The world is on alert. Since time ago, we live in a permanent paradox, a situation of contrast that obeys two impulses: the one that leads us to keep our economies growing and the one that warns us that the excesses committed will have consequences. Far from focusing on finding a balance between the two, we tend to feed both forces independently. Thus, the two ends of this rope, which is our world, tense more and more until, either one of the ends yields, or it ends up breaking in half.

Nick Sayers, “Coke bottles sphere”, 2010

The Climate Action Summit that started this week has been presented as an ultimatum to the planet. The responsibility to take urgent measures to combat climate change and acquire a real commitment to effective policies weighs on our conscience as a species. Undoubtedly, more damage to the environment has been caused in the last century than in the rest of our history. And yet, we seem unable to act accordingly, to change our habits, our frantic demand, to take care of where we live.

Installation by Maja Weiss in CIFF, 17 tonnes of used clothes.

To raise awareness about this problem, the communication channels diversify, and the messages come from different sources. Many artists have made of ecological responsibility their leit motiv. Aiming to get their speech as far as possible and reach as many people as possible, the authors strive to explore new contemporary languages that cause an impact and call the viewer's attention. The objective is clear: to open our eyes to a reality that affects us entirely, and that will require everyone's commitment to fighting back.

Vanessa Barragão, “Coral Garden”, 2019

Many creators underline this dramatic situation by using waste materials to carry out their works. The reuse of plastic elements and other objects recovered from beaches, streets or parks reveals the massive amount of waste that we are capable of producing and the lack of responsibility by spreading trash anywhere. These actions invite us to reflect on the spiral of consumption we live in and the brevity of the useful life of objects, which are quickly replaced by new ones. The transition towards the "unusable" is increasingly shorter, and everything becomes volatile and futile in our capitalist society. This has given rise to "Upcycled art", a movement that offers a second life to residues and transforms them into works of art.

Upcycled Art was labelled for the first time in 2002, in the work “From the cradle to the cradle. Redesigning the way we do things” by William McDonough and Michael Braungart. Although the reuse and fusion of materials are not new in the art world, what is new is the purpose, essentially aimed at creating something beautiful from the waste and in evidencing the consumption abuses we are victims of.

Olafur Eliasson, “Ice Watch”, 2018, photo: Matt Alexander/PA Wire

Other authors focus on large-scale works that emphasise global warming. The Danish Olafur Eliasson created in 2018 an installation for the Tate Modern in London (later replicated in other cities), where he arranged huge blocks of ice that simulate the large fragments that gradually detach from the glaciers and melt in the sea. The artwork was called "Ice Watch" ("Ice Watch") and, as expected, it ended turned into a large pool of water. This artist, to whom the Guggenheim Museum will dedicate a monographic exhibition in February, has reflected on the unstoppable impact of this rise in temperatures, and laments the total disappearance of the Ok glacier, until recently located northeast of Reykjavik.

Francis Pérez, “Caretta Caretta Trapped”, 2017 Photo Contest, Nature, Singles, 1st prize.

On the other hand, a large number of photographers, and especially those specialising in nature reports, have brought to light dramatic images in which the species suffer from the overabundance of plastics that pollute their ecosystems. According to the UN report on the climate published in March this year, biodiversity is one of the most threatened riches on the planet, and it is estimated that there is a risk of extinction that affects 42% of terrestrial invertebrates and 25% of the marine invertebrates. That is why it is not strange that photographs like this are increasingly more frequent and have become for many authors sensitised with this problem a way of denunciation and awareness.

Hopefully, societies will take measures to stop and, as far as possible, reverse this situation. We must investigate new economic models that take advantage of resources responsibly and do not rely exclusively on constant growth and overproduction.

ART MADRID CLOSES ITS 21ST EDITION AS A KEY EVENT OF MADRID ART WEEK

The Galería de Cristal of the Palacio de Cibeles hosted the 21st edition of Art Madrid from March 4 to 8, once again consolidating its role as one of the must-see events of Madrid Art Week. Over the course of five days, the fair brought together 35 national and international galleries and more than 200 artists, turning the venue into a meeting point for gallerists, collectors, professionals, and lovers of contemporary art.

Throughout its trajectory, Art Madrid has built a distinct identity, with a constant focus on giving visibility to both emerging and established galleries and on opening contemporary art to diverse audiences. Rather than being structured around a single curatorial line, the fair embraced a plural proposal, respecting the unique DNA of each exhibitor.

Art Madrid’26 presented a Gallery Program distinguished by the diversity of artistic proposals and languages, encouraging dialogue between different generations and contemporary practices. Painting, sculpture, photography, drawing, installation, and new hybrid forms coexisted in an edition that once again confirmed the dynamism of today’s art scene

During the days of the fair, nearly 20,000 visitors explored the booths of the participating galleries and enjoyed a parallel program that expanded the experience beyond the traditional exhibition format.

