Art Madrid, sponsored by One Shot Hotels, launches: "One Shot Collectors", a Collectors Program integrated into the heart of the fair with the commitment to continue building bridges to bring the public closer to contemporary art. One Shot Hotels is a young chain of boutique hotels with meticulous design and an unbeatable location in the center of Madrid, Valencia, Sevilla, Barcelona, San Sebastián and Oporto.

The interest in collecting art can become a true passion based on various criteria, be they historical-artistic, aesthetic, emotional, social or economic. All of them result in an aesthetic and personal exercise. Owning art is experiential, from meeting the artist to understanding and sharing the discourse behind the work. Building a collection is also a way to invest in something tangible and secure that could offer significant payback in the future. But above all, it is an essential support for the creative economy.

An art collection is something that must evolve gradually, that must be built over time, always based on information according to our interests. The main thing is to enjoy the experience of seeing art, not to be intimidated, and to trust our taste. But how do we decide what to focus on and which direction to go? Where do we start? How do we relate one purchase to the next?

A good acquisition occurs by following one's tastes, learning to recognize what attracts and interests us, while informing ourselves before and during the purchase. Collecting can be an emotional journey, one of knowledge with a social or economic background, or simply an aesthetic and personal exercise. That is why the accompaniment of an advisor when acquiring art is always a clear point, just as it is to have the endorsement of a gallery that supports and legitimizes the work of art.

© Photo by Christian Monsalve. Courtesy from TOO MANY FLASH

The professional advice of an expert is a "safe" and coherent way of deciding the collector, in addition to promoting and maximizing the quality and value of his collection, also seeks to enrich the shopping experience and its enjoyment. For this, in this edition of Art Madrid, we will have a space for advice by Ana Suárez Gisbert, Art Advisor, Law Degree, and Expert Appraiser with extensive experience in the art market. This advisory service is designed for experienced collectors, those looking for their first collector's item, and even corporate collectors looking to reflect their brand values ​​in an art collection. Thus, the Art Madrid'23 collecting program considers the different profiles, needs, and preferences, by generating a personalized tour and orientation.

Whether due to lack of time or desire to receive professional guidance, our Art Advisor will be able to find and prepare a selection of works of art according to the requirements and budget of each buyer, as well as help negotiate the acquisition of a construction site.

Collecting can start from a desire for knowledge and exploration at an aesthetic, social, economic, or even business level. At Art Madrid, we encourage collecting for those people and companies that want to bet on patronage and investment. This initiative is aimed at both professionals in the sector and lovers of contemporary art who are thinking of starting collecting or continuing to build their collection. Art Madrid offers a wide range of possibilities when it comes to acquiring works from disciplines such as: photography, painting, sculpture or installation, within a wide range of prices.

The advisory service is part of the "One Shot Collectors" program and is free for those who request it with prior registration. Request more information via email vip@art-madrid.com

ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. CICLO DE PERFORMANCE 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: TRAYECTORIA. BY AMANDA GATTI

March 6 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.

Amanda Gatti. Escaparate. 2023. DT-Espacio. Photograph by Pedro Mendes.

The proposal expands Amanda Gatti’s research initiated in La Plasti Ciudad del Cuerpo — an ongoing series of performance and installation presented since 2023 in spaces such as Fundación Antonio Pérez, Galería Nueva, CRUCE, and the Acción Spring(t)/UCM Congress — where she explores the relationship between her body and objects found in urban space. There, body and materials are articulated through a constant negotiation between functionality, weight, and support, generating temporary architectural compositions.

In Trayectoria, this research shifts toward the act of dragging: a gesture that makes visible the friction between body, objects, and space. The corridor ceases to be a neutrality to be crossed and becomes an operative intermediate zone, where form and content — veil and what is veiled, as Walter Benjamin points out — become confused. The space, saturated with objects turned into a mobile chain, clears and remakes itself with each step. Clearing, for Benjamin, is already an experience of space: each advance sustains this unfinished separation, always oriented toward a destination that may never be reached.

La Plasti Ciudad del Cuerpo #3. Amanda Gatti. Performance documentation. CRUCE 2054 exhibition, Galería CRUCE. Photograph by Pedro Mendes.

Displacement is not limited to material friction: it also becomes a symbolic inscription of that which every life trajectory drags along. The objects — remnants of past uses — function as metaphors for what remains attached to the body even when it no longer serves any function. The performance makes visible the condition of moving forward while carrying heterogeneous weights: material, affective, social. Thus, the gesture of walking linked to these objects turns the route into a writing in motion, where each step simultaneously activates a physical transit and a vital transit. Trayectoria proposes that every life is also a dragging: a continuous recomposing from what we insist on carrying with us.

The action operates objects as verbs: to push, to tense, to trip, to pull. From it emerges an operativity that involves the entire body and exceeds the visual. The image ceases to be representation and becomes gesture: a gesture that founds new spatial forms, that overflows, that produces an ephemeral mode of reappropriation of the corridor.

The trajectory thus becomes an affective map inscribed in the body, a way of merging with the environment by putting past and future, durability and wear, utility and obsolescence into friction. The action returns to public space what was taken from it, but now stripped of function: freed from meaning, freed from commodification, freed to be imagined otherwise.

ABOUT AMANDA GATTI

Amanda Gatti (1996, Porto Alegre, Brazil) is an artist and researcher whose practice unfolds across performance, video, photography, and installation. She explores the intersections of body, object, and space, investigating how we occupy — and are occupied by — the spaces around us. Drawing from experiences of displacement and the observation of domestic and urban environments, her work conceives the body as mediator and archive, transforming found objects, spatial arrangements, and everyday gestures into ephemeral architectures and relational situations.

She studied the Master’s in Scenic Practice and Visual Culture at Museo Reina Sofía/UCLM (Spain, 2023) and the Bachelor’s degree in Audiovisual Production at PUCRS (Brazil, 2018), where she received scholarships such as the Santander Universities grant. In Spain, her work has been presented in institutions and contexts such as Museo Reina Sofía, Fundación Antonio Pérez, Galería Nueva, CRUCE, and Teatro Pradillo, as well as in exhibitions and festivals in Brazil, Germany, Ireland, the United Kingdom, and the United States. She currently resides in Madrid, with secondary bases in Brazil and the United Kingdom.