Art Madrid'26 – JOSEP MARIA RIERA I ARAGÓ, GUEST ARTIST AT ART MADRID FAIR

 

The seabed and the sky, water and air, these are the territories that Riera i Aragó explores since his beginnings, to the controls of submarines and zeppelins, gadgets of almost magical nature that tell us about the totems of the twentieth century: the machines and their urgency. Faced with the frenzied rhythm of the last century, the artist stops the atmosphere thanks to his sculptures, bronzes and rusty iron that seem to float in an original element whose material we do not know.

 

 

Portrait of Josep Maria Riera i Arago

 

 

Josep María Riera i Aragó (Barcelona, ??1954) is the GUEST ARTIST at Art Madrid'17, which is held from 22 to 26 February at the Crystal Gallery of CentroCentro Cibeles, in Madrid's Art Week. As other artists, as Ouka Leele and Carmen Calvo, did in past editions, Riera i Aragó will be the author of the official poster of the fair whose image - one of his planes - will be transformed into a limited edition lithograph.

 

 

The expressive possibilities of his sculpture (weightlessness, floating masses), his dialogue with the urban scene and his plastic approach to this kind of "archeology of machinism", make the work of Riera i Aragó an essential piece to understand a generation of artists who, in the 80's of the past century, resumed in their own way the languages ??of painting and sculpture. Nature, whether as landscape to its suggestive sculptures or as ecologist inspiration/aspiration through the use of recovered materials, is another of its great themes and very present in its pieces of islands and in the series "protected species".

 

 

Work of the artist Jose Maria Riera i Arago

 

 

"If in other times artists had taken the landscape, mythological narratives or the human figure as themes of inspiration, Riera i Aragó opted for one of the most characteristic emblems of his time, the world of the machine and the artifacts in general. But it does not do so by a literal or mimetic realism, but by talking ironically about the machine, its transience, its capacity for suggestion, on a journey back and forth from real to imaginary space, which ultimately makes all these referents Be an immense excuse to make art "(Daniel Giralt Miracle)

 

 

The work of Riera i Aragó is present in important collections and museums around the world, among others: Musée de Céret, France; Joan Miró Foundation, Barcelona, ??Spain; Musée d'art Modern de Luxembourg, Luxembourg; Centro Cultural Arte Contemporáneo, Mexico D.F; Vincent van Gogh Fondation, Arles, France; Städtische Museen, Heilbronn, Germany; Museum Otani, Nishinomiya, Japan; MACBA, Barcelona, ??Spain; The Boeing Company, Chicago, USA; Collectie NOG Van Het. SNS Reaal Fonds, The Netherlands; Museum of Contemporary Art Union Fenosa, La Coruña, Spain. Among the exhibitions held in recent years are the extensive retrospectives of three museums in France, the Musée d'art modern de Céret and the Musée de Collioure, as well as the Musée d'art Modern André Malraux, MuMa, Le Havr. He did also its large format sculptures for the Tournay-Solvay Park in Brussels, within the framework of the exhibition dedicated by the Folon Foundation. Riera i Aragó lives and works in Barcelona.

 

 

 


ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. PERFORMANCE CYCLE X ART MADRID'26


Art Madrid, committed to creating a discursive platform for artists working within the field of performance and action art, presents Abierto Infinito: lo que el cuerpo recuerda, a proposal inspired by Erving Goffman’s ideas in The Presentation of Self in Everyday Life (Amorrortu Editores, Buenos Aires, 1997).

The project unfolds within a theoretical framework that directly engages with these premises, conceiving social interaction as a stage of carefully modulated performances designed to influence others’ perceptions. Goffman argues that individuals deploy both verbal and involuntary expressions to guide the interpretation of their behavior, sustaining roles and façades that define the situation for those who observe.

The body — the first territory of all representation — precedes both word and learned gesture. Human experience, conscious and unconscious alike, is inscribed within it. Abierto Infinito: lo que el cuerpo recuerda departs from this premise: representation inhabits existence itself, and life, understood as a succession of representations, transforms the body into a space of constant negotiation over who we are. In this passage, boundaries blur; the individual opens toward the collective, and the ephemeral acquires symbolic dimension. By inhabiting this interstice, performance simultaneously reveals the fragility of identity and the strength that emerges from encounter with others.


PERFORMANCE: ALTA FACTURA. BY COLECTIVO LA BURRA NEGRA

March 4 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.


"Discipline for Power.” Performance by La Burra Negra for Displacement of the Congress of Deputies by Roger Bernat. 2025.


Alta Factura subverts the conventional structure of the fashion runway to foreground the often-invisible processes that underpin artistic production. Through a series of conceptual textile works, the performance draws attention to the discipline of craft and the artist’s vulnerability, ultimately revealing those seams typically consigned to the margins, behind the scenes.


Colectivo La Burra Negra.


ABOUT EL COLECTIVO LA BURRA NEGRA

La Burra Negra is a nomadic performance art collective based in Málaga, founded in 2024 following its first residency in Totalán. The group is self-managed by Ascensión Soto Fernández, Gabriela Feldman de la Rocha, Sasha Camila Falcke, Sara Gema Domínguez Castillo, Sofía Barco Sánchez, and Regina Lagos González—six artists from diverse backgrounds and trajectories who met at the Hospital de Artistas at La Juan Gallery.

The collective brings together practitioners working across jewelry, painting, the performing arts, music, dance, cultural mediation, and arts management. Its activities include an annual residency in Totalán, the production of performative works, cultural mediation initiatives, and site-responsive interventions.

Since its inception, the collective has participated in the Periscopio series at La Térmica; presented A granel at the MVA in Málaga; carried out a number of actions in Totalán—the most recent during its second annual residency—and contributed its own proposals to the performance Displacement of the Congress of Deputies by Roger Bernat in Madrid.

At the core of La Burra Negra lies a commitment to collective creation and the exchange of knowledge. United in their effort to experiment with and disseminate performance art, the group explores the invisible dimensions of artistic labor—its temporalities, efforts, and relational dynamics, which so often remain unseen—as a form of critical affirmation.

Their practice emerges from dialogue and shared reflection, in the pursuit of decentralized spaces where art can be experienced and its processes made visible. Each residency and each action becomes an attempt to inhabit creation collectively, challenging conditions of precarity while fostering networks of care and collaboration that sustain both their own practice and that of those around them.