Art Madrid'26 – THE NEW ARRIVALS AT ART MADRID

Nine galleries are released in the Art Madrid'18 General Program: 5 from Spain, from Madrid (although one of them is also based in New York), Bilbao and Valencia; and 4 foreigners from Germany, Portugal, Ukraine or Mexico. Art Madrid always takes care of the participation of national galleries and artists but it is also the perfect setting for more and more foreign galleries that trust the fair.

Among the Spanish newcomers we find Fucking Art (Madrid), an alternative space created in 2015, managed by a group of artists, bringing the perspective of the creator to the gallery experience. Fucking Art presents at the fair works by: Atauri, Isabel Alonso Vega, Carlos Regueira and Alfonso Zubiaga, artists whose works leave an unmistakable trail of reflection, search and innovation either through painting, photography, sculpture and objectual art.

Ángeles Atauri

Rara avis pajaritas, 2017

Mixed media

100 x 100cm

Ángeles Atauri

Rara avis ovillos, 2017

Mixed media

60 x 60cm

Mª Ángeles Atauri is a graphic designer at the La Nave Gráfica studio where she develops her activity for different projects and also, since 2010, where she develops her artistic production, a kind of poetic objects based on simple and intimate ideas, on universal feelings with which all we identify.

Isabel Alonso Vega is one of the founders of URGEL3, an alternative space in which they exhibit but also they disseminates art outside conventional networks, leading artists from the first creative process to the final state of their work. Vega's works, capsules of methacrylate in which she seems to have captured clouds, powers and geniuses, are between conceptual and sculptural and they speak about the intangible. For his part, Alfonso Zubiaga, training economist and artist by vocation, and Carlos Regueira, who is also a creative and art director in well-known advertising agencies, they propose new ways of doing and seeing photography. If Zubiaga plays with images that are deconstructed to be reconstructed in visual narratives with new meanings of the same reality; Regueira produces a expanded painting to the field of the photo, an hybrid between both techniques.

Reinhard Gorner, “Altenburg Abbey Gallery”, fotografía, 2017.

The Soraya Cartategui Gallery (Madrid-New York), directed by Soraya Cartategui and Bárbara Cartategui, opened its first headquarters in the neighborhood of Chelsea, New York, in 1994, specializing in conceptual art and performances by emerging artists. After four exciting years working with the new talents in the Big Apple, she settled in Madrid to devote herself to his specialty: Dutch and flemish art of the sixteenth and seventeenth century, pioneering the introduction of the Dutch Golden Age in the Spanish market and thus becoming a reference for many collectors. This wide vision of art has made its curatorship is based on the concept of "cross-collecting", the crossing of works of all media and periods to create a personal and intimate dialogue between works and objects. For their first participation in Art Madrid'18 they have chosen the work of Juan Genovés, Reinhard Gorner and Isabelita Valdecasas. Valdecasas, Sevillian painter, has experimented with all the techniques, squeezing their artistic possibilities, began with small works, disparate things, without any concrete order or thread; experimented with oil, watercolor, pens, pastel ... to evolve into a materic abstraction in whose works the artist uses elements found in nearby nature such as moss, sand, earth or tea grounds to create surreal worlds.

A very different proposal comes from the German photographer Reinhard Görner, whose images of architectures and monumental rooms transmit intimacy, depth and mystery at the same time. Görner became interested in architectural photography in 1982 and, with his large-format camera, since 2008 has photographed more than 50 libraries around the world such as Trinity College in Dublin, the Lello Library in Porto or the public library in Stuttgart, among others. His work has been present in numerous solo and group exhibitions in Paris, London and Berlin.

Cristina Iturrioz

Instalación "Colors" (detalle), 2018

Acrylic, digital and methacrylate

50 x 50cm

Cristina Iturrioz

Instalación "Colors" (detalle), 2018

Acrylic, digital and methacrylate

50 x 50cm

In Madrid there is also Mercedes Roldán Art Gallery (Madrid), a gallery that is involved with its artists from all points of view, advises them to direct their career, provides them with assistance and marketing services. Her involvement with emerging artists is visible in the selection she has made for Art Madrid'18, in which she has: Irene Cruz, photographer and video artist, one of the young artists with the most projection and of whom we have already spoken in this news section; the photographer and filmmaker Alexander Barrios, trained in documentary photography and whose work seeks the simplicity and the genuine nature, architecture, forms ... and the painter Cristina Iturrioz, fundamentally self-taught and whose work is characterized by manipulation and research with the materials and colors to achieve textures. Her artistic beginnings were oriented towards drawing, graphic design and figurative painting, with nature as a motif, with reality as a model, to evolve into a personal abstraction that shapes in multiple formats as painting, photography or sculpture.

Miquel Navarro

Edificio con asas, 2014

Grey iron

99 x 27cm

From Valencia, it comes Shiras gallery, directed by Sara Joudi and located in the historic center of the city. Shiras Gallery was born to offer an intergenerational proposal of national art whose speech is complemented by the voice of emerging avant-garde artists, always taking into account both the artistic quality of the projects and their plastic languages. The fundamental pillar of its programming is betting on projects of painting, sculpture, drawing and installation, being a current window towards the most avant-garde contemporary trends. At the Art Madrid fair they participate with Javier Chapa, Miquel Navarro, José Saborit and Horacio Silva.

