SAFE CREATIVE BECOMES THE PLATFORM THAT SUPPORTS CONTEMPORARY ARTISTS IN FACING DIGITAL CHALLENGES.

Thanks to the collaboration with Safe Creative, we have been able to enjoy the Interviews Program with Marisol Salanova, in which seven artists from Art Madrid'25 have shared reflections and creative processes of their work. The world of contemporary art has undergone significant changes in recent years. Creators now face more challenges than ever, not only when exhibiting their work in galleries and contemporary art fairs, but also in protecting their works and identity in the digital world and against the growing impact of artificial intelligence.

For this reason, Safe Creative positions itself as an essential ally for artists who value the effort behind their work, seek to register their creations to generate solid proof of authorship, and wish to protect their personal brand or that of their works and collections.

Since 2007, Safe Creative has been the world's leading private company in generating digital evidence on the internet. Through its copyright registration service, it offers tools tailored to all types of creators. In recent years, it has evolved into a comprehensive platform that not only helps artists register their finished works but also certifies human contribution in the creative process, automatically informs about reserved rights, and allows for publishing and licensing works. Additionally, it has become a reference for articles, news, and trends on intellectual property. It also simplifies the trademark registration process in various territories, both nationally and internationally, addressing a crucial aspect for contemporary artists.

The goal is clear: to support creators in all aspects related to their copyrights, style, and brand image. From documenting the creation of their works to protecting their artistic name, Safe Creative enables artists to present their identity coherently and professionally, opening up new opportunities.

Beyond personal identity, it is recommended to register the names of specific works, notable projects, or collections involving collaborations with other creators as trademarks. This includes names of fairs or residencies, for example. This type of protection helps prevent others from appropriating the name and reputation of artists, organizations, and works, while facilitating the commercialization, communication, and promotion of creations.

All of this is made possible by Safe Creative's intelligent use of new technologies. Through digital fingerprints, timestamps, and blockchain, the platform generates valid and verifiable evidence in all countries that are signatories to the Berne Convention. These proofs are tamper-proof and enhance the confidence of buyers, gallerists, and creators. The same philosophy of technological efficiency is applied to trademark registration, simplifying a process that was traditionally tedious and complicated.

Additionally, Safe Creative offers a free online exhibition space for its subscribers, which is continually evolving to become a comprehensive solution for those looking to showcase their talent and work. This space allows artists to sell usage licenses comfortably and transparently, and even declare whether they wish to prevent AI companies from using their works to train algorithms.

Safe Creative thus positions itself as a platform that supports the entire journey of any artist, content creator, or company that values their work and wants to showcase their talent to the world in the safest way possible, transcending borders and empowering creativity.

Sponsor of ART MADRID'25

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.