It seems that contemporary art has reflected on the individual's relationship with the environment, focusing on the modification of nature, the invasion, the occupation, the appropriation and the limitation. The construction of walls, the erection of buildings, the urbanisation of the scene... are themes today intimately connected with other major concerns of our time, such as global warming or the overexploitation of resources. This trend shows an adaptation of artistic language to the technological dictates of our time, and recurring use of materials, disciplines and techniques that incorporate a great visual load while delving into a message of denunciation, which goes beyond aesthetic impositions.

Wilbur Streech, “Hidden Lagoon”

The prioritisation of discourse has displaced the traditionally reigning composition. We are in the era that formalism has lost its validity, and attention shifts to eclecticism, reuse and narrative value. The majority of contemporary art appears as a medium that channels the criticism of our time, which condenses the concern of the new generations, the pessimist vision before an uncertain future and the questioning of the values of a conformist, well-off and consumerist society.

Hiroko Otake, “Memory of red rose”, 2008

Despite this, some authors continue to resort to more traditional elements to condense their expressive desires. The banishment of beauty as a motive and purpose in art has given way to creations that, while incorporating technologies available to everyone and employing a closer language, do not have the aesthetics among their discursive priorities. However, the commitment to more classic scenes and compositions is a rara avis that renews the inherited pictorial legacy and is a way to recover a less intervened approach to the environment. At the same time, the return to the landscape serves to value nature and generate a sense of responsibility for its care and conservation.

Wilbur Streech, “August Sun”, 1980

The work of Wilbur Streech (Fullerton, California, 1914) and Hiroko Otake (Tokyo, 1980) explores this trend. Although for the latter, the influence of traditional Japanese art is somewhat expected, we can also see Japanese reminiscences in Streech's work. In both cases, the landscape and flora become the central motif for artistic proposals that seek serenity and the balance of spirit through natural contemplation. The predominance of transparencies, the superposition of layers and soft tones create an atmosphere of meditation and mysticism. Their work invites us to enjoy direct contact with the environment, the pure experience of observation and silence.

Hiroko Otake, “The form of beginning”, 2016

Relive the Art Madrid’25 experience from anywhere, anytime, with our 360º Virtual Tour. Explore the fair as if you were there, navigating each space and discovering every artwork in detail.

Aerial View of Art Madrid'25. Photo by Lucas Amillano.

This year, we’ve taken the experience of Art Madrid’25 to the next level, allowing you to explore the fair from anywhere in the world. Walk through the exhibition spaces, get closer to the most fascinating pieces, and admire the impressive glass dome that bathes the entire venue in natural light. If there was any artwork you couldn’t fully appreciate or if you simply want to relive the fair’s atmosphere, now’s your chance.

Thanks to our collaboration with Coke Riera Studio and Panotour technology, we’ve captured the essence of Art Madrid’25 in an immersive tour with the highest quality and detail. Over 4,000 photographs taken from strategic points make up this interactive experience, bringing you closer to the art in an unparalleled way.

We’re thrilled to share this unique way of enjoying and revisiting contemporary art. The best part is that you can TRY IT and SHARE IT with anyone you wish! Don’t miss the chance to explore Art Madrid’25 in its full expression, whenever and wherever you choose.