The Contemporary Art Fair Art Madrid , with 13 years of experience and a solid project that counts on the trust of national and international galleries, takes a step forward in its professional services and launches Art Madrid Market, an online sales platform that will provide service and support for the galleries throughout the year and which will also be a virtual space for the presentation of new artists without a gallery selected by curators and a committee of experts.

THE PLATAFORM

Art Madrid Market is the first online sales platform developed by an art fair based on these 4 pillars:

1) Relationship with the public 365 days, 24h.

2) Work sale service and communication campaign to the participating galleries (before, during and after the fair).

3) Platform for launching artists without a gallery selected by curators and a committee of experts.

4) Generation of own contents disseminated to the public: selection of outstanding works, virtual exhibitions, curatorships and collaborations...

Art Madrid MARKET is the ideal environment that offers all the information of the galleries, artists and works of Art Madrid'18, an e-commerce platform in which the user can make a direct consultation on all available works of the fair and where users and followers will be able to enjoy the advantages of buying art online, directly and safely. Art Madrid MARKET promotes the visibility and the trade of galleries and artists, eliminates boundaries between gallery owners and the public and expands the horizons of online art sales for the global market.

On the platform, each gallery will have a virtual space in which to put on sale its catalog of works of the artists present in AM18 and also curate and select their own online exhibitions. The gallery will have a user panel where it can manage the information of its artists and their works, a control panel with visibility of statistics, metrics and the status of shipments. The support to the galleries will be done before, during and after the fair.

For the gallery, Art Madrid MARKET is the perfect complement to disseminate its artistic projects nationally and internationally, since it will allow a direct and permanent relationship with the public throughout the year, through its own content and several events:

Online exhibitions curated for galleries and their artists. Exhibitions where the galleries may temporarily present the curatorial projects.

Support services in communication and marketing campaigns to the galleries for their exhibitions, expanding the scope and dissemination of their proposals.

Positioning and presentation of new artists. Platform for launching new artists / new talents without a gallery. Art Madrid MARKET will serve as a presentation letter between the public and the fabric of galleries.

This is just the beginning of numerous projects that Art Madrid will host, based on its presence and digital reputation.

ART MADRID COMMUNITY

Art Madrid carries out an important work of communication and diffusion of its projects with a 360º strategy that includes continuous contents in online and offline media from the previous phases of the fair (call, presentation of programs...), to the own actions of the fair (participating gallerists, featured artists, partners and collaborators, parallel activities), including the subsequent balance of the event. Aware of the impact that social networks have today and their inestimable value in contemporary communication, Art Madrid carries out an annual planning that includes Facebook, Twitter and Instagram, speaker of its news and means to know and make known new artists, new proposals, new research topics, as well as an essential channel to know first hand what our potential audience wants.

Art Madrid’s website has become a complete multi-channel communication platform for news of its own creation (related to the fair and its participants) and a source of information on current issues related to contemporary art, galleries, collecting, etc... and now, also, in a modern online sales tool.

Art Madrid has an active community of 30,000 unique users per month from more than 40 countries and an AUDIENCE of 3 million users reached with 100k interactions.

WEB: +30k users

NEWSLETTER: +10.2k contacts

REDES SOCIALES: 40k followers

TWITTER: +20.8k

FACEBOOK: +17.9k

INSTAGRAM: + 10.7k

The practice of the collective DIMASLA (Diana + Álvaro) is situated at a fertile intersection between contemporary art, ecological thinking, and a philosophy of experience that shifts the emphasis from production to attention. Faced with the visual and material acceleration of the present, their work does not propose a head-on opposition, but rather a sensitive reconciliation with time, understood as lived duration rather than as a measure. The work thus emerges as an exercise in slowing down, a pedagogy of perception where contemplating and listening become modes of knowledge.

In the work of DIMASLA (Diana + Álvaro), the territory does not function as a framework but rather as an agent. The landscape actively participates in the process, establishing a dialogical relationship reminiscent of certain eco-critical currents, in which subjectivity is decentralized and recognized as part of a broader framework. This openness implies an ethic of exposure, which is defined as the act of exposing oneself to the climate, the elements, and the unpredictable, and this means accepting vulnerability as an epistemological condition.

The materials—fabrics, pigments, and footprints—serve as surfaces for temporary inscriptions and memories, bearing the marks of time. The initial planning is conceived as an open hypothesis, allowing chance and error to act as productive forces. In this way, the artistic practice of DIMASLA (Diana + Álvaro) articulates a poetics of care and being-with, where creating is, above all, a profound way of feeling and understanding nature.

In a historical moment marked by speed and the overproduction of images, your work seems to champion slowness and listening as forms of resistance. Could it be said that your practice proposes a way of relearning time through aesthetic experience?

Diana: Yes, but more than resistance or vindication, I would speak of reconciliation—of love. It may appear slow, but it is deliberation; it is reflection. Filling time with contemplation or listening is a way of feeling. Aesthetic experience leads us along a path of reflection on what lies outside us and what lies within.

The territory does not appear in your work as a backdrop or a setting, but as an interlocutor. How do you negotiate that conversation between the artist’s will and the voice of the place, when the landscape itself participates in the creative process?

Álvaro: For us, the landscape is like a life partner or a close friend, and naturally this intimate relationship extends into our practice. We go to visit it, to be with it, to co-create together. We engage in a dialogue that goes beyond aesthetics—conversations filled with action, contemplation, understanding, and respect.

Ultimately, in a way, the landscape expresses itself through the material. We respect all the questions it poses, while at the same time valuing what unsettles us, what shapes us, and what stimulates us within this relationship.

The Conquest of the Rabbits I & II. 2021. Process.

In your approach, one senses an ethic of exposure: exposing oneself to the environment, to the weather, to others, to the unpredictable. To what extent is this vulnerability also a form of knowledge?

Diana: For us, this vulnerability teaches us a great deal—above all, humility. When we are out there and feel the cold, the rain, or the sun, we become aware of how small and insignificant we are in comparison to the grandeur and power of nature.

So yes, we understand vulnerability as a profound source of knowledge—one that helps us, among many other things, to let go of our ego and to understand that we are only a small part of a far more complex web.

Sometimes mountains cry too. 2021. Limestone rockfall, sun, rain, wind, pine resin on acrylic on natural cotton canvas, exposed on a blanket of esparto grass and limestone for two months.. 195 cm x 130 cm x 3 cm.

Your works often emerge from prolonged processes of exposure to the environment. Could it be said that the material—the fabrics, the pigments, the traces of the environment—acts as a memory that time writes on you as much as you write on it?

Álvaro: This is a topic for a long conversation, sitting on a rock—it would be very stimulating. But if experiences shape people’s inner lives and define who we are in the present moment, then I would say yes, especially in that sense.

Leaving our comfort zone has led us to learn from the perseverance of plants and the geological calm of mountains. Through this process, we have reconciled ourselves with time, with the environment, with nature, with ourselves, and even with our own practice. Just as fabrics hold the memory of a place, we have relearned how to pay attention and how to understand. Ultimately, it is a way of deepening our capacity to feel.

The fox and his tricks. 2022. Detail.

To what extent do you plan your work, and how much space do you leave for the unexpected—or even for mistakes?

Diana: Our planning is limited to an initial hypothesis. We choose the materials, colours, places, and sometimes even the specific location, but we leave as much room as possible for the unexpected to occur. In the end, that is what it is really about: allowing nature to speak and life to unfold. For us, both the unexpected and mistakes are part of the world’s complexity, and within that complexity we find a form of natural beauty.