Among them we would like to highlight the work of Miquel Navarro, one of the outstanding representatives of what is known as New Spanish Sculpture although he began his career as a painter, since 1972 he is exclusively dedicated to sculpture. Tireless, universal and in constant evolution, the idea of beauty for Miquel Navarro is closely linked to his idea of the classics, foundation and point of reference of the avant-garde of the beginning of the century. In 1986 he receives the National Prize of Plastic Arts and the National Prize of the Association of Art Critics ARCO 95, among others. Likewise, he is declared an Academician of the Royal Academy of Fine Arts of San Fernando.

Juanma Reyes

Escalera, 2015

Bobins, threads and loops

126 x 42cm

We jump north, to Bilbao, where MH Art Gallery (Bilbao) comes from. This space wants to present to its city and all the Basque Country a selection of artists of international prestige that will complement the current cultural and artistic offer that Bilbao already has, being a benchmark city in Europe for its commitment to art and design / architecture. Its program includes young "emerging" Basque artists with creative talent that the gallery projects in artistic spaces outside of the Basque Country. Its premiere at Art Madrid is done with a powerful international proposal that features the delicate ink drawings and pigments of the Korean female artist Joo Eun Bae; the mixed techniques that mix the oriental and Arab cultures of the Moroccan artist Khalid El Bekay; the collages and urban chaotic scenes of the Cantabrian Martín Carral; and the unclassifiable work of the Malaga-born Juanma Reyes, an eloquent way of capturing the thin line between the living and the dead, between waste and art, between tenderness (his works are woolly, soft, fluffy ...) and brutality (. ..and at the same time they are sharp, dismembered). Its objects, structures that could be sculpted drawings, are objets-trouveés assembled by Reyes to talk about the multiple forms of art.

Among the novelties of Art Madrid we also have 4 foreign galleries: the German Robert Drees of Hanover, Paulo Nunes Contemporary Art of Vila Franca de Xira, Portugal, the Ukrainian gallery Nebo Art Gallery (Kyiv) and the Carbo / Alterna gallery, with venues in Cancun, Mexico and Havana, Cuba. We will talk about all of them in upcoming news and we will highlight some of their most representative artists.


LECTURAS. CURATED WALKTHROUGHS BY ART MADRID'26


Lecturas: Curated Walkthroughs by Art Madrid’26 is a cultural mediation initiative designed to bring audiences closer to the exhibitions presented by the participating galleries in this edition. Its aim is to transform the experience of the fair into an opportunity to reflect on the work of the artists featured, to analyze contemporary issues through their works, and to awaken new perspectives in society—thus fostering a critical and contextualized understanding of contemporary art as an instrument for cultural and social dialogue.

In this edition, art historians and cultural communicators Zuriñe Lafón and Marisol Salanova will address, from complementary approaches, diverse perspectives on contemporary creation and its impact within today’s social context.

Each thematic walkthrough will be structured around a carefully curated selection of ten works, accompanied by a solid curatorial discourse aimed at deepening their analysis, context, and significance. Beyond aesthetic contemplation, these guided visits will promote a critical understanding of contemporary art, facilitating direct dialogue between the audience and the curators, and encouraging a participatory and enriching experience.

With this third edition, Lecturas: Curated Walkthroughs x Art Madrid consolidates Art Madrid’s commitment to cultural mediation and the dissemination of contemporary art, offering an immersive proposal that expands interpretative frameworks and fosters the inclusion of new audiences within today’s artistic landscape.


CONSTRUCTIONS OF THE VISIBLE. CURATED WALKTHROUGH BY ZURIÑE LAFÓN

Constructions of the Visible proposes a journey shaped by one central idea: every image is a way of organizing the visible. Rather than understanding abstraction as a withdrawal from the world and figuration as fidelity to reality, this itinerary presents both as perceptual strategies. They are not opposing styles, but different ways of ordering experience. Each artist deploys a distinct strategy that affects our way of looking. Through framing, color, repetition, geometry, or fragmentation, the works do not merely show something; they position us within a particular mode of relating to the visible. They do not simply represent the world—they construct an experience from it.

As the viewer moves through the selection, they encounter different intensities of mediation. Some pieces begin with recognizable images—bodies, spaces, scenes—that appear to offer a direct relationship with reality. Yet as the gaze lingers, it becomes evident that this familiarity is carefully articulated. The rhythm of forms, the distribution of color, the organization of space, or the repetition of certain elements reveal that even the most seemingly transparent image is sustained by an underlying structure.

Other works, by contrast, reduce or transform figurative reference almost to the point of dissolution. Where the recognizable world appears to disappear, the constructive dimension of the image emerges forcefully. Geometry, gesture, or chromatic vibration do not function as an escape from reality, but as intensified forms of the world’s own appearance. Abstraction ceases to be perceived as distance and instead manifests as another way of sustaining reality—of making it appear under different conditions.

