Art Madrid'26 – THE EXPECTED ONE PROJECT OF ART MADRID 17

 

Curated by Carlos Delgado Mayordomo, the proposal talks about concepts as territory, displacement and identity. The selection includes these artists: Rubén Martín de Lucas, Mariajosé Gallardo, Irene Cruz, Renato Costa, Acaymo S. Cuesta, Keke Vilabelda, Eloy Arribas and Ernesto Rancaño.

 

Rubén Martín de Lucas. Genesis 1.28. Creced and Multiplied. Circles Action in the landscape. Photography. Pigmented inks on siliconized microporous paper on 3mm methacrylate mounted on dibond. 120 x 150 cm. Ed.5 + PA. 2017

 

Rubén Martín de Lucas (Madrid, 1977) with the BAT gallery Alberto Cornejo (Madrid), Engineer studies by the Polytechnic University of Madrid but declines to exercise the engineering to dedicate itself completely to art. Member of the multidisciplinary group Boa Mistura, group of artists with roots in graffiti that has intervened among others in the National Museum of Art Reina Sofía, Casa Encendida, International Festival of Arts of Castilla Leon.

 

The main obsession of the artist it is to reduce the forms to the essential, emphasizing the expressive force of graphics, fragments of collages or of the big planes, conceived as zones that allow to concentrate the information of the art piece that should reach the viewer. His works are not simple photographs because he modifies them by painting on them with oil or by creating collages with different images.

 

 

Mariajosé Gallardo. Painting cost time and money - Oil, enamel and gold leaf on canvas - 100 x 81 cm - 2016

 

 

Mariajosé Gallardo (Villaf. De los Barros, Badajoz, 1978), participates with Espacio Olvera (Seville). Graduate in Fine Arts in the specialty of Design and Engraving, by the University of Seville. We can highlight awards such as the Focus Abengoa, the presence of her work in numerous foundations or her individual exhibition in the CAAC (Andalusian Center for Contemporary Art).

 

Throughout her different projects, Mariajosé Gallardo, has built her own plastic vocabulary and has made her works easily recognizable. In its representative lexicon are always present emblems, symbols, religious motives, esoteric, heraldry, ex-votos or reliquaries; she offers the possibility of thinking the painting from different parameters not only by the strictly plastic or aesthetic point of view.
 

 

 

 Irene Cruz. The Muses - Photograph - 40 x 60 cm - 2016

 

 

Irene Cruz (Madrid, 1987) with the gallery Fifty Dots Gallery (Barcelona), an artist very recognized in the contemporary artistic world. Degree in the Universidad Complutense de Madrid in Advertising and Public Relations and Audiovisual Communication. She obtained the International Master EFTI, specializing in Conceptual photography and artistic creation. She currently lives and works in Berlin, and she has made more than 250 photography exhibitions, video art and video installations around the world, highlighting such places as the Palais de Tokyo in Paris, the BB.AA Circle in Madrid and the New York Art Project Art Space.

 

 

Renato Costa. Tan-Gentes -  Oil on canvas - 140 x 140 cm - 2016

   

 

Renato Costa (Rio de Janeiro, Brazil, 1974) that participates with Javier Silva Gallery (Valladolid) He began his profession in his father ?attelier. After graduated with a degree in Fine Arts in University Complutense of Madrid, he moved to that city until the present time. His work is defined by expressing intensely the emotions through its technical and thematic characteristics. The key issues are the relationship between the past and the present, not only the personal but also the collective. Figuration, subjectivity and open emotions, converging in his work into a more conceptual art.

 

 

Acaymo S.Cuesta. Preámbulo - Photographed on photopolymer plate. Black offset ink. Super alpha paper. Polyptych composed of 7 engravings
   

 

Acaymo S.Cuesta (Las Palmas de Gran Canaria, 1983) with the La Isla Gallery (Madrid). Graduate in Fine Arts, studied the Master of Artistic Production. He has exhibited individually in the Gallery No Place of Quito, Ecuador, the Gallery of Art U.L.P.G.C of Las Palmas of Gran Canaria and in Foundation Mapfre of Tenerife. He has participated in collective exhibitions in T.E.A. (Tenerife Spaces of the Arts), in Camino Largo 31, La Laguna, Tenerife, Estudio Andrés Delgado, Madrid, in San Miguel de Tucumán, Argentina and at the School of Design of the Polytechnic University of Valencia, among others.

