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 painting of Daniel Bum (Villena, Alicante, 1994) takes shape as a space for subjective elaboration, where the figure emerges not so much as a representational motif but as a vital necessity. The repetition of this frontal, silent character responds to an intimate process: painting becomes a strategy for navigating difficult emotional experiences—an insistent gesture that accompanies and alleviates feelings of loneliness. In this sense, the figure acts as a mediator between the artist and a complex emotional state, linking the practice of painting to a reconnection with childhood and to a vulnerable dimension of the self.

The strong autobiographical dimension of his work coexists with a formal distance that is not the result of conscious planning, but rather functions as a protective mechanism. Visual restraint, an apparent compositional coolness, and an economy of means do not neutralize emotion; instead, they contain it, avoiding the direct exposure of the traumatic. In this way, the tension between affect and restraint becomes a structural feature of his artistic language. Likewise, the naïve and the disturbing coexist in his painting as inseparable poles, reflecting a subjectivity permeated by mystery and unconscious processes. Many images emerge without a clearly defined prior meaning and only reveal themselves over time, when temporal distance allows for the recognition of the emotional states from which they arose.

The Long Night. Oil, acrylic, and charcoal on canvas. 160 × 200 cm. 2024.

The human figure appears frequently in your work: frontal, silent, suspended. What interests you about this presence that seems both affirmative and absent?

I wouldn’t say that anything in particular interests me. I began painting this figure because there were emotions I couldn’t understand and a feeling that was very difficult for me to process. This character emerged during a very complicated moment in my life, and the act of making it—and remaking it, repeating it again and again—meant that, during the process, I didn’t feel quite so alone. At the same time, it kept me fresh and connected me to an inner child who was broken at that moment, helping me get through the experience in a slightly less bitter way.

Santito. Acrylic and oil on canvas. 81 × 65 cm. 2025.

There is a strong affective dimension in your work, but also a calculated distance, a kind of formal coldness. What role does this tension between emotion and restraint play?

I couldn’t say exactly what role that tension plays. My painting is rooted in the autobiographical, in memory, and in situations I have lived through that were quite traumatic for me. Perhaps, as a protective mechanism—to prevent direct access to that vulnerability, or to keep it from becoming harmful—that distance appears unconsciously. It is not something planned or controlled; it simply emerges and remains there.

Night Painter. Acrylic on canvas. 35 × 27 cm. 2025.

Your visual language oscillates between the naïve and the unsettling, the familiar and the strange. How do these tensions coexist for you, and what function do they serve in your visual exploration?

I think it reflects who I am. One could not exist without the other. The naïve could not exist without the unsettling; for me, they necessarily go hand in hand. I am deeply drawn to mystery and to the act of painting things that even I do not fully understand. Many of the expressions or portraits I create emerge from the unconscious; they are not planned. It is only afterwards that I begin to understand them—and almost never immediately. A considerable amount of time always passes before I can recognize how I was feeling at the moment I made them.

Qi. Acrylic on canvas. 81 × 65 cm. 2025.

The formal simplicity of your images does not seem to be a matter of economy, but of concentration. What kind of aesthetic truth do you believe painting can reach when it strips itself of everything superfluous?

I couldn’t say what aesthetic truth lies behind that simplicity. What I do know is that it is something I need in order to feel calm. I feel overwhelmed when there are too many elements in a painting, and I have always been drawn to the minimal—to moments when there is little, when there is almost nothing. I believe that this stripping away allows me to approach painting from a different state: more focused, more silent. I can’t fully explain it, but it is there that I feel able to work with greater clarity.

Crucifixion. Acrylic on canvas. 41 × 33 cm. 2025.

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

I usually feel more comfortable leaving space for the unexpected. I am interested in uncertainty; having everything under control strikes me as rather boring. I have tried it on some occasions, especially when I set out to work on a highly planned series, with fixed sketches that I then wanted to translate into painting, but it was not something I identified with. I felt that a fundamental part of the process disappeared: play—that space in which painting can surprise even myself. For that reason, I do not tend to plan too much, and when I do, it is in a very simple way: a few lines, a plane of color. I prefer everything to happen within the painting itself.