The walkthrough adopts a circular structure: it begins and concludes with the same work. This gesture does not seek repetition, but transformation. After passing through different works, different configurations of the visible—from the recognizable to the apparently abstract—the initial image can no longer be read as a faithful representation of reality. It is revealed as yet another construction within a broad field of perceptual possibilities. What changes is not the work itself, but our position before it. Looking ceases to be a passive act and becomes an active practice, an exercise in relation.

As Andrea Soto Calderón suggests, images do not merely reflect the world: they make it appear. From this perspective, the fair may be understood as a micro-cartography of ways of seeing, a space in which each work proposes a singular form of perceptual experience. The visible is not a stable datum or a neutral surface, but a process in constant elaboration, renewed in the encounter between artwork and viewer.

Constructions of the Visible does not propose a closed classification, but an invitation: to pause, to question appearances, and at the same time to allow oneself to be affected by the creative power of forms. In the movement between figuration and abstraction, we discover that every image is an operation—a way of ordering experience. The walkthrough invites us to assume this perceptual responsibility and to recognize that reality is not simply there: it is constructed in every act of creation.


SELECTION OF GALLERIES AND ARTISTS:

Ana Cardoso — Galeria São Mamede. Antonio Barahona — Galería María Aguilar. Leticia Feduchi — Galería Sigüenza. Joost Vandebrug — Kant Gallery. Beatriz Castela —Galería Beatriz Pereira. Fernando Mikelarena— Kur Art Gallery. Camil Giralt — Pigment Gallery. Virginia Rivas — Galería Beatriz Pereira. Miguel Piñeiro — Moret Art. Maria Svarbova — Galería BAT alberto cornejo.


ABOUT ZURIÑE LAFÓN

Zuriñe Lafón. Courtesy of the curator.


Zuriñe Lafón (1987) holds a PhD in Audiovisual Communication from the University of Navarra with the dissertation Francisco Calvo Serraller, Art Critic. Since 2015 she has devoted herself to research and teaching in Visual Culture, delivering courses such as Visual Culture, Photojournalism, Editorial Design, Foundational Texts on Photography, Digital Media Editing, and Fashion and Artistic Movements. She has taught at the University of Navarra, Universitat Internacional de Catalunya, UNIR, and the University of Montevideo. She has also worked in cultural departments of institutions such as El Correo Bilbao and the Museo Thyssen-Bornemisza in Madrid.

Through her project Atelier de imágenes, she shares research and outreach on contemporary images, creating a space dedicated to reflecting on painting, photography, and cinema. She is currently writing the book Uninhabiting the Frame, a research project on the ontology of photography through selected photographic archives of women in Spain.


“THE PREDOMINANCE OF BRILLIANT AESTHETICS”. CURATED WALKTHROUGH BY MARISOL SALANOVA

Framed by the theme “The Predominance of Brilliant Aesthetics”, this selection brings together works that understand brilliance not as superficiality, but rather as visual strategy, as contemporary seduction, as a symptom of an era that requires impact, color, polish, and perhaps at times certain excesses in order to think (itself).

This proposal, in which works of different formats and techniques coexist and are created by artists from various generations, opens a debate aimed at better understanding our present aesthetic condition—one in which the public is invited to participate.

Marisol Salanova approaches brilliant aesthetics as a tension rather than a closed solution. In the works of Urdiales and Celada, brilliance appears as an internal conflict within pictorial language; in Monge and Okuda, so different from one another, as a direct spectacularization of space and the urban imaginary; in Juncal, Rivas, and Alpuente, as a fragile balance between material and perception; and in Palito Dominguín, as an iconographic and symbolic affirmation, almost performative in nature. What particularly interests the curator and critic about this group is that brilliant aesthetics is not perceived as unified, but fragmented—at times ironic, at times ornamental, at times almost violent; elsewhere softened or symbolic. It is not an innocent brilliance: it seduces, imposes, distracts, and orders the gaze, much like the visual ecosystem in which we live today.


SELECTION OF ARTISTS AND GALLERIES:

Eduardo Urdiales — Inéditad Gallery. Arol — Est_ArtSpace. Perrilla — Est_ArtSpace. Ángel Celada — Galería BAT alberto cornejo. Antonio Ovejero — CLC Arte. Alejandro Monge — 3 Punts Galería. Okuda San Miguel — 3 Punts Galería. Steen Ipsen — Kant Gallery. Marina Puche — Galería Alba Cabrera. Marcos Juncal— Galería La Mercería. Gemma Alpuente — LAVIO. Palito Dominguín — DDR Art Gallery.


ABOUT MARISOL SALANOVA


Marisol Salanova. Foto de Bertha Delgado.


Marisol Salanova is an art critic, exhibition curator, and director of the platform Arteinformado. She is a regular contributor to ABC and Cadena Ser. She holds a degree in Philosophy and a Master’s degree in Artistic Production. She has taught at university level and has published essays such as Art Criticism Today (Akal, 2024).







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