The activities program that Art Madrid carries out every year always reserves space on the agenda to organise a meeting with professionals in the sector. The goal is to provide a vision more linked to institutional and work practice around the topic that linchpins the set of activities, and in this past edition we had the opportunity to focus on the evolution of the use of the image, video art and the entry on stage of technological art and new media. With these meetings, the renowned voices of curators, directors of creative centres, critics, academics or cultural agents opens up a forum for debate in which to overpass the plane of artistic production to focus on that of exhibition or presence by the exhibition spaces, what invites to reflect on how the process of institutionalization of contemporary art takes place.

Within the framework of the program on video art, new media and performance, the subjects that underpinned the proposal, we were fortunate to have the participation of Rafael Doctor, Karin Ohlenschläger and Berta Sichel in a round table conducted by Miguel Álvarez-Fernández. The professional background of these three curators, cultural agents and historians over the years adds to their experience in charge of departments or institutions of great prestige in the national territory. This allowed them to lead an encounter in which they shared their theoretical knowledge, but also contributed their vision from the management of art centres, identifying gaps and strengths of the system.

It is also remarkable that the most recent professional experience of the speakers has been linked to distant geographical areas within the country, which also offers a more enriching panorama, close to the cultural reality of the whole territory, on a northern-southern axis that portrays the socio-political circumstances to which the contemporary creation sector is sometimes subject.

Photo by Romer Ramos

Rafael Doctor is a historian, independent curator and cultural manager, specialising in the History of Photography and contemporary art. In his role as director, he has been in charge of the Andalusian Photography Center (CAF) between 2017 and 2019, he directed the programming of Canal de Isabel II (1993-2000), the Espacio Uno of MNCARS (1997-2000) and the department of Plastic arts from Casa de América (2001), and was also the first director of MUSAC (2002-2009). Thanks to his long career, Rafael summarised the history of photography from its origins to get to deal with the moving image, a somewhat later discipline that, however, was in the pulse of creative interest since technology made it possible the capture of the image on fixed supports. The transition from a purely documentary interest to an artistic one occurred early, and all of them led to a series of creative movements that marked the great milestones of video art throughout the 20th century. Today we speak of this discipline as something new, when the novelty is the updating of technique and the easy access to the modes of creation, but not so much the creative impulse or the discursive concerns that underlie this type of work.

Photo by Romer Ramos

For her part, Berta Sichel, a cultural agent, curator and director of the Bureauphi Art Agency project, took advantage of her experience in charge of the audiovisual department of the Museo Nacional Centro de Arte Reina Sofía in its early years, to tell us how the museum built up its video art collection. Berta was responsible for curating the selection of pieces for the collection. She aimed to tackle a wide window of time that truly represents world video art, although this objective had to be reduced to adapt to the budgetary conditions that the museum was going through, which is why there is more presence of works in the first years of the movement (1960s) than later decades. During her speech, Berta emphasised one of the characteristics of the beginnings of video creation as a phenomenon: that it was art made mostly by women. The rise of traditional disciplines along with the trend of prevailing male roles in public artistic life as well as in the market made video art an accessible resource for the women authors, who approached their works many times from the seclusion of their own homes. This is also one of the reasons why video pieces very often have a denouncing component around gender issues and capture environments or realities more connected to family, domestic settings.

Photo by Romer Ramos

Karin Ohlenschläger is also a curator, critic and contemporary art theorist. From 2002 to 2006 she was co-director of the MediaLab Madrid program at the Conde Duque Cultural Center in Madrid, and has been in charge of numerous festivals and projects connected with new media and technology. Today she is the director of activities for the LABoral Center for Art and Industrial Creation, in Gijón, an exhibition space specifically dedicated to art, science, technology and the visual industries. Karin has specialised in action art, postmedia art and new transversal creation projects that merge languages, taking references from fields such as communications or science. Thanks to her experience in these years, she offered us an overview of the hybridization of art since the last decade of the 20th century, a period in which many processes initiated during the 70s-80s culminate and which originate collaboratively based creative processes that aspire to break the barriers between branches of knowledge (biotechnology, programming, artificial intelligence) to generate another form of knowledge, materialised in works of art. Today we have gone from the digitisation of creations to the materialisation of digital proposals. Karin's talk leaves a door open to the future of art to come, knowing that the paths to explore will be almost infinite.

Foto de Marta Suárez-Mansilla

The conference was moderated by Miguel Álvarez-Fernández, a jurist, musician, music theorist, and composer, who, in addition to working as a curator and expert in sound art, has directed the radio weekly program Ars Sonora since 2008. Miguel's knowledge of the topic of debate and of the speakers facilitated an easy and friendly conversation in which many people in the audience wanted to participate during Question Time.

