Everything is ready for celebrating Art Madrid'19! All is prepared for the inauguration of the 14th edition: painting, sculpture, photography, video art, performance or more hybrid arts; the most international edition is coming!

This year, the wide and varied proposal of Art Madrid stands out for the remarkable international character. In this sense, Art Madrid presents a unique perspective of the South American art scene, highlighting certain proposals such as the collective O-Art Project, Collage Habana, Zielinsky or Kreisler. Also, the South African and French-African tendencies are singularly represented this year, with artists from different origins and selections such as the Oda Gallery or Norty galleries will present.

Photo: Ester Arteaga.

Some countries especially represented through their artists are Germany, Portugal, France, the United States or Taiwan. New visions that the audience can discover in São Mamede, Schmalfuss, Robert Dress, Paulo Nunes, Barrou Planquart, Hispánica o Yiri Arts’ booths. Other galleries’ proposals are very international, such as the Art Lounge, the MH Art Gallery, 3 punts or the BAT Alberto Cornejo Gallery. The selections by Marita Segovia, Lola & the Unicorn, Montsequi o Víctor Lope galleries stand out as well.

Photo: Miguel Ángel Satue.

As always, the national creation is one of the strong points of the fair, showcasing an exceptional overview of current Spanish art, as shown by Miquel Alzueta, Rodrigo Juarranz, Aurora Vigil-Escalera, Espiral, Fucking Art, Luisa Pita, Arancha Osoro, Moret Art, Alba Cabrera, Bea Villamarín, Shiras, Cornión, Jorge Alcolea or Kur Art proposals.

Manuela Eichner

Pistoeira, 2018

Collage on wood

50 x 50cm

Once again Art Madrid presents the ONE PROJECT program, conceived to support and promote young artists whose careers are in an initial or intermediate state. The project takes place in a curated proposal within the fair in which the works of the creators are presented in a solo show format while maintaining a unitary vision. This year, one of the great updates of the program is the incorporation of Nerea Ubieto, art critic and curator who presents a new proposal led only by female artists. This choice, as stated by Ubieto, is based “on the eagerness to level an unstable balance in which female participation in art fairs is still today unfair”.

Alejandra Atarés

Palmeras Azules, 2018

Oil and acrylic on linen

114 x 146cm

Virginia Rivas

Atisbar, 2018

Acrylic and graphite on canvas

146 x 114cm

Under the title "Ficciones, máscaras y paisajes: el color como telón de fondo", 7 artists feature specific proposals for the fair in which the international presence stands out again. As the curator explains, the works invite us to build our own universes, because "through creation, we can get rid of the burdens that slow down the development of society, dissolve stereotypes, invent new ones, own what we want to change and, effectively, transform it. No limits are worth having, just more or less believable masks; only colour with a more or less positive charge”.

The authors of the interventions and works presented are Rūta Vadlugaitė (represented by Contour Art Gallery, Vilna), Virginia Rivas (DDR Art Gallery, Madrid), Mara Caffarone (Granada Gallery, Comuna), Nuria Mora (About Art, Lugo), Sofía Echeverri (Flux Zone, Ciudad de México), Manuela Eichner (RV Cultura e Arte, Salvador) y Alejandra Atarés (Víctor Lope Arte Contemporáneo, Barcelona).

Rubén Martín de Lucas, "República # 12" image, 2019.

Another of the great news of this edition is related to the Guest Artist, Rubén Martín de Lucas, a multidisciplinary creator who, after his step as co-founder of the collective Boa Mistura, continued his solo career with a line of work on the relationship between the individual and the territory. Martín de Lucas features new works from the “Repúblicas Mínimas” series, within the celebrated “Stupid Borders” project: an exciting work to reflect on the geopolitical borders and the sense of ownership under a look both critical and poetic. This series will be presented in a new outstanding format at Art Madrid.

Foto. Perucha.

Also, Art Madrid'19 visitors will be surprised by the different participatory actions that they will discover at the booth of Cultura Inquieta, official media partner of this edition. Also, you can take a break, enjoy a craft beer and comment on everything seen at the fair, in the space that Cervezas La Virgen will have in the Lounge area. For their part, at the VEGAP spot they will be able to see the extensive work carried out by this organisation: from the management in Spain of the Intellectual Property rights of the visual creators, representing more than 150,000 artists from 46 countries, to the development of projects such as the VEGAP Image Bank, the "Proposals" annual contest or the "Art and Law" Publishing Collection.

In short, Art Madrid'19 is once again a great opportunity to approach an excellent panorama of the contemporary creation, with a wide and varied proposal that stands out for its increasingly international character and its permanent commitment to young creators and forms of newest creation. Don’t miss the new edition of Art Madrid, the most friendly art fair that includes everyone!

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.