Although we know that commitments get crowded these dates and that meals, dinners, visits and events accumulate without giving truce, there is always a chance to make room to disconnect and enjoy contemporary art with family. Here we bring you a list of some of the most interesting and entertaining cultural activities so that everyone enjoys these holidays between ‘turrón’ and grapes.

Workshops ‘¿Soy yo?’ and ‘Viaje espacial’ at the CGAC

One way to get to know contemporary art is to see it and live it in person while working on some of the concepts present in the exhibitions. The proposal of the CGAC (Santiago de Compostela) is to work, on the one hand, the last series of Jesús Madriñán focused on the people he was portraying when travelling the Camino de Santiago and that allows to delve into concepts such as inclusion and gender diversity and, on the other, the showing of the artist Pedro Cabrita Reis, who reworks objects through found elements and helps us to work the notion of reconversion, destruction and reconstruction. The workshops propose activities linked to the visit of these exhibitions to bring contemporary art to the kids of the house.

21st and 22nd December | From 4 to 9 years old

Workshop ‘App Inventor’ at Espacio Fundación Telefónica

To get into the technology and know some of its many applications, this workshop for teenagers proposes some important keys, without forgetting the responsibility in the use of these devices. A recreational and educational activity that will allow you to get the most out of a tablet while introducing us to the programming language.

26th and 27th December 2019 and 2nd and 3rd January 2020 | From 12 years old on

Workshop ‘Navidad en el museo’, at the Lázaro Galdiano Museum

A good way to soak up the Christmas spirit is to participate in the preparation of decorations, ornaments, gifts and greeting cards that are so exciting at this time. Putting themselves in the shoes of a true artist, participants will be able to tour the galleries of the museum and their showrooms while they soak up the works that reign the space and blow up their imagination in the crafts that they then carry out.

26th and 27th December 2019 and 2nd and 3rd January 2020 | From 5 to 12 years old

‘Este año la Navidad es… ¡verde!’, at the Guggenheim Bilbao

To raise awareness about the need to care for the planet and adopt sustainable practices in our day-to-day lives, the Guggenheim Museum proposes dynamic programming to address these issues by solving puzzles and always keeping in mind the art and work of the artists. In addition, one of the workshops, taught by the artists in residence Miren Arenzana, Zaloa Ipiña and Karlos Martínez Bordoy, will make the little ones reflect on the value of gifts and the possibility of emphasising non-materialistic elements.

From the 20th December 2019 to the 3rd January 2020 | From 3 to 11 years old

‘VaCAACiones’ at the CAAC (Andalusian Centre of Contemporary Art)

The whole family is invited to know the works of the CAAC collection through entertaining and dynamic activities that will allow them to visit and investigate something else in the work of Amalia Pica (Neuquén, Argentina, 1978) and Juan Suárez (El Puerto de Santa María, Cádiz, 1946). The workshop wants to encourage the creative contribution of visitors, to feed their imagination and development, while putting in value the contemporary art that can be seen in the centre.

26th and 27th December 2019 and 2nd and 3rd January 2020

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.