The round table took place in the auditorium of Sala Alcalá 31 on Thursday 20th of February. We want to thank the space for its support and, in particular, Antonio Sánchez Luengo for his excellent reception of the proposal to host part of the “Art Madrid-Proyector’20” program.

Art Madrid’26 presents One Shot Collectors, a program sponsored by One Shot Hotels that returns to the fair -now in its sixth edition- with the goal of making contemporary art collecting more accessible and encouraging new and established collectors alike. The initiative is designed to support both art professionals and new audiences interested in starting or strengthening a collection by providing tools, knowledge, and specialized guidance.

One Shot Collectors promotes an informed and approachable way of acquiring artworks, understanding collecting as a process that requires discernment, context, and time. The program serves as a bridge between the public and the artworks presented at the fair, fostering a confident and well-informed relationship with the art market.

The program is directed by Ana Suárez Gisbert, an art advisor with extensive experience in the art market. Her background includes artwork valuation and appraisal, as well as personalized advisory services throughout the acquisition process, helping participants identify works that align with their interests, budget, and goals. Her approach combines technical rigor with a strong commitment to best practices and sustainability within the art ecosystem.

Art collecting goes beyond the purchase of a single work. It involves an intellectual, aesthetic, and personal journey that connects collectors with the artist’s context, discourse, and creative process. Building a collection means developing a personal point of view, making informed decisions, and allowing the collection to evolve coherently over time, guided by enjoyment and confidence in one’s own taste.

So how do we decide where to focus and how to move forward? Where do we begin? How does one purchase connect to the next? A successful acquisition comes from following personal interests, learning to recognize what truly resonates with us, and staying informed before and throughout the process.

During Art Madrid’26, One Shot Collectors offered a personalized advisory service tailored to different profiles: established collectors, individuals acquiring their first artwork, and companies interested in developing collections aligned with their values and brand identity. The program adapts to a wide range of needs and offers customized tours of the fair based on aesthetic, conceptual, and budget considerations.

Our Art Advisor prepares a curated selection of artworks according to each buyer’s criteria and provides support throughout the negotiation process, offering a professional and strategic perspective. In this way, collecting becomes an informed, coherent, and rewarding experience.

Beginning a collection may stem from a desire for knowledge and aesthetic, social, economic, or even corporate exploration. At Art Madrid, we encourage collecting among individuals and companies interested in patronage and investment. This initiative is aimed at both professionals and contemporary art enthusiasts who wish to start or continue building a collection. Art Madrid presents a wide variety of works across disciplines such as photography, painting, sculpture, and installation, spanning a broad range of price points.

Whether you are an experienced collector, a first-time buyer, or a company seeking to express its values through art, the One Shot Collectors program offers a comprehensive experience.

ABOUT ONE SHOT HOTELS. SPONSOR OF ART MADRID

One Shot Hotels is a collection of 14 boutique hotels set in some of the most desirable locations in Madrid, Barcelona, Valencia, Seville, San Sebastián, and Porto. In 2026, the brand will expand its presence with new openings in three additional destinations: Ibiza, Lisbon, and Bilbao. Each property embodies a strong commitment to design, creativity, and aesthetics, seamlessly weaving art and culture into every space.

More than places to stay, One Shot Hotels are destinations with soul. Every interior reflects artistic sensitivity and an uncompromising attention to detail, offering guests a memorable experience where comfort, style, and culture coexist effortlessly. A spirit of closeness, innovation, and a deep passion for the arts defines the brand’s identity and shapes the way it connects people with the creative essence of each city it inhabits.

Through initiatives such as One Shot Collectors, the hotel group brings art and culture closer to both guests and visitors, fostering meaningful connections between its hotel spaces and the creative pulse of each destination.

ABOUT ANA SUÁREZ GISBERT. PROGRAM ART ADVISOR

Ana Suárez Gisbert holds a law degree from Complutense University of Madrid, with a specialization in international law and the international trade of artworks. She is a certified art and antiques appraiser and court-appointed expert through Antonio de Nebrija University, and a partner at the art appraisal firm Art Value Project.

She has carried out appraisal work for major collections and insurance companies and has represented leading international publications in the fields of art and design, including Frieze, Frieze Masters, and Gagosian. She currently combines her work at the appraisal firm with an art and sustainability project for private companies and municipal institutions

The advisory service is part of Art Madrid’26 One Shot Collectors Program and is completely free for participants who register in advance. To receive personalized advice, please request more information at vip@art-madrid.com or register using the following form: