For its next edition of 2019, Art Madrid bets on the creative talent of Madrid-born artist Rubén Martín de Lucas, who will present an exclusive issue of his "Repúblicas mínimas" and will have a very active participation in the fair.

With the choice of the guest artist, Art Madrid wants to support authors in an initial or intermediate career that stand out for their committed character, their constant search for new expressive languages, the continuity in their artistic practice and the development of transnational projects that explore new discourses in contemporary art. It is a firm commitment to the creative talent that the fair will translate in a greater presence of the artist, by calling to participatory actions that involve the public with the processes of artistic production.

Rubén Martín de Lucas, "Repúblicas mínimas", nº 5

Since the beginning of his solo career, Rubén Martín de Lucas has developed a work focused on the relationship of the individual with the environment and his intervention on the territory. The discursive load of the work of this multidisciplinary artist adopts numerous forms and proposals, from painting to photography, although in recent times his projects tend to video creation. With an expressive language that starts from the exploration of the landscape and the analysis of the footprint of humankind in nature, Rubén proposes a critical approach to certain concepts that result in artificial delimitations, barriers and separations which the landscape does not understand. As he explains: "I speak of borders, of the strange concept of property of the land, of overpopulation, of industrial agriculture, of the anthropisation of the landscape. Understanding my work takes time and a small effort on the part of the viewer." To these ideas responds his most ambitious project "Stupid borders", of which "Repúblicas mínimas" is one of his lines of work: a process of creation permanently open that will have in Art Madrid a new unpublished piece.

Rubén Martín de Lucas, "Repúblicas mínimas", nº 11

From Art Madrid we want to value the constant evolution, the expressive search and the discursive commitment of Rubén's work. He is an indefatigable artist who does not understand obstacles, and risks in his works with innovative proposals. In addition, he has a mature and transcendent artistic discourse, resulting in a coherent and very promising career.

Rubén Martín de Lucas graduated in Civil Engineering in 2002, but before finishing his studies he began to excel in his artistic side by co-founding the Boa Mistura group, a collective that stands out mainly for its urban art interventions in Brazil, South Africa, Germany, Mexico or Norway. In 2015 he decided to start his solo career with a discourse focused on the reflection on the intervention of mankind in the environment; a thematic line from which several projects have already emerged and which have allowed Rubén to participate in numerous exhibitions inside and outside Spain.

ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. PERFORMANCE CYCLE X ART MADRID'26

Art Madrid, committed to creating a discursive platform for artists working within the field of performance and action art, presents Abierto Infinito: lo que el cuerpo recuerda, a proposal inspired by Erving Goffman’s ideas in The Presentation of Self in Everyday Life (Amorrortu Editores, Buenos Aires, 1997).

The project unfolds within a theoretical framework that directly engages with these premises, conceiving social interaction as a stage of carefully modulated performances designed to influence others’ perceptions. Goffman argues that individuals deploy both verbal and involuntary expressions to guide the interpretation of their behavior, sustaining roles and façades that define the situation for those who observe.

The body — the first territory of all representation — precedes both word and learned gesture. Human experience, conscious and unconscious alike, is inscribed within it. Abierto Infinito: lo que el cuerpo recuerda departs from this premise: representation inhabits existence itself, and life, understood as a succession of representations, transforms the body into a space of constant negotiation over who we are. In this passage, boundaries blur; the individual opens toward the collective, and the ephemeral acquires symbolic dimension. By inhabiting this interstice, performance simultaneously reveals the fragility of identity and the strength that emerges from encounter with others.

PERFORMANCE: ALTA FACTURA. BY COLECTIVO LA BURRA NEGRA

March 4 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.

"Discipline for Power.” Performance by La Burra Negra for Displacement of the Congress of Deputies by Roger Bernat. 2025.

Alta Factura subverts the conventional structure of the fashion runway to foreground the often-invisible processes that underpin artistic production. Through a series of conceptual textile works, the performance draws attention to the discipline of craft and the artist’s vulnerability, ultimately revealing those seams typically consigned to the margins, behind the scenes.

Colectivo La Burra Negra.

ABOUT EL COLECTIVO LA BURRA NEGRA

La Burra Negra is a nomadic performance art collective based in Málaga, founded in 2024 following its first residency in Totalán. The group is self-managed by Ascensión Soto Fernández, Gabriela Feldman de la Rocha, Sasha Camila Falcke, Sara Gema Domínguez Castillo, Sofía Barco Sánchez, and Regina Lagos González—six artists from diverse backgrounds and trajectories who met at the Hospital de Artistas at La Juan Gallery.

The collective brings together practitioners working across jewelry, painting, the performing arts, music, dance, cultural mediation, and arts management. Its activities include an annual residency in Totalán, the production of performative works, cultural mediation initiatives, and site-responsive interventions.

Since its inception, the collective has participated in the Periscopio series at La Térmica; presented A granel at the MVA in Málaga; carried out a number of actions in Totalán—the most recent during its second annual residency—and contributed its own proposals to the performance Displacement of the Congress of Deputies by Roger Bernat in Madrid.

At the core of La Burra Negra lies a commitment to collective creation and the exchange of knowledge. United in their effort to experiment with and disseminate performance art, the group explores the invisible dimensions of artistic labor—its temporalities, efforts, and relational dynamics, which so often remain unseen—as a form of critical affirmation.

Their practice emerges from dialogue and shared reflection, in the pursuit of decentralized spaces where art can be experienced and its processes made visible. Each residency and each action becomes an attempt to inhabit creation collectively, challenging conditions of precarity while fostering networks of care and collaboration that sustain both their own practice and that of those around them.