Lecturas: Curated Walkthroughs X Art Madrid.

LECTURAS CURATED WALKTHROUGHS X ART MADRID

Lecturas: Curated Walkthroughs X Art Madrid is one of the initiatives that are part of the Parallel Program of the 19th edition of Art Madrid. And it is possible thanks to the collaboration of ONE SHOT HOTELS, one of the official sponsors of Art Madrid'24.

For the occasion, we have invited the cultural mediator Eugenia Tenenbaum and the curator Óscar Manrique to accompany the exhibition proposals of this edition; from their places of enunciation, both curators propose two thematic routes that dialogue on the reality of our social context. The curators have selected a group of works from the wide range of artistic proposals that will be presented in this edition, in order to question, from a critical perspective, how alternative discourses can be built around the issues that permeate the invisible line that separates art and life.

The purpose of Lecturas: Curated Walkthroughs X Art Madrid is to explore contemporary creation as a tool to generate new meanings about the art produced in our context. Each curator has raised a group of questions that serve as a common thread to bring the public closer to manifestations such as painting; or to question the frictions and tensions that can occur between some pieces and others, and how we can connect these sometimes "invisible" relationships in the work of the artists who are part of both itineraries.

The curated walkthroughs will allow participants to approach different artistic styles and perspectives, to recognize the languages with which contemporary art operates in the context of an art fair, and to participate in a mediation initiative that proposes to activate the aesthetic experience transcending mere contemplation.

Approaching art is not only about observing, but also about understanding and connecting with the emotions that the works evoke. With this objective in mind, we propose two thematic itineraries that move away from traditional itineraries and focus on the depth of meaning and narrative behind each work, creating an enriching experience for the public attending Art Madrid'24.

TENSIONS AND FRICTIONS IN THE HISTORY OF ART. A CURATED WALKTHROUGH BY EUGENIA TENENBAUM

What are the tensions that exist in Art History and in the spaces that inhabit it? In the tour curated by art historian Eugenia Tenenbaum, the notions of "friction" and "tension" are materialized in the possible conversations that can be held between artist and work, spectator and space, art and market. Tensions sometimes of an identitary nature, others of a formal and some of a political nature, this tour aims to open a space for dialogue and reflection on the possibilities of the art market to adjust to the passage of time, to the needs of the population and to the social debates that point to a more just, diverse and inclusive future.

ABOUT EUGENIA TENENBAUM

Art historian specialized in gender perspective, Eugenia Tenenbaum is dedicated to cultural diffusion and art criticism in social networks, mainly Instagram and Patreon. As a communicator, she also works as a guide, lecturer and workshop leader on art, feminisms and the impact of gender relations on the creation, reception and dissemination of artistic production in congresses, universities, institutes, museums and other spaces. In 2022 she published her first book, "La mirada inquieta", an essay on art, and in April 2023 her first work of fiction, "Las mujeres detrás de Picasso".

Eugenia Tenenbaum.

AFTER A SUPPOSED PAINTING CRISIS. A CURATED WALKTHROUGH BY ÓSCAR MANRIQUE

Our visual reality is plagued by images that are born, develop and die at a dizzying speed, as we perceive life through screens in which a multitude of meanings are agglomerated in an almost aberrant manner. Painting today has to deal with this "pantallocracy", it has to fight its own battle against this visual monotony, and the answers are as varied as they are stimulating. Much has been said about the crisis of painting that this situation has caused, along with the preference of museums and institutions for other solutions that move away from the canvas in the search for more innovative and political proposals; however, the pictorial fact is still not exhausted, the fairs continue to claim painting and language can continue to surprise us despite being "out of fashion", a fact that in my opinion has been imposed, because as we see in fairs like Art Madrid, painting remains. To this purpose, the tour proposed by Oscar Manrique will analyze the various pictorial solutions born of the desire to renew the discipline, from an expanded painting where traditional formats evolve to other, not so conventional ones, the new figurations influenced by television and the mass media, to others that try to compete with the photographic image or resort to resources as old as trompe l'oeil to dignify human technique before the machine.

ABOUT ÓSCAR MANRIQUE

Independent curator, critic and art historian specialized in visual studies. His research focuses on an anthropology of the image, studying the metamorphoses that images can undergo in the contemporary world. He also works from an archeology of the present, interested in speaking from the residual, the everyday, or the kitsch; and ultimately from everything that historiography has discarded and that now serves to establish new and diverse readings, especially those that foresee ways to look to the future. He works from an ecology of images, with references to all kinds of culture - plastic, literary, cinematographic, musical... - which leads him to be a faithful defender of current discourses on aesthetics, understanding it as a social construction of visual experience that defends ocular desire as a defining element of being. Since 2023 he directs the curatorial branch of the Ginsberg + TZU gallery (Madrid-Lima), inspired by the ability of art to build bridges and bring borders closer, turning the project into a platform where artists, both emerging and established, can continue to create freely, expanding discourses and presenting new ideas.

