LA QUEDADA. STUDIO VISIT. ART MADRID'25

Art Madrid invites you to #LaQuedada!

To celebrate our twenty years of contemporary art, we have organized a parallel program of activities under the theme "City Territory," which focuses on public space, the city, and territory as central elements of artistic practices. This program will include events throughout February and during Madrid Art Week at the Galería de Cristal of the Cibeles Palace.

Together with CRU, we have organized the second edition of #LaQuedada on March 1st and 2nd, a circuit of artist studio tours.

Have you ever wondered what an artist’s workspace looks like? Or where an artist creates their work, for example, when preparing for an art fair? The event is open to both professionals and the general public. During the sessions, we will explore five spaces dedicated to artistic creation and architectural project development, all connected by the concept of utopia, a concept that unites utopian architectures, spaces for care, and decentralized actions that can be built between centers and peripheries.

Boa Mistura. La Quedada. Art Madrid'25.

STUDIO VISIT WITH BOA MISTURA

When: Saturday, 1 March. 16:30h

ABOUT BOA MISTURA

Boa Mistura is an artistic collective with roots in graffiti, born in Madrid at the end of 2001. It is made up of the Fine Arts graduates Pablo Ferreiro and Juan Jaume, the visual artist Rubén Martín de Lucas, the illustrator Pablo Purón and the architect Javier Serrano. Pablo Ferreiro, Pablo Purón and Javier Serrano are still active today. The term ‘good mix’ refers to the symbiosis between its members.

Their work is mainly developed in the public space. They conceive their work as a transforming element, capable of creating or modifying people's relationships with the place where they live, as well as the ties that exist between them.

They have carried out projects in more than 40 countries around the world, collaborating with organisations such as the UN, Amnesty International, UNDP, Greenpeace, Action Against Hunger and the Red Cross, among many others.

Their work has been part of the Ibero-American Design Biennial - IDB 2024 and 2020, the Dakar Biennial 2022, the Shen Zhen Urban Biennial 2017, the Cali Mural Painting Biennial 2016, the Havana Art Biennial 2015, the Milan Design Triennial 2015, the Architecture and Urbanism Biennial - BIAU 2015 and the Venice Architecture Biennial 2012 in the Spanish Pavilion.

They have participated in exhibitions and shows in important art centres, such as the Reina Sofía Museum in Madrid, the MAXXI Museum in Rome, the Hyundai Museum ALT1 in Seoul, the CAC in Malaga, the Palace of Fine Arts in Santo Domingo, the CENTREQUATRE in Paris, the Casa Encendida in Madrid, the CONDEDUQUE Contemporary Culture Centre, the Alcobendas Art Centre, the Welt Museum in Vienna and the Bauhaus-Archiv in Berlin.

His work methodology has been recognised with a bronze medal at the UN-Habitat + World Habitat World Habitat Awards 2018.

TODO POR LA PRAXIS. La Quedada. Art Madrid'25.

STUDIO VISIT WITH TODO POR LA PRAXIS

When: Saturday, 1 March. 18:30h

ABOUT TODO POR LA PRAXIS

Art and critical architecture collective founded in 2008, whose main focus is the social function of art and direct action. Its aim is to activate artistic practice as a contribution to transformation, creating spaces and devices for critical reflection. The imaginaries they construct address diverse dissidence and political resistance through collaborative practices, based on the amplification of narratives that intervene in public space. It is currently made up of the artist and architect Diego Peris López, and the visual artist and researcher Jo Muñoz.

The various works that make up their practice seek to construct other possible imaginaries, analysing current contexts from the challenge of creating, approaching and embracing radical discourses, antagonistic to hegemonic cultural impositions. They seek to install knowledge and spaces for critical thinking, activating new transcultural subjectivities as a decolonisation of dominant thought. They carry out processes of research, production and action in both geographical and symbolic territories, using agitprop, counter-advertising and the visibiliation or guerrilla of communication, in critical devices that question aesthetic and political narratives.

Their works have been exhibited in more than 35 exhibitions curated by various curators in Spain and internationally. In addition, they have been published in several magazines and interviews, received awards and have been in artistic residencies. During 2024 they are awarded the VEGAP grant, and have been selected for the City of Palma Antoni Gelabert visual arts prize.

Inland Campo Adentro. C.A.R. La Quedada. Art Madrid'25.

VISIT THE CAMPO ADENTRO - INLAND SPACE

When: Sunday, 2 March. 13:00h

ABOUT C.A.R.

The Centro de Acercamiento a lo Rural (CAR) is a project of Campo Adentro, launched in October 2018. The house is Campo Adentro's headquarters in the city and functions as a dynamic and inclusive space where we seek the encounter between the rural and the urban, making visible and catalysing creative and social processes. At CAR we combine research, training and cultural production through different lines of action, from a documentation centre to a canteen or a self-publishing workshop. It aims to be a window for the urban artistic community to what is happening in the countryside, a home for rural agents, artists, researchers and different people who are temporarily linked to CAR to develop their lines of work.

Mateo Maté. La Quedada. Art Madrid'25.

