Art Madrid'25 – PAPERS AND FABRICS: TRADITIONAL MATERIALS FOR A NEW CONTEMPORARY LANGUAGE

A new generation of artists returns to work with materials to check their expressive potential. With less interventionist proposals, there is a return to exploration, to the search for the aesthetic and creative possibilities of the raw material. As a result, there are works with a significant visual load that convey very diverse themes. The discourse acquires another depth, more material and plastic, condensed in the use of fabrics and layers of paper. We bring you three authors who conceive creation as an intimately manual process, who work with materials in a physical and contact way to build their own language away from the traditional discipline.

Victoria Santesmases

Palabras que hieren II, 2018

Pintura, clavos

90 x 110cm

Victoria Santesmases

Nidos, 2014

Cortes en papel Creyser

37 x 41cm

Victoria Santesmases

Palabras que hieren III, 2018

Paint on paper

90 x 110cm

The work of Victoria Santesmases is very representative of the double life that materials may have. Her latest project develops around pain, its presence and its plastic representation in an abstract and essentialist way. In these cases, a simple stroke of colour, the contrasts of textures and the folds or grooves marked on the paper refer to the representation of the wound, as a tangible element that conveys the sensation of pain, be it physical or emotional. With this subtle work that declines any excess to focus only on the detail, the bare material retains a communicative potential of great impact, where words are superfluous and where the interpretation of the spectator completes the piece to provide its own personal and intimate meaning. Santesmases synthesises in her pieces, where the colour is hardly visible, deep emotions with a simple, clean and plastic proposal that perforates the papers and the layers, opens, bends and tears them in an attempt to transmit the impression that the deep feelings leave, there where no one enters.

Fernando Daza

Círculo naranja rayado, 2018

Paper cut by hand and glued on fabric

50 x 50cm

Fernando Daza

Cuadro negro sobre círculo rojo, 2016

Paper cut by hand and glued on fabric

100 x 100cm

Fernando Daza

Círculo blanco y negro rayado, 2018

Paper cut by hand and glued on fabric

75 x 75cm

Fernando Daza is another artist focused on work on paper to recreate patterns and motifs that refer us to the oriental aesthetic, with a right balance between colour and shape. With his technique, pieces acquire a volume that comes out of the plane, a three-dimensional aspect composed of slashed cut-offs that live together creating waves and modulations. The game of light and shadow, the cleanliness of the contours, the neatness of the compositions, make the work of Daza an exquisite aesthetic proposal. But beyond the simple geometry and the structures of his artwork, this artist conveys a deep feeling of peace and stillness that feeds from the Zen-Shui philosophy and projects towards the viewer. Also, the superposition of layers and subtle changes of colour remind us of natural elements of the landscape, the flow of water, the petals of flowers, or the plumage of birds.

Pierre Louis Geldenhuys

Messier 81 Galaxy, 2018

Teselación, seda salvaje y caja de luz (rosa) (obra enmarcada)

80 x 80cm

Pierre Louis Geldenhuys

Triangulum Galaxy, 2018

Teselación, seda salvaje y caja de luz (blanco) (obra enmarcada)

80 x 80cm

Pierre Louis Geldenhuys

Hidroponic life cycle I, 2018

Teselación, seda tornasolada y caja de luz (obra enmarcada)

110 x 110cm

In the use of materials in a more manual way the career of Pierre Louis Geldenhuys highlights. This artist makes of fabrics his centre of work, creating geometric patterns that gain depth when displayed on light boxes. The backlighting of these compositions enhances the colour of the silks, defines the shadow spaces, the lines of the drawing and the textures of the material. The work of Geldenhuys has much in common with Origami. With a delicate design work, the fabrics surrender to the artist's master hand, which distributes folds to generate new shapes without the need for threads or seams. In the same way, this ancient oriental technique constructs figures from paper, creates volumes, contours with a work very similar to that of this artist. His monochrome pieces transmit a smooth balance and serenity, with patterns that, from the geometry, remind us of the plants in bloom, the bristling surface of the sea, the swirls of wind and the edges of the precious stones.

 

From July 7 to 9, 2025, the Balsera Palace will host the First Course on Collecting and Contemporary Art, an intensive 15-hour program that will explore the complex and fundamental question of taste in contemporary art. Organized by the Nebrija Institute of Arts and Humanities at Nebrija University and the Avilés City Council, in collaboration with 9915 — Association of Private Collectors of Contemporary Art and the Institute of Contemporary Art, the course offers a unique opportunity for analysis and debate on the dynamics that shape aesthetic and symbolic value in today’s art scene.