Óscar Manrique.

The work of Cedric Le Corf (Bühl, Germany, 1985) is situated in a territory of friction, where the archaic impulse of the sacred coexists with a critical sensibility characteristic of contemporary times. His practice is grounded in an anthropological understanding of the origin of art as a foundational gesture: the trace, the mark, the need to inscribe life in the face of the awareness of death.

The artist establishes a complex dialogue with the Spanish Baroque tradition, not through stylistic mimicry, but through the emotional and material intensity that permeates that aesthetic. The theatricality of light, the embodiment of tragedy, and the hybridity of the spiritual and the carnal are translated in his work into a formal exploration, where underlying geometry and embedded matter generate perceptual tension.

In Le Corf’s practice, the threshold between abstraction and figuration is not an opposition but a site of displacement. Spatial construction and color function as emotional tools that destabilize the familiar. An open methodology permeates this process, in which planning coexists with a deliberate loss of control. This allows the work to emerge as a space of silence, withdrawal, and return, where the artist confronts his own interiority.

The Fall. 2025. Oil on canvas.195 × 150 cm.

In your work, a tension can be perceived between devotion and dissidence. How do you negotiate the boundary between the sacred and the profane?

In my work, I feel the need to return to rock art, to the images I carry with me. From the moment prehistoric humans became aware of death, they felt the need to leave a trace—marking a red hand on the cave wall using a stencil, a symbol of vital blood. Paleolithic man, a hunter-gatherer, experienced a mystical feeling in the presence of the animal—a form of spiritual magic and rituals linked to creation. In this way, the cave becomes sacred through the abstract representation of death and life, procreation, the Venus figures… Thus, art is born. In my interpretation, art is sacred by essence, because it reveals humankind as a creator.

Between Dog and Wolf II. 2025. Oil on canvas. 97 × 70 cm.

Traces of the Spanish Baroque tradition can be seen in your work. What do you find in it that remains contemporary today?

Yes, elements of the Spanish Baroque tradition are present in my work. In the history of art, for example, I think of Arab-Andalusian mosaics, in which I find a geometry of forms that feels profoundly contemporary. In Spanish Baroque painting and sculpture, one recurring theme is tragedy: death and the sacred are intensely embodied, whether in religious or profane subjects, in artists such as Zurbarán, Ribera, El Greco, and also Velázquez. I am thinking, for example, of the remarkable equestrian painting of Isabel of France, with its geometry and nuanced portrait that illuminates the painting.

When I think about sculpture, the marvelous polychrome sculptures of Alonso Cano, Juan de Juni, or Pedro de Mena come to mind—works in which green eyes are inlaid, along with ivory teeth, horn fingernails, and eyelashes made of hair. All of this has undoubtedly influenced my sculptural practice, both in its morphological and equestrian dimensions. Personally, in my work I inlay porcelain elements into carved or painted wood.

Between Dog and Wolf I. 2025. Oil on canvas. 97 × 70 cm.

What interests you about that threshold between the recognizable and the abstract?

For me, any representation in painting or sculpture is abstract. What imposes itself is the architectural construction of space, its secret geometry, and the emotion produced by color. It is, in a way, a displacement of the real in order to reach that sensation.

The Anatomical Angel. 2013. Ash wood and porcelain. 90 × 15 × 160 cm.

Your work seems to move between silence, abandonment, and return. What draws you toward these intermediate spaces?

I believe it is by renouncing the imitation of external truth, by refusing to copy it, that I reach truth—whether in painting or in sculpture. It is as if I were looking at myself within my own subject in order to better discover my secret, perhaps.

Justa. 2019. Polychrome oak wood. 240 × 190 × 140 cm.

To what extent do you plan your work, and how much space do you leave for the unexpected—or even for mistakes?

It is true that, on occasions, I completely forget the main idea behind my painting and sculpture. Although I begin a work with very clear ideas—preliminary drawings and sketches, preparatory engravings, and a well-defined intention—I realize that, sometimes, that initial idea gets lost. It is not an accident. In some cases, it has to do with technical difficulties, but nowadays I also accept starting from a very specific idea and, when faced with sculpture, wood, or ceramics, having to work in a different way. I accept that.