After the first days of celebration of the fourteenth edition of Art Madrid, we have been able to immerse ourselves in social media, especially in Instagram, to know which works are the most photographed. In this article, we show you the pieces that you can not miss when you come to visit Art Madrid'19.

José Ramón Lozano

Sin Título (VI), 2019

Acrylic on canvas

170 x 190cm

Undoubtedly, one of the most appealing works to visitors is that of the young José Ramón Lozano (BAT Gallery Alberto Cornejo). His very close-up female portraits are, looking directly at the viewer, equally seducing and intriguing him. A painter specialized in portraiture, Lozano affirms that through this genre "he can transmit more of his work to the spectators". His work is a perfect manifesto of the new possibilities that even today can characterize such a traditional discipline and genre, as well as being a clear example of the unlimited power of young creation. Likewise, in the same stand, are the works of the Slovak photographer Mária Švarbová and those of Lantomo, a great Italian artist passionate about Chinese culture, these are also featured on social media.

François Bel

Ringringring, 2018

Acrylic glass

40 x 14cm

Rafael Barrios

Tumble, 2018

Lacquered steel

57 x 45cm

Peter Anton

Raspberry-Lemon Ice Bar, 2017

Mixed technique

56 x 23cm

Naturally, the sculptures of François Bel (Galerie Barrou Planquart), known as "Big Bangs" are one of the most shared images on Instagram. This artist, interested in new realism, street art and pop culture, makes impressive encapsulations in synthetic glass of a decisive moment, but at the same time reflects some of the great icons of the contemporary world: the concern of time passage, self-centeredness or materialism. He shares the critical vision of the state of things with another of the most prominent artists on social media: Layziehound Coka (ODA Gallery), a South African artist who works from a very gestural figuration and who will be accompanying us throughout the celebration of Art Madrid.

Gerard Mas

Guardian, 2018

Madera de teka quemada y vidrio

103 x 27cm

Many attendees have photographed the works of the Galería Hispánica stand (Madrid-Mexico City), where you can find pieces by American, Italian and Spanish authors, such as Rafael Barrios, Peter Antono, Paul Rousso or Mr. Brainwash (Thierry Guetta). The same is happening at the 3 punts gallery stand, where the works by Samuel Salcedo, Gerard Mas, Alejandro Monge or Kiko Miyares stand out, this last one also being present in the space of the Gallery Arancha Osoro. The works by Collage Habana artists, Andy Llanes Bultó, Ernesto Rancaño, Roldán Lauzán Eiras y Daniel R. Collazo, have been photographed and shared on social media.

Carlo Borer

Cluster, 2011

Steel

45 x 65cm

Oliver Czarnetta

Spektrum, 2018

Resin

41 x 17cm

In the stand of Schmalfuss the works by Carlo Borer also stand out, abstract sculptures made of steel in which the spectators find an interesting game of reflections; likewise sculptures by Oliver Czarnetta, mysterious faces isolated with secrets inside. In the Robert Drees space, the most portrayed are the pieces in rubber by the South Korean Sun Rae Kim and paintings by the Spanish Pepa Salas. Also, within the proposal of the Bea Villamarín Gallery are works by Carlos Tárdez, Patricia Escutia and Mònica Subidé, whom we also find in the Yiri Arts gallery. We also highlight the works by Isabel Alonso Vega (Fucking Art Gallery), made from smoke and methacrylate, pieces that speak to viewers of "the intangible, of what is present but can hardly be seen, it is almost impossible to touch and much less to catch".

Alejandra Atarés

Jardin con fondo rosa, 2018

Oil and acrylic on linen

150 x 150cm

Manuela Eichner

Bruja, 2018

Collage on wood

60 x 45cm

The One Project space, the program curated by Nerea Ubieto, is having great success on social media. Pieces by Nuria Mora (Gallery About Art), Virginia Rivas (DDR Art Gallery), Manuela Eichner (RV Culture and Art) or those by Alejandra Atarés (Víctor) Lope) are the most shared images by instagrammers. Finally, we are happy to see that Rubén Martín de Lucas's audio-visual installation that welcomes the audience at the entrance is one of the works that is being recorded and photographed the most. We hope that this small guide will help everyone who wants to keep and share what they have seen in Art Madrid'19!