 

 

Keke Vilabelda. Bone and concrete 4 - - 100 x 70 cm - 2016

 

 

Keke Vilabelda (Valencia, 1986) participant with Kir Royal Gallery (Madrid). Graduated in Fine Arts at the Polytechnic University of San Carlos, Valencia. He has exhibited individually in galleries such as the Kir Royal Gallery in Valencia, the Rodríguez Gallery in Poland, Plecto Gallery and Contemporary Lokus in Medellín, or the Coldharbour London Gallery in London. He has also participated in collective exhibitions such as, “Injuve with the young creation” in the Sala Amadis, Madrid. “Languages in Paper” at the Fernando Pradilla Gallery or the Beautiful New World, International Contemporary Art Exhibition, Nanjin.

 

 

Eloy Arribas. Sin título - Oil and collage on canvas - 100 x 81 cm - 2016  

 

 

Eloy Arribas (Valladolid, 1991) with Silves Arte Contemporáneo (Huércal-Overa, Almería) Painting, he finished his training with a Master’s Degree in Teacher Training. He has exhibited individually in Salamanca in the Space 3K Art and DA2, in Almería in the Gallery Mojácar Factory and in Valladolid in the Gallery Javier Silva. He is currently planning two other exhibitions, one in Madrid. She has participated in a large number of collective exhibitions such as “Flashes” at the Cultural Center of La Carolina, Jaén, and in “Open Studio” with Mabel Esteban and Brin Magenta at Escorpión Producciones, Salamanca.

 

 

 Ernesto Rancaño. Sombras del ayer - Mixed media (Light boxes) - 35 x 6 cm - 2016

 

 

Ernesto Rancaño (Havana, Cuba, 1968) participates with South Border Gallery (Beirut, Lebanon). He studied at the National School of Plastic Arts from 1987 to 1991, where he graduated in the specialty of Painting and Drawing. He obtained the First Prize in the Contest of Posters sponsored and summoned by the CETSS, Havana, Cuba. His works are in permanent collections in Panama, Mexico, Jamaica and Spain. Also, he has participated in numerous collective exhibitions. Since 1995 he has been a member of the National Union of Writers and Artists of Cuba (UNEAC). Some of his individual exhibitions are “Karma” at the Cuba Pavilion in Havana or “Half of my life” in 2012.

 

 

 

Contemporary art has ceased to be an exclusive territory reserved for elites and has become an increasingly democratic and accessible space. In the context of fairs such as Art Madrid, which in 2026 brings together more than 200 artists from five continents, a new generation of collectors is emerging—one that challenges the traditional codes of the art market. But how do you make the leap from admirer to collector? What do you need to know before acquiring your first artwork?

The image of the art collector has historically been associated with great fortunes, multimillion-euro auctions, and inaccessible masterpieces. However, this perception is changing radically. Today’s contemporary art market offers a wide range of proposals that suit virtually any budget, from works by emerging artists to limited editions by established creators. .



At Art Madrid, for example, galleries presenting young talents coexist with those representing artists with consolidated careers. This diversity allows first-time buyers to find meaningful works without needing unlimited capital. What matters is not how much you invest, but why you do it, and how that piece resonates with your life, your space, and your concerns.

Experience in the art world shows that a collection is not defined by the monetary value of the works it contains, but by the coherence and strength of the narrative they build together. Understanding this frees emerging collectors from the pressure to succeed according to investment logic and encourages them to rely on their own aesthetic judgment and the emotional connection they establish with the works.



HOW TO START A COLLECTION

Define Your Orientation: Passion vs. Investment

Before acquiring your first work, it is essential to ask yourself what you are looking for in collecting. There are two main approaches which, although they can coexist, lead down different paths:

Collecting driven by passion is guided by emotional connection, aesthetic pleasure, and the desire to live surrounded by works that speak to you. This approach is more intuitive and personal and, paradoxically, often proves to be more successful economically in the long term because it is rooted in genuine conviction.

Collecting as an investment requires more technical knowledge of the market, monitoring trends, understanding artists’ and galleries’ trajectories, and having a strategic vision. Although art has proven to be an interesting alternative investment—especially in times of economic uncertainty—it requires patience and a tolerance for risk.

Most successful collectors combine both dimensions: they buy what moves them, while also developing a critical eye to identify works with potential for appreciation. The key is not to be driven solely by market opportunism, because art that does not move you is unlikely to hold your interest when trends change.



EDUCATE YOURSELF BEFORE BUYING

Knowledge is your best tool. Before acquiring works, take time to:

Visit exhibitions regularly. Not only in commercial galleries, but also in museums, independent spaces, and art centers. This will help you develop your own aesthetic criteria and understand which proposals truly resonate with you.

Research artists. Read about their careers, influences, and creative processes. In the digital age, most artists are present on social media, where they share daily work, sketches, and reflections. This transparency makes it easier to connect more deeply with their practice.

