Art Madrid'23 presents the section of interviews conducted by the art critic and curator Alfonso de la Torre in which he discovers, in greater depth, the artistic universe of the eight most outstanding creators of the following Art Madrid edition. The section, which presents the artists from private conversations and with its own content, will be included in a common theme around the figure of the artist and their practices in the national art market.

Starting on January 13, we will enjoy two weekly interviews that can be read in full on the Art Madrid website or viewed on video on the fair's Instagram channel.

About Alfonso de la Torre:

Alfonso de la Torre (Madrid, 1960) theoretician and art critic. Specialist in contemporary Spanish art. He has curated more than a hundred exhibitions; He has published essays and poetry and taught courses at various universities and institutions: MNCARS, Museum of Teruel, University of the Andes, Menéndez y Pelayo International University, University of Córdoba, University of Granada, University of Castilla-La Mancha, UIMP, UNIA, Nebrija University or the University of La Sorbonne. He belongs to the International Association of Art Critics (AICA).

Alfonso de la Torre, photo by Carlos Schwartz ©

Perceval Graells, (Elche, 1983) (Alba Cabrera Gallery) seeks, through her works, to provoke a personal reflection in viewers about how we face the process of overcoming pain throughout our history; turning that pain into a space of peace and calm where we can recreate ourselves and reflect. In the work of Martínez Cánovas (Murcia, 1980) (Inéditad) we will find, through a surreal and symbolic imaginary, a direct connection with the philosophical thought of antiquity in philosophers who, like Aristotle, argued that death is the most terrible of all things and that fearing this and other truths is even fair and noble. The works of Cristina Gamón, (Valencia, 1987) (Shiras Galería) are distinguished by a visual freshness that the artist manages to achieve through a complex technique of unreal images, capable of transporting us to the oceanic abysses in which our mere presence is astonished before the magnitude of the color.

The works of Nicolás Lisardo (Las Palmas de Gran Canaria, 1978) (Manuel Ojeda Gallery) aim to assess existential limits, adding a metaphysical tonality to those eroded facades of the city. It is an anti-picturesque scenario, which has the firm intention of moving us to the perception of the idea (eidos forme).

Isabela Puga's (Caracas, 1997) (BAT Alberto Cornejo Gallery) interest in architecture and urbanism make these disciplines a substantial part of her creative process, from which she drinks and adopts, especially her own geometric style. - pictorial. Starting from opposites: the shine of gold and the darkness of black, the artist questions and investigates essential elements such as depth, color, light, and space in her works. She intends to foster the relationship between subject-object and space. The paintings by Francisco Mayor Maestre, (Madrid, 1990) (Aurora Vigil-Escalera Gallery) flood the set with color, excessive vegetation, and impossible planes that break the figuration of the work. Outstanding in his conception of shared spatiality are curtains, awnings, laundry, and air conditioning units... In an investigation of the freedom of painting, the exploration of spaces, and the claim of individuality. The plastic works that Pedro Peña Gil (Jaén, 1978) (Metro Gallery) has carried out in recent years, constitute a return to the attitude of those explorers who wanted to extract the light qualities. Although, in his case, adding the element that best presents him: color. The experimentation of these works, like the first photographers, leads him to take the images of the world as a metaphor for the anonymous Petri dishes. Mario Soria (Barcelona, 1966) (Gallery N2) is a profound connoisseur of the western pictorial tradition and its techniques, and he uses them to subvert them with his particular sense of humor. His works mix American pop art and the European tradition he calls “interstellar pop surrealism.”

LECTURAS. CURATED WALKTHROUGHS BY ART MADRID'26

Lecturas: Curated Walkthroughs by Art Madrid’26 is a cultural mediation initiative designed to bring audiences closer to the exhibitions presented by the participating galleries in this edition. Its aim is to transform the experience of the fair into an opportunity to reflect on the work of the artists featured, to analyze contemporary issues through their works, and to awaken new perspectives in society—thus fostering a critical and contextualized understanding of contemporary art as an instrument for cultural and social dialogue.

In this edition, art historians and cultural communicators Zuriñe Lafón and Marisol Salanova will address, from complementary approaches, diverse perspectives on contemporary creation and its impact within today’s social context.

Each thematic walkthrough will be structured around a carefully curated selection of ten works, accompanied by a solid curatorial discourse aimed at deepening their analysis, context, and significance. Beyond aesthetic contemplation, these guided visits will promote a critical understanding of contemporary art, facilitating direct dialogue between the audience and the curators, and encouraging a participatory and enriching experience.

With this third edition, Lecturas: Curated Walkthroughs x Art Madrid consolidates Art Madrid’s commitment to cultural mediation and the dissemination of contemporary art, offering an immersive proposal that expands interpretative frameworks and fosters the inclusion of new audiences within today’s artistic landscape.

CONSTRUCTIONS OF THE VISIBLE. CURATED WALKTHROUGH BY ZURIÑE LAFÓN

Constructions of the Visible proposes a journey shaped by one central idea: every image is a way of organizing the visible. Rather than understanding abstraction as a withdrawal from the world and figuration as fidelity to reality, this itinerary presents both as perceptual strategies. They are not opposing styles, but different ways of ordering experience. Each artist deploys a distinct strategy that affects our way of looking. Through framing, color, repetition, geometry, or fragmentation, the works do not merely show something; they position us within a particular mode of relating to the visible. They do not simply represent the world—they construct an experience from it.

