Art Madrid'26 – THE OWN BRAND OF OUR SOLITARY GALLERIES

In this edition we have the pleasure of having galleries from different points of Spanish geography, Cantabria, Bilbao, Mallorca and Aranda de Duero were not going to be less. With a long experience in the sector, these four protagonists illustrate us with the works of their best artists.

 

 

Nacho Angulo, Map, 2016. Mixed technique on wood

 

 

The Spiral Gallery, lived its beginnings to the west of the Cantabrian community, changing its location in 2013, premiering in Noja, a small town with a view to the sea that does not leave indifferent to the landscape that surrounds it. Directed by Manuel Sáenz-Messía and Ana Laguna Vela, in its beginnings began to expose the SIANOJA Collection. With the passing of the years, his dealings with contemporary art have crossed frontiers, developing in the same way with national and international art.

 

The first and second markets were not a challenge to display their innovative languages ??and always to the latest trend. One of its strengths is the great commitment of its gallerists for visibility at national and international fairs of different cities such as Brussels, Strasbourg, Lille, Santander and of course, Madrid. The artists that are going to exhibit in this February edition are: Nacho Angulo, Joaquín Martínez Cano, Antonio Maya, Eduardo Vega Seoane and José Antonio Quintana. All of them are professionals of the sector.

 

 

Rut Olabarri, Self-portrait with table, 2016. Watercolor

 

From Cantabria we travel to Bilbao and here we are welcomed by the Vanguardia gallery. This showcase focuses its attention on the commercialization of the most current and contemporary art. Their great activity when it comes to posing samples and exhibitions makes them stand out. With an average of 6 to 7 annual exhibitions, Vanguardia bets on national and international artists. The new technologies and their commitment to parallel activities reinforce the dynamic and entrepreneurial spirit of the same.

 

The proposal presented by the gallery, with the artist Ruth Olabarri as the protagonist approaches the theme of Basque matriarchalism based on the legend of the Goddess Mari. It raises the description of the character through the objects that represent or belong to it. It also inquires into the symbolism of folklore through dress and ornamentation.

 

 

Cristina Mur, Unfurling the Wings, 2016. Acrylic and oil on linen

 

 

Entering a little more in the center of the territory, we move to Aranda de Duero (Burgos) where the gallery Rodrigo Juarranz opens its doors. This past year in 2016, the gallery turned 10 years and what better way to celebrate than in the 12th edition of Art Madrid. His best gifts have been to meet two goals of great weight, promoting and marketing contemporary art, a task not easy for the times that run. The eclecticism of its exhibitions plays with the alternation of showing artists of recognized prestige with young powers of great international repercussion.

 

All a certain when it comes to projecting such exhibitions. But, his work does not end here apart from participating in numerous national and international fairs. The gallery Rodrigo juarranz has published books and catalogs, completing them with the edition of multiple works in engraving and sculpture. For their stand at the fair they have bet by Mar Solís, Marcos Tamargo, Cristina Mur, Beatriz Díaz Ceballos and Diego Beneitez. Five personalities that will give life to the space of this gallery in Burgos.

 

 

Rubén Torras Llorca, Neo-Coliseum, 2016. Mixed technique on canvas

 

 

Leaving the peninsula aside, we flew to Majorca and landed in the Pep Llabrés gallery, a whim of the island that can be visited in the capital. With more than 25 years of experience in the sector, its gallery owner opened the doors of this new space only two years ago. From this new experience he has focused his objectives on betting on the freshest contemporary art.

 

As the main engine, we highlight the young and dynamic art that supports the most youthful values ??of the sector. The new languages ??of expression, coupled with the experience of great consecrated artists and together bet on the union of different streams that show the identity of the gallery. Robert Ferrer i Martorell and Rubén Torras Llorca, represents the perfection of the theory that wants to make known the gallery in Art Madrid 17.

 

 

 

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.