The current development of art moves along paths increasingly connected with technology and digital language. Although in the beginning, the virtual works had been to a certain extent unconsidered, because they seem to play down the importance of the authors who execute their pieces with their own hands; these forms of expression have followed a constant evolution to position themselves in their place, where they deserve the same respect and admiration as traditional disciplines.

teamLab, “Black Waves: Lost, Immersed and Reborn”, 2019. Digital Installation, Continuous Loop, Sound: Hideaki Takahashi. ©teamLab, courtesy Pace Gallery.

One of the main differences offered by digital works is their ability to create parallel realities in an immersive way. Their power transcends mere evocation since they overcome the mind of the spectator, who does not have to imagine the things suggested to him, but he is involved in them actively and directly. The connection of these pieces with the moving image is understood today as a natural outlet... because the movement is precisely what the traditional branches of art cannot capture.

In this path, the work of teamLab, an artistic collective composed of numerous professionals from different specialities, who unite their energy and knowledge to create impressive digital immersive pieces, is deployed. Their own work system is based on the philosophy they want to convey in their works. It is about pooling the effort of all, seeking complementarity and joint action, giving rise to artworks that flow, that explore for themselves a balance in the elements, a harmony in the exteriorisation of an idea as simple as complex.

teamLab, “Flutter of Butterflies Beyond Borders, Ephemeral Life born in Au-delà des limites”, 2018, installation in La Villette, Paris. © teamLab, courtesy Pace Gallery.

This group, founded in Tokyo in 2001, prefers to reinforce the collective work and reject the traditional concept of authorship in the art to focus its efforts on the production of works. Its pieces have already been exhibited in numerous capitals of the world and are part of important collections.

While searching for putting together nature, technology, science and art, teamLab's work explores the possibilities of digital recreation of natural elements taken on a large scale to involve the viewer in an experience that transcends and brings it to another place. Its digital creations are often interactive and change in a constant cyclic movement that evolves according to the elements that appear in the scene. The result is an artistic-digital experience that reacts to the visitor, in a non-verbal dialogue that invites us to reflect on our environmental impact, the interaction with living beings and the need to feel a vital connection with nature.

teamLab, “Enso - Cold Light”, 2018, Digital Installation, Continuous Loop. ©teamLab, courtesy Pace Gallery.

The Espacio Fundación Telefónica exhibits three works of this collective to offer an unforgettable experience to the visitor. "Black Waves: Lost, Immersed and Reborn", "Flutter of Butterflies, Born from Hands" and "Enso - Cold Light" unfold on the walls of the showing-room to wrap, in a dark atmosphere with quiet music, the fascinated gaze of the spectator. Everything changes in the constant oscillation of the water and the waves of a rough, but peaceful sea.

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.