STUDIO VISIT WITH MATEO MATÉ

When: Sunday, March 2. 17:00h

ABOUT MATEO MATÉ

Mateo Maté (1964) has held solo exhibitions at the Ulsan Art Museum (South Korea, 2023), the Weserburg Museum (Bremen, 2021), the Galleria Nazionale d'Arte Moderna (Rome, 2020), the Isabel Aninat Gallery (Santiago de Chile, 2018), Sala Alcalá 31 (Madrid, 2017), Max Weber Six Friedrich Gallery (Munich, 2014), the Lázaro Galdiano Museum, the Cerralbo Museum, the National Library of Spain, and the Museum of Romanticism (Madrid, 2013), the Museo Nacional Centro de Arte Reina Sofía (Madrid, 2012), the Siqueiros Museum (Mexico City, 2011), Matadero (Madrid, 2010), the Patio Herreriano Museum (Valladolid, 2008), and the Grita Insam Gallery (Vienna, 2005-08), among others.

His work has also been exhibited in the following national and international museums and art centers: Centro Botín (Santander, 2020), Centro de Arte 2 de Mayo (Madrid, 2020), Artium (Vitoria, 2018), Museo Thyssen-Bornemisza (Madrid, 2017), Miró Foundation (Barcelona, 2015), MART (Trento, 2014), La Nuit Blanche (Paris, 2014), Hirshhorn Museum (Washington, 2014), Tàpies Foundation (Barcelona, 2013), The Herzliya Museum (Tel Aviv, 2012), Museum of Contemporary Art (Santiago de Chile, 2012), Berardo Museum (Lisbon, 2011), BOZAR (Brussels, 2010), Jeu de Paume (Paris, 2007), PS1 MoMA (New York, 2003), among many others.

Laura Lío. La Quedada. Art Madrid'25.

STUDIO VISIT WITH LAURA LÍO

When: Sunday, 2 March. 19:30h

ABOUT LAURA LÍO

Laura Lío is dedicated to research and creation in the visual arts. She was born in 1967 in Buenos Aires, Argentina and has lived in Madrid since 1990. She studied at the Escuela Superior de Bellas Artes 'Ernesto de la Cárcova' in Buenos Aires and at the Faculty of Fine Arts of the UCM. She holds a Doctorate in Fine Arts from the University of Castilla-La Mancha (2012). Her book Esporas (ed. DOSPAREDESY1PUENTE, Madrid) will be published in 2022 and her essay Refugios del cuerpo y la imaginación. Biomímesis en arte y arquitectura desde las construcciones de los animales (published by Asimétricas, Madrid). He has made sculptures, installations, projects for specific spaces and has worked extensively on paper in drawing, graphics and artists' books. In 2015 he founded PEZPLATA Ediciones, an imprint for artists' books and printed matter, based in his NavEstudio in Madrid.

Her work has been published in numerous catalogues and books. In 1997 she was awarded a scholarship from the Spanish Academy in Rome and in 1998 a scholarship for creation in the plastic arts from the College of Spain in Paris. In 2005 she received a grant from the Rockefeller Foundation in New York to live at the Bellagio Study and Conference Centre. In 2006 he received the Endesa Grant for Visual Arts from the Diputación de Teruel and in 2013 a residency grant from the Bogliasco Foundation in Italy, as well as a grant from the Mexican government. In 2016 he carried out a creative residency in China, a project organised by the Calcografía Nacional and the Instituto Cervantes in Beijing. In 2018 she participated in the Art meets Science project in Harlösa, Sweden, with the ARNA organisation. In 2024 she participated in the Involving cultural Actors meeting in Brussels, representing the Spanish arts sector in the European Parliament.

To date he has participated in 22 solo exhibitions in Spain, Argentina, France, Italy and other countries, most recently at the Palacio Quintanar in Segovia, the CAB in Burgos and the Artur Ramón Gallery in Barcelona. His work has also been included in important group exhibitions such as El retorno de lo imaginario. Realismos entre el XIX y el XXI, held at the Museo Reina Sofía in 2010, and Printed Matter, held at the MoMA in 2018. Several of his sculptures can be found in public spaces such as O Grove (Pontevedra, Spain), the Odenwald (Darmstadt, Germany), the Franco Basaglia Centre (Livorno, Italy) and in Strömsfors, Sweden.

Her sculptures and drawings are in public and private collections such as the Museo Nacional Centro de Arte Reina Sofía, Museo Municipal de Arte Contemporáneo de Madrid, Museo del Patio Herreriano, Ministerio de Asuntos Exteriores, Congreso de Diputados, Colección de Arte Contemporáneo Unión Fenosa, Biblioteca Nacional de España, Ministerio de Cultura, Colegio de España en París, Caja Madrid-Obra Cultural, Fundación Endesa, Museo de Teruel, Academia Española de Historia, Arqueología y Bellas Artes de Roma, Archivo Lafuente and the Circa XX Collection, among others.

During the visit, we will project his piece Hacer la calle. Lo digo con un cartel (7")

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.