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.

Daniel Barrio. Guest artist of the third edition of OPEN BOOTH. Courtesy of the artist.

DESPIECE. PROTOCOLO DE MUTACIÓN

As part of the Art Madrid’26 Parallel Program, we present the third edition of Open Booth, a space conceived as a platform for artistic creation and contemporary experimentation. The initiative focuses on artists who do not yet have representation within the gallery circuit, offering a high-visibility professional context in which new voices can develop their practice, explore forms of engagement with audiences, and consolidate their presence within the current art scene. On this occasion, the project features artist Daniel Barrio (Cuba, 1988), who presents the site-specific work Despiece. Protocolo de mutación.

Daniel Barrio’s practice focuses on painting as a space for experimentation, from which he explores the commodification of social life and the tyranny of media approval. He works with images drawn from the press and other media, intervening in them pictorially to disrupt their original meaning. Through this process, the artist opens up new readings and questions how meaning is produced, approaching painting as a space of realization, therapy, and catharsis.

Despiece. Protocolo de mutación is built from urban remnants, industrial materials, and fragments of history, inviting us to reflect on which memories we inherit, which we consume, and which ones we are capable of creating. Floors, walls, and volumes come together to form a landscape under tension, where the sacred coexists with the everyday, and where cracks matter more than perfection.

The constant evolution of art calls for ongoing exchange between artists, institutions, and audiences. In its 21st edition, Art Madrid reaffirms its commitment to acting as a catalyst for this dialogue, expanding the traditional boundaries of the art fair context and opening up new possibilities of visibility for emerging practices.

Despiece. Protocolo de mutación emerges from a critical and affective impulse to dismantle, examine, and reassemble what shapes us culturally and personally. The work is conceived as an inseparable whole: an inner landscape that operates as a device of suspicion, where floors, walls, and volumes configure an ecosystem of remnants. It proposes a reading of history not as a linear continuity, but as a system of forces in permanent friction, articulating space as an altered archive—a surface that presents itself as definitive while remaining in constant transformation.

The work takes shape as a landscape constructed from urban waste, where floors, walls, and objects form a unified body made of lime mortar, PVC from theatrical signage, industrial foam, and offering wax. At the core of the project is an L-shaped structure measuring 5 × 3 meters, which reinterprets the fresco technique on reclaimed industrial supports. The mortar is applied wet over continuous working days, without a pursuit of perfection, allowing the material to reveal its own character. Orbiting this structure are architectural fragments: foam blocks that simulate concrete, a 3D-printed and distorted Belvedere torso, and a wax sculptural element embedded with sandpaper used by anonymous workers and artists, preserving the labor of those other bodies.

A white wax sculptural element functions within the installation as a point of sensory concentration that challenges the gaze. Inside it converge the accumulated faith of offering candles and the industrial residues of the studio, recalling that purity and devotion coexist with the materiality of everyday life. The viewer’s experience thus moves beyond the visual: bending down, smelling, and approaching its vulnerability transforms perception into an intimate, embodied act. Embedded within its density are sanding blocks used by artists, artisans, and laborers, recovered from other contexts, where the sandpaper operates as a trace of the effort of other bodies, following a protocol of registration with no autobiographical intent.

Despiece. Protocolo de mutación addresses us directly, asking: which memory do we value—the one we consume, or the one we construct with rigor? The audience leaves behind a purely contemplative position to become part of the system, as the effort of moving matter, documentary rigor, and immersive materiality form a body of resistance against a mediated reality. The project thus takes shape as an inner landscape, where floor, surface, and volume articulate an anatomy of residues. Adulteration operates as an analytical methodology applied to the layers of urban reality, intervening in history through theatrical and street advertising, architectural remnants, and administrative protocols, proposing that art can restore the capacity to build one’s own memory, even if inevitably fragmented.

ABOUT THE ARTIST

DANIEL BARRIO (1988, Cuba)

Daniel Barrio (Cienfuegos, Cuba, 1988) is a visual artist whose practice articulates space through painting, understanding the environment as an altered archive open to critical intervention. He studied at the Academy of Fine Arts of Cienfuegos (2004–2008), specializing in painting, and later at the Madrid Film School (ECAM, 2012–2015), where he studied Art Direction. His methodology integrates visual thinking with scenographic narrative.

His trajectory includes solo exhibitions such as La levedad en lo cotidiano (Galería María Porto, Madrid, 2023), Interiores ajenos (PlusArtis, Madrid, 2022), and Tribud (Navel Art, Madrid, 2019), as well as significant group exhibitions including Space is the Landscape (Estudio Show, Madrid, 2024), Winterlinch (Espacio Valverde Gallery, Madrid, 2024), Hiberia (Galería María Porto, Lisbon, 2023), and the traveling exhibition of the La Rioja Young Art Exhibition (2022).

A member of the Resiliencia Collective, his work does not pursue the production of objects but rather the articulation of pictorial devices that generate protocols of resistance against the flow of disposable images. In a context saturated with immediate data, his practice produces traces and archives what must endure, questioning not the meaning of the work itself but the memory the viewer constructs through interaction—thus reclaiming sovereignty over the gaze and inhabiting ruins as a method for understanding the present.