The painting of Daniel Bum (Villena, Alicante, 1994) takes shape as a space for subjective elaboration, where the figure emerges not so much as a representational motif but as a vital necessity. The repetition of this frontal, silent character responds to an intimate process: painting becomes a strategy for navigating difficult emotional experiences—an insistent gesture that accompanies and alleviates feelings of loneliness. In this sense, the figure acts as a mediator between the artist and a complex emotional state, linking the practice of painting to a reconnection with childhood and to a vulnerable dimension of the self.

The strong autobiographical dimension of his work coexists with a formal distance that is not the result of conscious planning, but rather functions as a protective mechanism. Visual restraint, an apparent compositional coolness, and an economy of means do not neutralize emotion; instead, they contain it, avoiding the direct exposure of the traumatic. In this way, the tension between affect and restraint becomes a structural feature of his artistic language. Likewise, the naïve and the disturbing coexist in his painting as inseparable poles, reflecting a subjectivity permeated by mystery and unconscious processes. Many images emerge without a clearly defined prior meaning and only reveal themselves over time, when temporal distance allows for the recognition of the emotional states from which they arose.

The Long Night. Oil, acrylic, and charcoal on canvas. 160 × 200 cm. 2024.

The human figure appears frequently in your work: frontal, silent, suspended. What interests you about this presence that seems both affirmative and absent?

I wouldn’t say that anything in particular interests me. I began painting this figure because there were emotions I couldn’t understand and a feeling that was very difficult for me to process. This character emerged during a very complicated moment in my life, and the act of making it—and remaking it, repeating it again and again—meant that, during the process, I didn’t feel quite so alone. At the same time, it kept me fresh and connected me to an inner child who was broken at that moment, helping me get through the experience in a slightly less bitter way.

Santito. Acrylic and oil on canvas. 81 × 65 cm. 2025.

There is a strong affective dimension in your work, but also a calculated distance, a kind of formal coldness. What role does this tension between emotion and restraint play?

I couldn’t say exactly what role that tension plays. My painting is rooted in the autobiographical, in memory, and in situations I have lived through that were quite traumatic for me. Perhaps, as a protective mechanism—to prevent direct access to that vulnerability, or to keep it from becoming harmful—that distance appears unconsciously. It is not something planned or controlled; it simply emerges and remains there.

Night Painter. Acrylic on canvas. 35 × 27 cm. 2025.

Your visual language oscillates between the naïve and the unsettling, the familiar and the strange. How do these tensions coexist for you, and what function do they serve in your visual exploration?

I think it reflects who I am. One could not exist without the other. The naïve could not exist without the unsettling; for me, they necessarily go hand in hand. I am deeply drawn to mystery and to the act of painting things that even I do not fully understand. Many of the expressions or portraits I create emerge from the unconscious; they are not planned. It is only afterwards that I begin to understand them—and almost never immediately. A considerable amount of time always passes before I can recognize how I was feeling at the moment I made them.

Qi. Acrylic on canvas. 81 × 65 cm. 2025.

The formal simplicity of your images does not seem to be a matter of economy, but of concentration. What kind of aesthetic truth do you believe painting can reach when it strips itself of everything superfluous?

I couldn’t say what aesthetic truth lies behind that simplicity. What I do know is that it is something I need in order to feel calm. I feel overwhelmed when there are too many elements in a painting, and I have always been drawn to the minimal—to moments when there is little, when there is almost nothing. I believe that this stripping away allows me to approach painting from a different state: more focused, more silent. I can’t fully explain it, but it is there that I feel able to work with greater clarity.

Crucifixion. Acrylic on canvas. 41 × 33 cm. 2025.

To what extent do you plan your work, and how much space do you leave for the unexpected—or even for mistakes?

I usually feel more comfortable leaving space for the unexpected. I am interested in uncertainty; having everything under control strikes me as rather boring. I have tried it on some occasions, especially when I set out to work on a highly planned series, with fixed sketches that I then wanted to translate into painting, but it was not something I identified with. I felt that a fundamental part of the process disappeared: play—that space in which painting can surprise even myself. For that reason, I do not tend to plan too much, and when I do, it is in a very simple way: a few lines, a plane of color. I prefer everything to happen within the painting itself.