For another edition, Natalia Alonso Arduengo (Madrid, 1984) will be the curator in charge of carrying out the program, which will revolve around the theme of IDENTITY, taking as its starting point the verses of the poem Otherness by Mario Benedetti:

They always advised me to be someone else / and they even suggested that I had / notorious qualities to be someone else / that's why my future was in otherness the only problem has always been / my congenital stubbornness / I foolishly didn't want to be someone else / therefore I continued to be someone else same.

Otherness. Mario Benedetti.

The concept of identity will be analyzed in a contemporaneity marked by alienation, the uses of technologies and the keys of gender, class and race. How do we see ourselves? What image do we project? Who do we want to be? What social conventions impose a particular way of being in the world? Can we generate a new conception of the self?

Art Madrid'23 Curated Program will be dedicated to young artists as a platform for visibility during Madrid Art Week, an event par excellence for contemporary art at a national level. It is proposed as institutional support from the fair to allow four creators the possibility to show their projects in an event and commercial space such as an art fair. Will be articulated with an installation by the artist Dela Delos (Oviedo, 1992), an installation painting by Lorena Gutiérrez (Havana 1987) and two performances that will take place during the days of the fair; the performers are Agnes Essonti (Barcelona 1996) and Alexia Sayago (Madrid. 1995). Over the next few weeks, we will discover more in-depth the works and performances of these four creators.

On the other hand, to relate the program with the proposal of the participating galleries, it is proposed to continue with the curated tour. This tour starts from a selection of works from the stands of various exhibitors, forming an itinerary to follow under the curated speech of the edition. An itinerary from the concept of "identity" will guide us through the fair, reflecting on various issues: How do we see ourselves? Who do we want to be? What image do we project? What social conventions impose a particular way of being in the world? Is our identity as clear as we think, or is it constantly reformulated throughout our lives?

Artists and galleries on the tour: Raquel Algaba from the Arancha Osoro Gallery; Roger Sanguino of DDR Art Gallery; Federico Granell from the Metro Gallery; Jorge Hernández from the Aurora Vigil-Escalera Gallery; Carsten Brauer from the Uxval Gochez Gallery; Chamo San from the N2 Gallery; Dr.Robot Gallery's Costa Gorel; Oliver Okolo of OOA Gallery; Jordi Díaz Alamá from Inéditat Galería; and Xurxo Gómez-Chao from Moret Art.

ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. PERFORMANCE CYCLE 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: ALTA FACTURA. BY COLECTIVO LA BURRA NEGRA

March 4 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.

"Discipline for Power.” Performance by La Burra Negra for Displacement of the Congress of Deputies by Roger Bernat. 2025.

Alta Factura subverts the conventional structure of the fashion runway to foreground the often-invisible processes that underpin artistic production. Through a series of conceptual textile works, the performance draws attention to the discipline of craft and the artist’s vulnerability, ultimately revealing those seams typically consigned to the margins, behind the scenes.

Colectivo La Burra Negra.

ABOUT EL COLECTIVO LA BURRA NEGRA

La Burra Negra is a nomadic performance art collective based in Málaga, founded in 2024 following its first residency in Totalán. The group is self-managed by Ascensión Soto Fernández, Gabriela Feldman de la Rocha, Sasha Camila Falcke, Sara Gema Domínguez Castillo, Sofía Barco Sánchez, and Regina Lagos González—six artists from diverse backgrounds and trajectories who met at the Hospital de Artistas at La Juan Gallery.

The collective brings together practitioners working across jewelry, painting, the performing arts, music, dance, cultural mediation, and arts management. Its activities include an annual residency in Totalán, the production of performative works, cultural mediation initiatives, and site-responsive interventions.

Since its inception, the collective has participated in the Periscopio series at La Térmica; presented A granel at the MVA in Málaga; carried out a number of actions in Totalán—the most recent during its second annual residency—and contributed its own proposals to the performance Displacement of the Congress of Deputies by Roger Bernat in Madrid.

At the core of La Burra Negra lies a commitment to collective creation and the exchange of knowledge. United in their effort to experiment with and disseminate performance art, the group explores the invisible dimensions of artistic labor—its temporalities, efforts, and relational dynamics, which so often remain unseen—as a form of critical affirmation.

Their practice emerges from dialogue and shared reflection, in the pursuit of decentralized spaces where art can be experienced and its processes made visible. Each residency and each action becomes an attempt to inhabit creation collectively, challenging conditions of precarity while fostering networks of care and collaboration that sustain both their own practice and that of those around them.