As the viewer moves through the selection, they encounter different intensities of mediation. Some pieces begin with recognizable images—bodies, spaces, scenes—that appear to offer a direct relationship with reality. Yet as the gaze lingers, it becomes evident that this familiarity is carefully articulated. The rhythm of forms, the distribution of color, the organization of space, or the repetition of certain elements reveal that even the most seemingly transparent image is sustained by an underlying structure.

Other works, by contrast, reduce or transform figurative reference almost to the point of dissolution. Where the recognizable world appears to disappear, the constructive dimension of the image emerges forcefully. Geometry, gesture, or chromatic vibration do not function as an escape from reality, but as intensified forms of the world’s own appearance. Abstraction ceases to be perceived as distance and instead manifests as another way of sustaining reality—of making it appear under different conditions.

The walkthrough adopts a circular structure: it begins and concludes with the same work. This gesture does not seek repetition, but transformation. After passing through different works, different configurations of the visible—from the recognizable to the apparently abstract—the initial image can no longer be read as a faithful representation of reality. It is revealed as yet another construction within a broad field of perceptual possibilities. What changes is not the work itself, but our position before it. Looking ceases to be a passive act and becomes an active practice, an exercise in relation.

As Andrea Soto Calderón suggests, images do not merely reflect the world: they make it appear. From this perspective, the fair may be understood as a micro-cartography of ways of seeing, a space in which each work proposes a singular form of perceptual experience. The visible is not a stable datum or a neutral surface, but a process in constant elaboration, renewed in the encounter between artwork and viewer.

Constructions of the Visible does not propose a closed classification, but an invitation: to pause, to question appearances, and at the same time to allow oneself to be affected by the creative power of forms. In the movement between figuration and abstraction, we discover that every image is an operation—a way of ordering experience. The walkthrough invites us to assume this perceptual responsibility and to recognize that reality is not simply there: it is constructed in every act of creation.

SELECTION OF GALLERIES AND ARTISTS:

Ana Cardoso — Galeria São Mamede. Antonio Barahona — Galería María Aguilar. Leticia Feduchi — Galería Sigüenza. Joost Vandebrug — Kant Gallery. Beatriz Castela —Galería Beatriz Pereira. Fernando Mikelarena— Kur Art Gallery. Camil Giralt — Pigment Gallery. Virginia Rivas — Galería Beatriz Pereira. Miguel Piñeiro — Moret Art. Maria Svarbova — Galería BAT alberto cornejo.

ABOUT ZURIÑE LAFÓN

Zuriñe Lafón. Courtesy of the curator.

Zuriñe Lafón (1987) holds a PhD in Audiovisual Communication from the University of Navarra with the dissertation Francisco Calvo Serraller, Art Critic. Since 2015 she has devoted herself to research and teaching in Visual Culture, delivering courses such as Visual Culture, Photojournalism, Editorial Design, Foundational Texts on Photography, Digital Media Editing, and Fashion and Artistic Movements. She has taught at the University of Navarra, Universitat Internacional de Catalunya, UNIR, and the University of Montevideo. She has also worked in cultural departments of institutions such as El Correo Bilbao and the Museo Thyssen-Bornemisza in Madrid.

Through her project Atelier de imágenes, she shares research and outreach on contemporary images, creating a space dedicated to reflecting on painting, photography, and cinema. She is currently writing the book Uninhabiting the Frame, a research project on the ontology of photography through selected photographic archives of women in Spain.

“THE PREDOMINANCE OF BRILLIANT AESTHETICS”. CURATED WALKTHROUGH BY MARISOL SALANOVA

Framed by the theme “The Predominance of Brilliant Aesthetics”, this selection brings together works that understand brilliance not as superficiality, but rather as visual strategy, as contemporary seduction, as a symptom of an era that requires impact, color, polish, and perhaps at times certain excesses in order to think (itself).

This proposal, in which works of different formats and techniques coexist and are created by artists from various generations, opens a debate aimed at better understanding our present aesthetic condition—one in which the public is invited to participate.

Marisol Salanova approaches brilliant aesthetics as a tension rather than a closed solution. In the works of Urdiales and Celada, brilliance appears as an internal conflict within pictorial language; in Monge and Okuda, so different from one another, as a direct spectacularization of space and the urban imaginary; in Juncal, Rivas, and Alpuente, as a fragile balance between material and perception; and in Palito Dominguín, as an iconographic and symbolic affirmation, almost performative in nature. What particularly interests the curator and critic about this group is that brilliant aesthetics is not perceived as unified, but fragmented—at times ironic, at times ornamental, at times almost violent; elsewhere softened or symbolic. It is not an innocent brilliance: it seduces, imposes, distracts, and orders the gaze, much like the visual ecosystem in which we live today.

SELECTION OF ARTISTS AND GALLERIES:

Eduardo Urdiales — Inéditad Gallery. Arol — Est_ArtSpace. Perrilla — Est_ArtSpace. Ángel Celada — Galería BAT alberto cornejo. Antonio Ovejero — CLC Arte. Alejandro Monge — 3 Punts Galería. Okuda San Miguel — 3 Punts Galería. Steen Ipsen — Kant Gallery. Marina Puche — Galería Alba Cabrera. Marcos Juncal— Galería La Mercería. Gemma Alpuente — LAVIO. Palito Dominguín — DDR Art Gallery.

ABOUT MARISOL SALANOVA

Marisol Salanova. Foto de Bertha Delgado.

Marisol Salanova is an art critic, exhibition curator, and director of the platform Arteinformado. She is a regular contributor to ABC and Cadena Ser. She holds a degree in Philosophy and a Master’s degree in Artistic Production. She has taught at university level and has published essays such as Art Criticism Today (Akal, 2024).