Art Fairs are much more than a space for economic exchange, they are a space for symbolic exchange, for intangible goods. Alberto Cornejo, Director of Art Madrid'18

Alberto Cornejo

He has directed Art Madrid for 4 years, with a family of gallerists, Alberto Cornejo has surrounded himself with a young team that has managed to give the fair a new, fresher style, connected with the "new contemporary art" and new technologies. His objective is to be the fair of the future, realistic, connected, at the service of galleries and creators.

Since the change of location of the fair and the new team, how do you assess the evolution of the fair?

Very positively, it can not be otherwise. The new team has made possible to consolidate a fair with a long history, thanks to a new fresher style and more up to date with the movements of the sector, a team that is closer to the new profile of creator and collector that has been developed in our country in the last years. The venue, undoubtedly, has been an essential element so that the fair, in turn, fits into the agenda of more audiences, of different profiles, a wide audience that includes experts, professionals and collectors but also the general public that given the proximity and comfort of the space do not hesitate to make Art Madrid one of his visits in the Week of Art.

We like to know that many people have developed their taste in the art world thanks to us, by making ourselves more accessible and more open. We want to think that, in addition to keeping our audience more loyal, we are sensitizing a new type of public and that we are the reference for a new generation of collectors. The collector is younger now, has a more personal interest in more personal art, their appetites are more intimate, they buy for pleasure, for "falling in love" and not so much for investment. Art is part of their lives as a book or an object with which you identify. This public finds in Art Madrid a space with interesting pieces and at reasonable prices in which to start their collection.

There is more and more international presence in AM, what is it? Is it a bet of the fair itself?

Art Madrid has specialized in promoting and disseminating contemporary Spanish art, eminently but the truth is that international galleries are increasingly interested in the fair. This year, for example Art Madrid has galleries from Germany, France, Cuba, Brazil, Taiwan, Portugal, Ukraine and China. Portugal is the foreign country with more representation this year in the General Art Madrid Program, with artists such as João Noutel, João Santos, Ana Pais Oliveira, Rui Dias Monteiro, Isabel Sabino and Moisés Duarte. The Ukrainian artist Andrey Zadorine will surprise us too with a monographic painting stand... It is the experience of every of them what makes possible that galleries around the world trust in the fair.

What would you highlight in this year's edition? Artists, actions, galleries...

This year we have bet, without a doubt, for the new talents, to know the work of a new generation of artists. Spain has a great talent and has much to offer but, due to the specific collector tradition and the economic circumstances of the country, many artists have found themselves in need of building their career abroad. In this sense, both the galleries and the fairs have had to take a step forward and be increasingly spokespersons for these emerging artists who need an infrastructure and a wider dissemination platform and, in this sense, Art Madrid is a launching fair for young talents particularly those based in our country. We have examples of artists that we consider "part of the fair" because we have seen them form and grow, as the photographer Irene Cruz for example. The One Project program, curated by Carlos Delgado Mayordomo, works to this objective, that of serving as a showcase for talent, of creating an invoice for names that will be discussed in the future. In this 2018 edition there is an outstanding presence of young artists with a very mature and solvent work. Without a doubt, we are facing a new generation of highly committed creators with an intense and interesting work to which we want to give voice.

Why OKUDA as a Guest Artist? It is an important generational and stylistic leap...

Betting for Okuda San Miguel has been a commitment to the so-called "new contemporary art", which includes all forms of urban art, pop surrealism ... Okuda is one of the young artists with more international repercussions, he has managed to be the total artist, the global artist, the mixture of cultures beyond the market, mixing the influences that exist between the art of all the countries, Okuda condenses the image of the current urban art. His work is colorful and risky and we wanted to join this wave, his strength ... This year, in addition, there is an outstanding presence of urban art and pop-art at the fair. Okuda San Miguel is preparing an exclusive work for the fair, a limited edition that will be available for Art Madrid attendees.

In recent years, a thematic alternative program of activities has been consolidated, as well as the One Project program mentioned above... What added value bring these parallel programs to Art Madrid?

These programs allow us to deepen the art from various perspectives and this makes us more attractive for more audiences. As One Project allows us to make known emerging names, more risky, more personal projects and brings us closer to a more reflective type of public and more committed to the most personal art; The Parallel Program allows us to talk about transversal aspects to art, the relationship of art with other aspects of life, its connection with other social realities such as gender issues, technology ... or, this year, education. Fairs are much more than a space for economic exchange, they are a space for symbolic exchange, for intangible goods.

What are the challenges that AM faces in this edition and facing the future? What does AM want?

Art Madrid has always tried to be a pioneer in the art market and has wanted to respond to the demand of the sector with a strong commitment to the digital presence. In this edition, it goes much further, since we have launched an online sales platform to support the participating galleries before, during and after the fair. This initiative will help to give great visibility to galleries and artists, eliminating borders and expanding horizons.

Our goal has always been to encourage interest in contemporary art, so now the relationship with our public will be permanent throughout the year, through its own content, curated exhibitions and various events. The health of our art market, which is very powerful, depends to a great extent on generating synergies that move in the same direction. We have no doubt that this is just the beginning of numerous projects that Art Madrid will be able to host based on its presence and digital reputation.

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.