The Parallel Program: An Expanded Art Fair

The Parallel Program once again took center stage in the Art Madrid experience, activating the fair space through projects that explored new forms of interaction between artworks, artists, and the public.

Among the most notable initiatives was the performance series Open Infinite: What the Body Remembers, which presented a daily performative action at the fair featuring works by Colectivo La Burra Negra, Rocío Valdivieso, Amanda Gatti, and Jimena Tercero. The pieces incorporated the body as a critical device and a space of memory, reinforcing the presence of performance within Art Madrid’s programming.

The third edition of Open Booth presented Despiece. Protocolo de mutación, by Daniel Barrio, a site-specific project that transformed the booth into a landscape constructed from urban remnants and industrial materials. The installation invited visitors to physically engage with the work, creating an immersive experience within the exhibition space.

Meanwhile, Espacio Nebrija hosted the project Estancias transitorias (NotanIA SipedagogIE), a proposal by Nebrija University that reflected on Aesthetic Intelligence in the face of the growing dominance of algorithmic logic. The installation proposed a reclamation of gesture, materiality, and the time inherent to the creative process as dimensions that cannot be reduced to automation.

Lecturas. Curated Walkthroughs also returned, with itineraries designed by Zuriñe Lafón and Marisol Salanova that offered curatorial insights for exploring the fair from specific critical perspectives and expanding the visitor experience.

Patronage, Awards, and Acquisitions

Support for contemporary creation once again stood as one of the fair’s central pillars through the second edition of the Art Madrid Patronage Program, which recognizes the work of artists and strengthens the connections between galleries, collectors, and private entities.

On this occasion, the following awards were presented:

Cervezas Alhambra Emerging Artist Award Iyán Castaño, represented by Galería Arancha Osoro

One Shot Hotels Breakthrough Artist Award Joost Vandebrug, represented by KANT Gallery

In the Acquisition Awards category, several private collections incorporated works presented at the fair into their collections.

Studiolo Collection Roger Sanguino — DDR Art Gallery

Devesa Law Kim Han Ki — Banditrazos Gallery

E2IN2 Collection Albert Bonet — Inéditad Gallery

dn2 Collection Iván Baizán — Galería Arancha Osoro

These acquisitions reflect the private sector’s commitment to the development of contemporary art and contribute to advancing the professional trajectories of emerging and mid-career artists.

Collecting and Support for the Artistic Ecosystem

The promotion of collecting once again played a prominent role in this edition thanks to the One Shot Collectors program, which offered personalized advice to both new buyers and more experienced collectors, facilitating access to the contemporary art market and fostering direct relationships between artists, galleries, buyers, and collectors.

This program, together with the Patronage Program, continues to strengthen the professional ecosystem surrounding the fair and reinforce Art Madrid’s commitment to supporting contemporary creation.

Among the most notable sales were works by Antonio Ovejero, represented by CLC ARTE; Leticia Feduchi and Ángela Mena, represented by Galería Sigüenza; Idoia Cuesta and Iyán Castaño, represented by Galería Arancha Osoro; and Yasiel Elizagaray, represented by Nuno Sacramento Arte Contemporânea. Likewise, the proposals presented by Inéditad Gallery were very well received, with notable sales of works by artists Albert Bonet and Eduardo Urdiales, as well as Carmen Mansilla, who debuted at Art Madrid'26 and achieved a sold out.

The overall balance of the edition has been particularly positive, with sales reported by all 35 participating galleries, confirming the strong interest from collectors and the dynamism of the market throughout the fair. Among the galleries that recorded notable commercial activity are La Mercería (Valencia), LAVIO (Murcia–Shanghai), 3 Punts Galería (Barcelona), Galerie One (Paris), Shiras Galería (Valencia), Galería Rodrigo Juarranz (Aranda de Duero), Galería São Mamede (Lisbon), Yiri Arts (Taiwan), and Trema Arte Contemporânea (Lisbon), among others.

A Fair made possible thanks to Its network of Partners

The success of Art Madrid’26 has been made possible thanks to the support of its official sponsors: Cervezas Alhambra, One Shot Hotels, Liquitex, Universidad Nebrija, and Posca, as well as the trust of its collaborators: Asociación 9915, Colección Studiolo, E2IN2, Colección dn2, Devesa Law, Enviarte, Cova 13, and Vanille Bakery Lab & Café. The fair also benefits from the involvement of its media partners and the support of various cultural organizations, private collections, and institutions that contribute to strengthening the contemporary art ecosystem.

Art Madrid: A Future Full of Possibilities

After 21 years of history, Art Madrid continues to consolidate its position as a key event in the contemporary art calendar, both nationally and internationally. Its ability to bring together galleries, artists, collectors, and institutions reinforces its role as a space for encounter, exchange, and discovery. The fair maintains a steadily growing outlook, driven by a program that evolves each year and increasingly opens up to more innovative proposals.

Thank you for being part of the 21st edition of Art Madrid. Your support is essential for continuing to promote art and culture.