Marina Tellme. Guest artist at OPEN BOOTH X LIQUITEX. Courtesy of the artist.

OPEN BOOTH X LIQUITEX

"REUNIÓN DE GENTE IMPORTANTÍSIMA"

BY MARINA TELLME

Art Madrid'24 returns to the Art Week and celebrates its 19th edition. From March 6 to 10, 2024, the Crystal Gallery of the Cibeles Palace will become the epicenter where the most innovative and current artistic trends of the national and international scene will gather. To celebrate its 19th edition, Art Madrid presents a General Galleries Program and a renewed Parallel Program. Both proposals are aimed at enriching the presence of an event that has already surpassed its satellite season, consolidating itself in each edition as a reference appointment in the agendas of the general and specialized public.

In this edition, Art Madrid presents exclusively the OPEN BOOTH X LIQUITEX. A section that opens with the installation: "Reunión de gente importantísima" by the artist Marina Tellme.

OPEN BOOTH X LIQUITEX thus becomes a sort of fleeting home that distinguishes and makes our event a place to stay for a few days. A meeting of very important people is a work that will certainly generate synergies with the public, expanding its sense as an intelligently critical work and serving as a space for reflection, in a close and multipurpose event like Art Madrid.

Artistic practices that are born of collaboration, that promote the generation of work spaces and dialogue between the different agents in the sector, are essential to promote a turn of the screw in the transformation and renovation of the cultural fabric. The constant evolution of art demands a continuous dialogue between artists, galleries and audiences. In our 19th edition, we intend to be catalysts for this dialogue, transcending traditional boundaries and embracing new artistic expressions. We firmly believe in the capacity of art to influence society, and we want to be agents of change by facilitating the convergence of diverse artistic languages in this new edition.

"Reunión de dente importantísima". Marina Tellme. Project for Art Madrid. 2024.

The site specific "Reunión de gente importantísima", conceived especially for Art Madrid, proposes a subversive view of the context of social relations established in the art world. With a touch of humor, a naive aesthetic and an intentionality that could seem candid, the work represents a meeting of people in a VIP area as a satire or comic strip.

"Reunión de dente importantísima". Marina Tellme. Project for Art Madrid. 2024.

Surrounded by a red velvet cordon, where any spectator can enter and live this experience, the characters enjoy their hedonistic posture, differentiating themselves from the rest by the mere fact of belonging to a select club of chosen ones. However, to the surprise of the privileged, we have all been invited to this meeting of very important people. As you pass by, you will feel as if you were entering a forest, you will discover a peculiar multitude of oversized characters, fashionistas, cool people, chic, art geeks, who talk ad nauseam about apparently crucial issues - for the salvation of the planet - but we do not understand a single word.

"Reunión de dente importantísima". Marina Tellme. Project for Art Madrid. The Chin Chin Bitches. 2024.

One more edition of Art Madrid joins Liquitex to strengthen their mutual commitment to contemporary creation. The world's leading brand in professional acrylics is the sponsor of the new OPEN BOOTH X LIQUITEX (Stand D2), which will host the artist Marina Tellme.

Marina Tellme in her studio. Courtesy of the artist. 2024.

ABOUT THE ARTIST

MARINA TELLME, 1995, Almería.

Graduated in Fine Arts at the Alonso Cano Faculty (Granada), Master in Film Directing at TAI and qualified as a voice-over actress at EDM (Madrid). Her work has been exhibited at Humboldt University (Berlin), García Lorca Art Center (Granada), Bless Hotel (Madrid), Instituto de la Mujer de Almería, selected in the Art Sur Festival of Art in Action (Córdoba) or Femujer de Santo Domingo (Dominican Republic), among others. Her work is the result of her passion for telling stories. Her paintings, sculptures and installations represent (as if it were a frame of an animated film) a scenery with characters and circumstances, mostly comic and naive style, but with room for social criticism; showing generational concerns such as the difficulties of access to decent work or housing, the figure of women in the art world and numerous burdens that appear in our lives when we grow up: such as anxiety, impostor syndrome or social phobia.

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.