Kreisler, Schmalfuss, Sâo Mamede, Shiras and Kur Art Galleries

Since the beginning of the last century, especially after the important Russian Constructivism movement and the mythical Bauhaus School, there have been many creators who have continued working on geometric patterns either by their infinite combinations and artistic, although sometimes purely aesthetic, social or conceptual potential. In this new edition of Art Madrid you can enjoy a very particular scene of the most modern geometric abstract art.

Carmen Otero, "Reconstrucción 7", cedar wood and polychrome, 2018. Galería Kreisler.

In this sense, the works of five artists stand out within the selection presented by the Kreisler Gallery (Madrid). The work of Ramón Urbán is marked by a pure and resounding formal synthesis, essentiality always impregnated by a strong emotional character that pieces like “Sigo en la sombra lleno de luz” (2018) shows, presented in an accurate dialogue with the sculptures of the series "Reconstructión" (2018) by Carmen Otero. Sculpted in some of the most beautiful woods, they are works in which the designs of the Bauhaus School resonate -now more than ever in consonance with Alma Siedhoff-Buscher's famous designs- here embodied in modular portraits that the artist composes and decomposes delicately.

Juan Gerstl, "La alcachofa", aluminium with direct UV printing, 2018. Galería Kreisler.

Very different are the formal investigations of Miki (Guillermo Gutiérrez), oriented towards the dominance of the spatial properties of the void: his monochromatic bronzes are rhythmic, whimsical and present twisting forms. Also geometrical and apparently volumetric are the works of Juan Gerstl, while the paintings by Gerard Fernández Rico capture fluid evoking. Kreisler also includes in its proposal personal works, very characterized by a narrative component, of two artists: on the one hand, the daily dreamed stories of Liliana Golubinsky, and on the other, the more colourful and amusing, made by the versatile Sawe.

Willi Siber, "Wall object", lacquered multiple pieces, 2016. Galería Schmalfuss.

More geometric creations are presented with Schmalfuss (Berlin), a gallery that presents some of the celebrated “objects” and more recent works by Willi Siber, always lacquered and bright. Equally radiant are the steel sculptures by Carlo Borer, with rounded, sensual, even sometimes voluptuous shapes, in which the spectator will be able to find his distorted reflection, similar to those presented by Jörg Bach, works composed from energy centres to which their volumetric termination always return.

Thomas Röthel, "Drehung", steel, 2015. Galería Schmalfuss.

A very different way of working industrial materials is that of sculptor Thomas Röthel, more interested in the rectilinear profiles, most of the times interrupted by distorted and curved elements that question the rational logic. In addition, in the Schmalfuss space you can see the expressionist paintings of the painter Cristina Canale; and the latest sculptures by Oliver Czarnetta, mysterious stories encapsulated in resin in which he reflects once more on the passing of time and our ways of perception.

Georg Scheele

Rose, 2018

Marble

153 x 70cm

Susana Chasse

No Land. No Thing #04, 2018

Acrylic and graphite on MDF

140 x 140cm

The São Mamede Gallery (Lisbon / Oporto) arrives at Art Madrid with a wide abstract and geometric languages proposal. Some of these are sculptures in marble by Georg Scheele and Matthias Contzen, minimalist abstractions of nature by Scheele and more organic and meticulous works by Contzen. Thousands of either steel rods or piano strings make up the structural pieces of David Moreno that, although volumetric as the artist himself affirms, are pieces made “in the purpose of drawing sculptures”. The pictorial commitment of the Portuguese gallery is also led by abstraction: recent works such as Susana Chasse or Rui Tavares, centered in the line, the layout and the possibilities of a small color palette, together with the paintings of Gil Maia, where the palette is extended and the textures become leading roles. São Mamede Gallery proposal is closed with two more symbolic and very different authors: the gestural González Bravo and the more dreamlike Ana Maria.

Nanda Botella, "Grietas, franjas y color", mix media, 2018. Shiras Galería.

Shiras Galería (Valencia) also offers quite a broad exhibit that consists of the works of six artists from Valencia. In its space, you will see the iron pieces of one of the pioneers of the so-called New Spanish Sculpture, Miquel Navarro. An artist undoubtedly connected with the creators of the Avant-garde. Through their work, we can delve into their personal and distinctive vertical geometrical precision. The latest works by Nanda Botella are also determined by vertical compositions; while the expressive brushstroke of Juan Olivares appears to disrupt all this order. The pictorial gesture, the brushing or scraping, passionate “emotional traces” dominate his colourful paintings, more recently also decomposed and framed in methacrylate.

Juan Olivares, "Sin Título", vinyl paint on heavyweight paper, 2018. Shiras Galería.

The diverse proposal of Shiras is completed with three very different painters. On the one hand, the essentiality of the round shapes, dominated by flat colours, which continue to distinguish the oils made by the great painter Rosa Torres.On the other hand, we have the oil paintings of José Saborit, landscapes of essential horizons where the painter demonstrates his excellent ability to capture atmospheres. And finally, the gallery presents Horacio Silva’s paintings on sheet metal, a symbolic approach in which the author highlights the sensitive qualities of this cold material.

Íñigo Arregi, "Sin Título", weathering steel, 2018. Kur Art Gallery.

Perhaps the most absolute geometric proposal is that of Kur Art Gallery (Guipúzcoa), featuring only local artists, great followers of the unique Basque creation of the twentieth century. We will see the volumetric collages, works in weathering steel, of Íñigo Arregi, canvases in which he continues to investigate the ways in which geometric forms are interconnected and interwoven. Likewise, the zinc pieces of Iñaki Olazaba are presented, absolute in their presence as in their contours; also part of the sculptural work of the landscape painter Aitor Etxeberría. Kur closes its exhibit for Art Madrid with two painters: J. Ramón Elorza, of which they present some of the more expressive works, featuring floating geometric objects; and Bingen de Pedro, who will surprise us again with his architectural trompe l'oeil. As the artist explained, when working on several canvases at the same time, contaminations arise between them, revealing relationships born from the way in which he orders and places the canvases, a random method that provides the final paintings with an impressive volume.

In short, an extensive group of artists that work from geometry and that we can enjoy in this unique occasion in the new Art Madrid edition.

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.