentary rigor, and immersive materiality form a body of resistance against a mediated reality. The project thus takes shape as an inner landscape, where floor, surface, and volume articulate an anatomy of residues. Adulteration operates as an analytical methodology applied to the layers of urban reality, intervening in history through theatrical and street advertising, architectural remnants, and administrative protocols, proposing that art can restore the capacity to build one’s own memory, even if inevitably fragmented.

ABOUT THE ARTIST

DANIEL BARRIO (1988, Cuba)

Daniel Barrio (Cienfuegos, Cuba, 1988) is a visual artist whose practice articulates space through painting, understanding the environment as an altered archive open to critical intervention. He studied at the Academy of Fine Arts of Cienfuegos (2004–2008), specializing in painting, and later at the Madrid Film School (ECAM, 2012–2015), where he studied Art Direction. His methodology integrates visual thinking with scenographic narrative.

His trajectory includes solo exhibitions such as La levedad en lo cotidiano (Galería María Porto, Madrid, 2023), Interiores ajenos (PlusArtis, Madrid, 2022), and Tribud (Navel Art, Madrid, 2019), as well as significant group exhibitions including Space is the Landscape (Estudio Show, Madrid, 2024), Winterlinch (Espacio Valverde Gallery, Madrid, 2024), Hiberia (Galería María Porto, Lisbon, 2023), and the traveling exhibition of the La Rioja Young Art Exhibition (2022).

A member of the Resiliencia Collective, his work does not pursue the production of objects but rather the articulation of pictorial devices that generate protocols of resistance against the flow of disposable images. In a context saturated with immediate data, his practice produces traces and archives what must endure, questioning not the meaning of the work itself but the memory the viewer constructs through interaction—thus reclaiming sovereignty over the gaze and inhabiting ruins as a method for understanding the present.