First Course on Collecting and Contemporary Art. Avilés, Asturias


The notion of taste, intrinsically tied to aesthetic judgments and power relations, has played a decisive role in the historical prominence of artists and artworks. However, contemporary art—marked by its breaking of conventions, diversity of media and techniques, and critical stance toward traditional canons—raises fundamental questions about the continued relevance of this concept.

This course will explore how the decisions made by key players in the art system—institutions, private collections, galleries, curators, and artists—continually redefine a field of taste shaped by aesthetic, symbolic, cultural, social, and political logics.


"¿But does it exist, and what is the prevailing taste of our time—so seemingly confused, fragmented, indecipherable?" - Omar Calabrese, The Neo-Baroque Era.


The academic program, directed by José Luis Guijarro Alonso, Director of the Master’s in Art Market and Related Business Management at Nebrija University, and Pablo Álvarez de Toledo, Head of the Department of Arts at Nebrija University and the Nebrija Institute of Arts and Humanities, will bring together a distinguished group of national experts—including collectors, critics, curators, gallery owners, and artists—whose contributions will address key issues in shaping aesthetic, symbolic, and market value in today’s art world.


PROGRAM

MONDAY, JULY 7

9:30 AM Registration.

10:00 AM Course Opening Nebrija University Avilés City Council Presented by Rosario López Meras – President of the Association of Contemporary Art Collectors, 9915, and Adrián Piera – President of the ICA, Institute of Contemporary Art.

10:30 AM Course Presentation By José Luis Guijarro Alonso – Art Historian and Anthropologist, Researcher, and Director of the Master’s in Art Market and Related Business Management at Nebrija University.

11:00 AM Coffee Break.

11:30 AM Panel Discussion The Taste of Private Collecting as a Prelude to History. Speakers: Candela Álvarez Soldevilla – Entrepreneur and Collector; Javier Quilis – INELCOM Collection; José Miguel Vegas Valle – Collector. Moderator: Luis Feás – Critic and Curator.

1:00 PM Lunch Break.

3:30 PM Individual Lecture On Good Taste in Contemporary Art. Speaker: Marisol Salanova – Curator and Art Critic, Director of Arteinformado.

4:45 PM Panel Discussion The Influence of Galleries in Shaping Contemporary Taste. Speakers: Elba Benítez – Gallerist; Ricardo Pernas – Gallerist (Arniches 26); Aurora Vigil-Escalera – Gallerist. Moderator: Rafael Martín – Coleccion@casamer.

6:00 PM End of Day.

6:30 PM Activity and Cocktail Visit to the Exhibition Asturian Artists in the Pérez Simón Collection – Avilés.

TUESDAY, JULY 8

10:00 AM Individual Lecture Contemporary (Bad) Taste: Kitsch, Camp, and Tacky. Speaker: Julio Pérez Manzanares – Autonomous University of Madrid.

11:00 AM Coffee Break.

11:30 AM Panel Discussion Institutions and the Formation of Contemporary Taste. Speakers: Virginia López – Artist, Founder of PACA_Proyectos Artísticos Casa Antonino; Julieta de Haro – Artistic Director of CentroCentro; Carlos Urroz – Director of Institutional Relations, Museo Nacional Centro de Arte Reina Sofía. Moderator: Laura Gutiérrez – Director, School of Art of Oviedo.

1:00 PM Lunch Break.

3:30 PM Panel Discussion Beyond the Eye: The Taste for Ethical, Ecological, Social, or Political Concerns in Contemporary Art. Speakers: Semíramis González – Independent Curator; Eugenio Ampudia – Artist; Claudia Rodríguez-Ponga – Independent Curator. Moderator: Bárbara Mur Borrás – PhD in Fine Arts.

5:00 PM End of Day.

5:30 PM Activity Visit to the Studiolo Exhibition – Candela Álvarez Soldevilla Collection.

WEDNESDAY, JULY 9

9:30 AM Meeting with Asturian Artists Speakers: María Castellanos – Artist; Avelino Sala – Artist; Consuelo Vallina – Artist. Moderator: Pablo Álvarez de Toledo – Nebrija University.

11:00 AM Activity Visit to the Niemeyer Center – Avilés.

Course Closing Ceremony.





This course is designed for art professionals, collectors, researchers, and students seeking an in-depth analysis of the dynamics that shape taste and collecting practices in contemporary art. Adopting a critical and multidisciplinary perspective, it provides a unique opportunity to rigorously examine the aesthetic, symbolic, and structural factors that underpin the legitimization of contemporary art.