Understand the market. Observe prices in different galleries, learn what factors influence valuation (artist’s career, technique, dimensions, limited edition versus unique piece), and become familiar with how galleries and fairs operate.

Talk to gallerists. Gallerists are essential allies. Their job is not only to sell, but to educate, connect, and build long-term relationships. A good gallerist will guide you toward works that match your interests and accompany you in the development of your collection.



EVALUATING A WORK: BEYOND “I LIKE IT”

When a work captures your attention, it is important to go beyond the initial emotional impression and ask yourself some key questions:

Coherence in the Artist’s Trajectory

Is this work part of a sustained line of research, or is it an isolated experiment? Artists with coherent proposals over time tend to have greater projection. Look for a logical evolution in their work, participation in relevant exhibitions, awards or grants, and representation by established galleries.

This does not mean you should reject the work of very young or highly experimental artists. On the contrary, some of the greatest successes in collecting come from early support of emerging talents. However, such a bet should be based on informed intuition, not mere novelty.

Technical and Conceptual Quality

Contemporary art has greatly expanded the boundaries of what we consider “technique,” incorporating everything from installation to digital art. Nevertheless, each discipline has its own standards of excellence. A painting should demonstrate mastery of color, composition, and material; a sculpture, an understanding of space and materials; a photograph, control of light and framing; a conceptual work, rigor in the development of the idea.

Beyond technique, ask yourself: What is this work saying? Does it offer an original perspective on something that interests me? Is there conceptual depth, or is it purely decorative? There are no absolute right answers, but asking these questions will help you make more conscious decisions.

Suitability for the Space

A practical but fundamental consideration: where will this work live? Art needs room to breathe, appropriate light, and a context that enhances it. A monumental work can feel overwhelming in a small apartment, while an intimate piece may get lost in a large space. Many galleries offer virtual visualization services or even temporary loans so you can experience the work in your space before committing.



Practical Aspects of Collecting

When you acquire a work, you should receive:

Certificate of authenticity: A document signed by the artist or gallery that certifies the authorship of the piece, its dimensions, technique, year of creation, and, in the case of editions, its number within the edition.

Invoice: Legally required and essential for proving ownership and purchase value, particularly relevant for insurance and potential resale.

Conservation information: Each technique and material requires specific care. Ask how the work should be preserved (light, humidity, temperature conditions) and whether it needs periodic maintenance.

Insurance and Protection: Even if your collection is just beginning, it is advisable to take out specific insurance for artworks. Most home insurance policies do not adequately cover this type of asset. There are specialized policies that protect against theft, accidental damage, fire, and other risks, with reasonable premiums for modest collections.

In addition to insurance, consider basic conservation measures: avoid hanging works in areas with excessive humidity, direct sunlight, or sudden temperature changes. For works on paper (photographs, prints, drawings), framing with UV-protective glass and acid-free matting is essential.



Legal and Tax Advice

In Spain, artworks have a specific tax treatment. The applicable VAT rate is 21%, although there are exemptions in certain cases. If your collection grows and you eventually decide to sell pieces, you will need to consider the tax implications of capital gains. For larger collections, it can be useful to consult advisors specialized in artistic heritage, who can guide you on tax benefits (donations to museums, long-term loans), inheritance planning, and asset protection structures.



Building Relationships Within the Art Ecosystem

Collecting is not a solitary activity, but a deeply social one. Some tips for integrating into the community:

Attend openings and events. Exhibition openings are opportunities to meet artists, other collectors, critics, and curators. Don’t be afraid to ask questions or express genuine interest.

Join collectors’ associations. Many cities have organized groups that arrange studio visits, talks with experts, and trips to international fairs. These spaces facilitate learning and networking.

Be loyal to your galleries. If a gallery has advised you well and you feel comfortable with its program, maintain the relationship long-term. Gallerists tend to reserve the best pieces or opportunities for their regular collectors.



Value Beyond Price

Finally, it is important to remember that the true value of collecting goes beyond economics. Living with art transforms everyday spaces into places of reflection and beauty. A work on your wall is a daily reminder of an emotion, an idea, a vision of the world that once moved you enough to want to live with it.

Collecting is also a way of actively participating in the cultural ecosystem. When you buy the work of an emerging artist, you help them continue creating. When you support an independent gallery, you help sustain spaces of experimentation. When you lend your works for an exhibition or eventually donate them to a public institution, you contribute to the collective heritage



At fairs like Art Madrid, where proposals from different generations, geographies, and artistic languages coexist, you have the opportunity to explore, compare, and discover. There is no rush. Collecting is a long-term journey in which each acquisition is a chapter in a personal story you are building. The key is to begin with curiosity, humility, and the certainty that art, more than a luxury, is a necessity that profoundly enriches life.