Claudia Schiffer, Pachi Santiago or Claudio? Friday, March 1 at 7:00 p.m. You can enjoy the performance "Copying Claudia" by the artist Pachi Santiago at Art Madrid'19. Attendees can enter first hand the world of an artist who ironically plays with stereotypes and reflects on gender issues, the so-called fake fame as well as fashion.

Pachi Santiago, "Cerca desde lo masculino", 2012. Galería Zielinsky.

Pachi Santiago, the artist represented in this edition by the Zielinsky Gallery, is a multidisciplinary creator whose main line of work is in representation codes, with all of its implications. Identity, gender, ways in which we profile ourselves, ways of projecting our image as well as the way we are seen, are some of the issues that define his work. In reality, as he himself affirms, it is about seeing life "under another prism", investigating those folds that deeply characterize life and in which, in most cases, are the most important things happen.

Therefore, his work moves between "a thin line among the enigma, the absurd, aesthetics, surrealism, drama, solitude and humour, creating symbolic images and mysterious characters, located in a kind of parallel instant that in reality represent the emotions of our own life." The languages and formal strategies he employs are very varied, working photography, video, illustration and even more hybrid creation, and configuring a very personal and fantastic imagination. After the success of projects such as "Ausentes", "Hybrids", "Sonÿ la musa", "Fábula project" or "Utopia House", the artist will present a performance of another of his most celebrated series: "Copying Claudia".

Pachi Santiago, "Scarface", 2016. Galería Zielinsky.

The German top model Claudia Schiffer, focusing on that version portrayed by the recently deceased master, Karl Lagerfeld, is one of the great obsessions of this artist. His admiration for the work of both of them, sublimated by the process of mythification and adoration so very characteristic of our time, leads the artist to this series of almost total symbiosis. Santiago plays with the identity of Schiffer and his own, he repeats her photographs or commercial videos, enters fully into her universe but without losing his own personality. The artist proposes to rethink the aesthetics and media icons, the power of fashion and our individual aspirations, so often frustrated by not appearing enough to our idol.

Masquerades, deceptions and disappointments, games of admired and admirers, criticism, humour and certain magic, to reflect on issues relevant today such as gender, fashion and so-called fake fame stereotypes. "The man assuming a role that supposedly is attributed to a woman; the stereotyped relationship between artist and muse seen from another point of view, treating the muse as something globally independent from its genre; the man also reified; or the power of being different in a universe in which we aspire to be or to reach something far beyond ourselves". Great problems such as gender as well as differences to distort through so many clichés that flood our daily tasks and our most intimate dreams.

Pachi Santiago, "Disfraz", 2016. Galería Zielinsky.

ust for a determinate period of time, an Art Madrid space will become a very unique photographic set. In that live fashion shooting a camera will record the actions and poses of Pachi Santiago and can be seen live on a screen installed next to the set. Another television will show the images of Claudia Schiffer in which the artist is inspired to pose, trying to do it as his muse in the original photos, reflecting her expressions, playing to be another character: that "Me Claudio", the alter ego between Schiffer and he himself under an ironic look.

Santiago does not care about the fact that he does or not resembles her, but that he wants to interpret being it even if he does not succeed. This romantic, freak and melancholic factor has a lot to do with the essence of the project, something that you can enjoy live in the new edition of Art Madrid, where, Santiago will explain this work to you in person. Don’t miss it!

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.