When we talk of ephemeral art we think of works that are produced at a certain time and place, therefore, we tend to identify them with performance or happening. Artistic events are a very interesting facet of the new contemporaneity which thrill artists. One wants to overcome the traditional vision of static art, embodied in tangible support, to transform it into an experience. Installation art responds to this same idea. It is more like a fixed sculpture, but it usually incorporates elements that add movement, image or sound to the piece, in addition to being designed to last a certain time. With these ingredients, installations make their way into the rooms of museums, galleries, cultural centres and even the urban space, where it is easier to access because its occupation is only temporary.

Dan Flavin, light installation “Supernatural Breakdancer”, Menil Collection, 1996

Installation art is a manifestation that began in the 50´s of the last century, although in recent decades it has gained unsuspected attention thanks to some gigantic interventions by world-known artists. Its purpose is linked to the goals of conceptual art, the paradigm of contemporary expression since its beginnings. For this reason, installations are usually designed for a specific space, they are made for a particular place so that the discourse they convey is understood. For this reason, too, they are difficult to move and reproduce, as they will always require adjustment to the new placement.

Anish Kapoor, “Shooting into the Corner II”, 2008-2009 © Photo: Dave Morgan

On the other hand, the installation, like other manifestations of ephemeral art, seeks interaction with the viewer. Thus, as we said, it is not a question of creating an expanded sculptural piece that occupies the exhibition surface, but of creating a peculiar work, thought to motivate dialogue, in which outside-the-art-world elements or contributions from other disciplines are often incorporated, such as video, sound, technology... The aim is to delve into that message to be transmitted.

Eugenio Ampudia, “Sostener el infinito en la palma de la mano”, Sala Alcalá 31, 2019

The definition seems broad, however, any contact with an installation makes us easily appreciate the difference with sculpture. The latter is thought from a more classical conception of a static and enduring object, no matter how novel the topic and aesthetics are. The installation is precisely the opposite: it seeks the momentary, the impact of the discourse based on the arrangement of tangible elements and conceptual connections that will later disappear. In this sense, it is linked to experimental art, a context in which many art movements were born that incorporate movement and concept in their essence.

Olafur Eliasson placed this installation made from Greenland icebergs pieces in different locations of London to raise awareness on global warming

The versatility of installation art is practically infinite. The current means allow these works to be given a previously unknown dimension, either by integrating aspects related to technique and programming that blur the edges between installation or technological art or by the use of materials that allow working on a different scale. Likewise, installation of the new millennium may seek a bigger impact than a discourse purpose, or, on the opposite, serve to channel many of the concerns that we have today as a society, something that is characteristic of contemporary art in its many manifestations.

Kaws, installation into Hong Kong harbour, Photo: PH Yang

What is clear is that the installation, and especially the oversized one, is trendy in today’s contemporary creation world. Some well-known artists trust in this discipline when they design their exhibitions, and for this, they seek the complicity of the great museums and exhibition rooms, or of the cities themselves. It is the best method to spread their message, and to achieve the intended impact, many times one has to attract the public's attention going big.

At the most recent edition of Art Madrid, artist Luis Olaso (Bilbao, 1986), represented by Kur Art Gallery (San Sebastián), received the Residency Prize of the Art Madrid Patronage Program. This award, the result of a collaboration between Art Madrid, DOM Art Residence, and the Italian association ExtrArtis, enabled him to undertake an artistic residency in Sorrento (Italy) in August 2025.

Through initiatives like this, the fair reaffirms its support for contemporary creation—a commitment aimed at increasing artists’ visibility and strengthening art collecting through concrete actions such as acquisition prizes, recognition of emerging talents, and international residencies.

Artists in Residence. DOM & ExtrArtis. Image courtesy of Agata D’Esposito.

The DOM & ExtrArtis 2025 Residency Program took place in Sorrento from August 1 to 31, 2025. The artists lived together at Relais La Rupe, a 16th-century villa surrounded by cliffs and centuries-old gardens, which became an ideal setting for experimentation and exchange.

In this edition, residents worked around the theme “Reimagining Genius Loci”, an invitation to reflect on how the movement of people and traditions transforms the “spirit of place.” During the residency, DOM organized two public group exhibitions: the first to present the artists’ previous work, and the second to showcase the projects developed in Sorrento.

Work by Luis Olaso. DOM & ExtrArtis. Image courtesy of Agata D’Esposito.

Luis Olaso’s work moves between expressionist figuration and abstraction, always employing a pictorial language charged with strength and emotion. Initially self-taught, he later graduated in Fine Arts and has developed a solid international career, with exhibitions at venues including JD Malat (London) and Makasiini Contemporary (Turku, Finland), and participation in fairs such as Untitled Miami, Estampa, and Art Madrid itself.

His work is part of prestigious collections, including the Tokyo Contemporary Art Foundation, Fundación SIMCO, and the Provincial Council of Bizkaia, and has been recognized in competitions such as the Reina Sofía Prize for Painting and Sculpture and the Ibercaja Young Painting Prize.

In Sorrento, Olaso found a unique context to expand his pictorial research, engaging in dialogue with the Mediterranean landscape and the region’s historical heritage. The residency provided him with time, resources, and a framework for exchange with other international artists, fostering the production of new works that were later presented in the group exhibitions organized by DOM.

Luis Olaso working on his project. DOM & ExtrArtis. Image courtesy of DOM.

Luis Olaso’s experience at DOM Art Residence concluded with a public showcase of the works produced, reinforcing his presence on the international circuit and consolidating his position as one of the most prominent Basque artists on the contemporary scene.

Through initiatives such as this, Art Madrid demonstrates its active role as a platform for direct support of contemporary creation, creating opportunities for research, production, and intercultural dialogue that extend beyond the fair itself and accompany artists in their professional development.