For the third consecutive year, Art Madrid once again is engaged with Cultura Inquieta. Official media partner of this edition, Cultura Inquieta is one of the most interested and involved media in current culture. This year it invites all visitors to take their most creative side into its booth at the fair.

The two walls of the Cultura Inquieta stand began as two blank canvases, ready to welcome all kinds of artistic manifestations and encouraging free expression and creativity without limits. Artists present at the fair as well as visitors of all ages have participated ... In fact, we can all be creative and proof of this is that there is hardly any free space left to intervene in their booth. However, all those who want to be part of these collective murals will surely, with some ingenuity, find some way to leave their mark. In addition, at their booth, you can learn about other projects, such as the creative products they offer from the online store and those they have selected in order for you to see them at Art Madrid: art pills, design and inspiration.

Photo. Melisa Medina.

The Cultura Inquieta team presents "our own space, a couple of square meters where we synthesize our universe to channel, approach and soak up everything that happens. A space, overall for sharing. Sharing time, words and creativity. A place to rest for a few minutes, talk, laugh and reflect "with the ultimate goal" of bringing art to everyone absolutely".

Some of the reasons that motivate this type of proposal are so many that Cultura Inquieta compares them with the own principles of art. Unity or harmony, because, as explained by them, they are integrated, so naturally, that they come to lose sight of the limits imposed by space; variety, because they love having the chance to look out through an infinite window of inspiration, an exercise that they can feed by touring Art Madrid, where they find the production of both emerging artists and consecrated artists, "an almost mystical experience"; or balance, because "we are aware that life is what happens between 0 and 100 years, so we try to look with the eyes of children, and to children we try to give wings so that they can paint, dream, and believe in a much better future through art".

Photo. Miguel Mazuelo Álvarez.

Other reasons that support its proposal for the fair are related to contrast because, like Art Madrid, they enjoy the polyhedral side of things; proportion, because "we can not stop looking up towards the wonderful glass vault that surrounds everything. At the works, at the artists, at you, at us too, and then, is when the proportions of beauty escape us"; the emphasis and the enthusiasm of participating in a fair with which they share so many values and aspirations; and finally, for movement, for that "effervescent flow of people, ideas, concepts and messages that we share with artists, gallerists, visitors, friends ... during these five days".

Like Art Madrid, Cultura Inquieta has among its main objectives the spreading of the quality the current creation has, specialized in the promotion of young talent. Art, culture, trends, photography, trends or lifestyle; Cultura Inquieta is one of the most consulted and reputed digital portals worldwide. It is also the organizer of one of the major Spanish music festival, one of the most important annual events on the Madrid agenda, which this year celebrates its tenth edition beginning at end of June. From Art Madrid we encourage you to participate in the simple but so inclusive and exciting proposal of Cultura Inquieta: dare to express your creativity.

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.