Art Madrid fair and Art Brut in Círculo de Bellas Artes Madrid

"I am convinced that art is here more lively and exciting than

the manifestations of bored official art

even if it is catalogued as avant-garde". Jean Dubuffet

It is understood as marginal artist the one who develops his creative work outside of art institutions and official channels, especially motivated by an intrinsic creative drive that leads him to experiment with unconventional materials and techniques and create unique and personal universes, a kind of own cosmologies. The outsider art, also known as Art Brut or Intuitive Art has been associated in turn with self-taught artists and people affected by mental disorders and marginal individuals but with sensitivity and artistic production.

 
Although there is no unanimity about the conception and limits of Marginal Art, during the twentieth century the interest in this movement has increased and with it, the very concept of "artistic work". The contemporary art fair Art Madrid has dedicated part of its program Parallel to this art "in the margins of art."
 
"IN / BE / OUT SIDE ART", curated by Un Ojo para el Arte, Asociación Debajo del Sombrero and the poet Asier Vázquez Baths, and with the collaboration of Galería Alegría (Madrid) showcases the work of foreign artists alla norma and artists whose works are perceived from the tangent, works for those that have some sort of visual or hearing disabilities and that enjoy art in a more intuitive way, seeing without seeing with a sixth sense. "IN / BE / OUT SIDE ART" thus makes questions about the limits of art and the nature of artistic activity.
 
Artists: Belen Sánchez / Miguel García / Rubén Cabanillas / Alicia Moneva / Gabriela Targhetta / Irantzu Lekue / Yolanda Marco / Philipp Meyer
 
 
"Most people mistakenly believe that art is primarily a matter of visual assessment. IN / BE / OUT SIDE ART aims to stimulate and evaluate other sensitive possibilities present in art. Having accepted that our eyes are accustomed to look without seeing, will be aware of other views, "poses Azucena Hernandez of Un Ojo para el Arte, co-curator of the exhibition.
 
The artist Gabriela Targhetta with his piece 'Pictures to remember' poses a "showdown with the antivisual reality that brings us, in a way, to the sinister side. Accustomed to saturation, excess, overflow, loss of picture puzzles us. We associate the memory of a particular photographic surface that eventually ends in an overlapping with our own perception of the experience. What happens when we are denied the image? [...] We are situated in a fragile and unknown space, maybe invite us to rethink the visual behaviors that govern our daily lives. "
Alicia Moneva, that has made with Nacho Angulo the work 'Perception' "talks about the things that can be learned looking through other senses."
 
"IN / BE / OUT SIDE ART" also has the honor of having the first comic created for the blind, LIFE, by Phillipp Meyer, an expert in Interactive Design at the University of Applied Sciences in Potsdam (Germany). LIFE is "an experiment showing that it is possible to bring the graphic novel to a blind audience using paper as a medium, it is possible to tell a story without ink, text or sound-that becomes real through the imagination," explains Meyer . LIFE, as the name suggests, is a story about love, life and death through the simplest possible figure, a simple materic circle.

 

Buying the first work of art always instils respect. A difficult feeling to define that mixes vertigo with adrenaline. But over uncertainty and caution, a pleasurable sense of connection, understanding, and desire prevails. That work that, once seen, stays in the mind, reappears in the memory several times a day and seems to tell you that it is willing to be part of your home, is the perfect candidate to make the decision.

In the first steps, many collectors do point out that one does not start from an established plan, but rather that one acquires pieces based on taste and the connection one feels with them until, after time, they realise that the volume of works that accumulates can be labelled as a "collection". For example, this is how Alicia Aza explains it:

“I was not aware that I was collecting until many years later when a third party named me as a collector and talked about my collection. In 2005, I became aware of what collecting means and decided to articulate a collection with an identity of criteria and formats”.

Marcos Martín Blanco, co-founder, with his wife Elena Rueda, of the MER Collection, shares this same opinion:

“Collecting has been a passion, driven by a visceral state that encourages you to do so. The collection, in terms of acquisitions, has not been particularly complicated because, let's face it: it is easy to buy because they are all beautiful things and you have some clear idea of where you want to go, but at first those preferences were not so clear. It is with the time that a criterion is being formed”.

It is not always this way, of course, but for the buyer who starts out on this path, the personal connection that entails the first piece is essential. There it is the germ of a lasting relationship that is not limited to a simple aesthetic question but is an open window to knowledge, to exploration, to a world that is often unknown to us and awakens our fascination. The seed of that connection is purely sentimental, and it is precisely this impulse that determines the first acquisitions. The first piece is never forgotten.

Art Madrid'20, photo by Ana Maqueda

Exceeding the usual recommendations made by advisers and agents, rare is the occasion when the art lover decides to buy by pure investment. These paths usually open later, when the volume of pieces is large enough. In addition, there are those who are a bit against this classic concept of the traditional collector, approached from an eccentric, elitist and little accessible vision. On the contrary, art buyers are, above all, art lovers, sentient beings and permeable to creative stimulus who, at a given moment, decide to deepen the relationship they already have with art to take a piece home.

It is not that hard to overcome that small psychological barrier that turns the visitor into a buyer if one approaches the matter from a more personal and intimate perspective than from social consideration. Small-format works, graphic work or serial photography are of great help for this, whose price range, generally more affordable, allows a closer comparison to the daily basis expenses. In this way, the purchase of art falls within the range of feasible activities and becomes something close and possible.

Art Madrid'20, photo by Marc Cisneros

At that moment, a different relationship with art begins, based on pure experience and coexistence with the acquired piece. Perhaps it can be seen as an act of daring, but on many occasions, it is more a matter of necessity and transformation. Collectors also agree that the acquisition of an artwork is an exercise on personal analysis and opening up to a new field of knowledge that was previously alien to us. Alicia Aza explains that the reason she acquired her first piece of video art, by Sergio Prego, is because she did not understand it and because she saw it as a challenge and an opportunity to self-improve. This open window to knowledge creates new connections and bonds with creators, as one of the most fascinating parts of the process. Candela Álvarez Soldevilla explains that

"I think the most interesting thing in the art world is talking to artists. They are people with a special sensitivity to listen and understand.”

And Alicia Aza also says:

"I can share the satisfaction of being able to count on many artists in my circle of close friends today, and that is a long way to go."

Thus, with works that seem acceptable within the horizon of expenses that each one considers affordable, it is easy to find a piece that catches us. Since then, our home also evolves into a space in which art has a permanent place and presence, and there is no doubt that this transforms us inside.

Art Madrid'20, photo by Henar Herguera

Jaime Sordo, owner of Los Bragales collection and founder of the 9915 Contemporary Art Collectors Association, has always defined his relationship with art as a true passion and a vital necessity. For buyers who start on this path, he has the following recommendation:

“It is an essential condition that they feel the need to live with their passion to enjoy the works. Another very important aspect is that before making decisions for purchases, they are informed, so it is necessary to read specialised newspapers and books, visit exhibitions and museums and a lot of contact with galleries, which is an important and very specific source of information of the artists they represent. Finally, the presence in national and international art fairs. All this generates information and training.”

Indeed, fairs have become a good place for discovery because they condense a wide offer and allow diverse and global contact in a concentrated way. For this reason, many new generation buyers start in the context of an event such as Art Madrid, whose closeness and quality constitute a unique opportunity to meet, soak up and feed the passion for art.

(*) quotes taken from various interviews published in public media between 2013 and 2019.