Fight of Giants relies on figurative art and the character of the Pink Panther to reclaim the democratic genetics of Pop Art and its proximity to the audience, characteristics of an artistic movement inspired by the aesthetics of everyday life and consumer goods of the time. As a "happening" in the heart of the city of Madrid, Fight of Giants advocates for artistic creation in a context where the aesthetic experience is more exciting and better understood by all audiences.

Sixty years ago, Blake Edwards released in Technicolor one of the most unique feature films of the time, which would not only become part of American culture but also the international comedy universe: "The Pink Panther", whose original title was translated into Spanish as "La Pantera Rosa."

Jaime Sancorlo. Desert Patrol, 2023

In 1963, this comedy-thriller entered the bloodstream of the emerging Pop movement in a New York City experiencing the birth of the "Factory" and the rise of Truman Capote. Just like previous editions of this informal field called Battle of Giants (a "non-gallery," a "non-museum," something more than an exhibition, as defined by its creators Gabriel Suarez and Aleix Gordo), The Pink Panther reappears this time as a timeless character capable of questioning and reclaiming the present through its staging.

Sandra Rojo Picón. No9. Blue Pink, 2023

After obtaining the copyright for its reproduction directly from MGM, the commemoration of the character's sixtieth anniversary brings together thirty giant artists who, struggling together, will visually reflect on their socio-cultural present, their artistic and visual context, and their work, around the figure of the iconic pink character. At the same time, the proposal promotes the revision of the context of art itself, wanting to establish new places for the shared experience between the work of art and the observer, going beyond the apathy of the white cubes or those artistic spaces of restricted access belonging to the past.

Illan Argüello. Más chula que el 8, 2023

In this way and demonstrating the bitter heritage typical of British comedy or "pop art", the film was connected to the impulses of the new artistic exploration that was emerging in the streets of the Big Apple, far from the chromatic and gestural abstraction that had occupied the art scene during the previous decade, with figures such as Mark Rothko, Barnet Newman, Willem de Kooning or Jackson Pollock, and which had also moved away from the gaze of the general public. The New York cultural scene was now moving forward in the hands of the film director towards other paths closer to mass culture and its daily life through humor. In his first solo appearance in the Pink Phink chapter, the Pink Panther establishes a colorful battle against the traditional hegemony of the color blue, using all kinds of tricks and strategies to dye the world with his favorite color. In only six minutes in which we could see pictorial inheritances coming from the chromatic universe of Rothko and other abstract creators, the character is introduced in the culture of the politically incorrect.

Iker Serrano. Space Action Panther,2023

The Pink Panther represents irony, discontent or cynicism, clichés of what we know as "British sense of humor" and will always act, throughout all the short films, as a timeless critic, as an inter-generational and individual being capable of conversing with the general public, regardless of their origin, culture or age.

Mario Soria. Pink Biker,2023

Under the apparent atmosphere of humor and comedy of the new interpretations made by the thirty selected giants, there is a world of diverse readings and messages to be discovered, which will be unveiled by the other fundamental agent of any artistic process: the audience.

Fight of Giants gathers this time thirty individual visions for a collective and close reconstruction of its present, where the general public has been invited to participate with total freedom in this exciting process.

From May 25th to 28th. From 11h to 20h.

📍Hotel ONLY You Barquillo.

C/ del Barquillo, 21. Madrid.

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.