Art Madrid'26 – THREE WOMEN, THREE REALITIES IN ALBA CABRERA GALLERY

Alba Cabrera Gallery presents in Art Madrid the most intimate work of three women artists: Carmen Michavila, Isabel Gutiérrez and María Angélica Viso. Three different artistic personalities that connect with the same mystical sensibility in their artworks.

Carmen Michavila (Valencia, 1959) reflects about invisibility in her works, evoking a hidden reality. Michavila, starting from a magical realism, invites us to an inner and intimate journey, and as if it were a children's story, leads us to the purest essence. Between delicate and meticulous lines, the artist leaves empty spaces for the spectator, letting his imagination fly, to complete them.

It is inevitable not to distinguish in the art work of the Valencian artist, christian connotations. The verticality of her imaginary figures and her neutral-coloured backgrounds evoke images of earthly paradise and hell. An example of this is the work belonging to the series "Job 38:11: You will go this far, but no further. This is where the pride of your waves will stop".

Carmen Michavila

Sin Título, 2019

Acrylic on canvas

116 x 89cm

In the artwork of Isabel Gutiérrez (Madrid, 1955), the configuration of space plays a fundamental role. With a slight tendency towards the cubist work of Paul Klee and Sonia Delaunay, the paintings of Isabel Gutiérrez are developed within the figurative style, being the colour and the light essential elements in the composition. Nature is represented by the artist in its multiple manifestations, generating a chromatic and formal game defined by the different effects of light, that are multiplied every time, like nature itself, in the flora and fauna of her landscapes and gardens.

”In my paintings I have investigated relationships between colours, compositional structures and different treatments in the brushstroke, with the objective of signifying the evolution of my thoughts about the shave I perceive.”

In art works such as “Primeras hojas” or “Baile de hojas I”, both made in 2019, the great chromatic intensity and very well defined borders build the figurative motifs. The organic elements of its leaves, plants or animals are reaffirmed from a plastic point of view, much more expressive and textured than the geometric surfaces of flat colours that complement them.

Isabel Gutiérrez

Primeras hojas, 2019

Oil on board

40 x 40cm

Isabel Gutiérrez

Baile de hojas I, 2019

Oil on board

40 x 40cm

The geometrical subtle sculptures by the artist from Caracas María Angélica Viso, complete the exhibition proposal of the Alba Cabrera Gallery for Art Madrid. María Angélica Viso (Venezuela, 1971), has among her great references the artists Cruz Díez and Jesús Rafael Soto.

Viso’s artworks are generally attached to the wall. These volatile sculptures, with polyvalent and sophistic shapes, are capable of mutate into other figures. In all their pieces, as the curator Susana Benko points out, "the common element is the image of lightness.

Maria Angélica Viso Penso

Geometrías orgánicas, 2019

Aluminio y pintura anodizada

80 x 80cm

”I find a similarity between paper and metal and so I face the latter, as if it were a parchment, discovering its subtle and soft side, a facet that sometimes seems to hide it in its rigidity. Rigidity that I take advantage of to perforate it with inserts, piercing it, crossing it and then achieving illusions of fabric in movement"

Leaving behind his works of straight lines and statically geometric planes which he makes lose their rigidity, turning them into ethereal only by separating them from the surface and curving them with subtle delicacy, Viso evolves into a new series which he calls "Organic Geometries ". A series he has been working on since 2018 until today.

 


ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. PERFORMANCE CYCLE X ART MADRID'26


Art Madrid, committed to creating a discursive platform for artists working within the field of performance and action art, presents Abierto Infinito: lo que el cuerpo recuerda, a proposal inspired by Erving Goffman’s ideas in The Presentation of Self in Everyday Life (Amorrortu Editores, Buenos Aires, 1997).

The project unfolds within a theoretical framework that directly engages with these premises, conceiving social interaction as a stage of carefully modulated performances designed to influence others’ perceptions. Goffman argues that individuals deploy both verbal and involuntary expressions to guide the interpretation of their behavior, sustaining roles and façades that define the situation for those who observe.

The body — the first territory of all representation — precedes both word and learned gesture. Human experience, conscious and unconscious alike, is inscribed within it. Abierto Infinito: lo que el cuerpo recuerda departs from this premise: representation inhabits existence itself, and life, understood as a succession of representations, transforms the body into a space of constant negotiation over who we are. In this passage, boundaries blur; the individual opens toward the collective, and the ephemeral acquires symbolic dimension. By inhabiting this interstice, performance simultaneously reveals the fragility of identity and the strength that emerges from encounter with others.


PERFORMANCE: ALTA FACTURA. BY COLECTIVO LA BURRA NEGRA

March 4 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.


"Discipline for Power.” Performance by La Burra Negra for Displacement of the Congress of Deputies by Roger Bernat. 2025.


Alta Factura subverts the conventional structure of the fashion runway to foreground the often-invisible processes that underpin artistic production. Through a series of conceptual textile works, the performance draws attention to the discipline of craft and the artist’s vulnerability, ultimately revealing those seams typically consigned to the margins, behind the scenes.


Colectivo La Burra Negra.


ABOUT EL COLECTIVO LA BURRA NEGRA

La Burra Negra is a nomadic performance art collective based in Málaga, founded in 2024 following its first residency in Totalán. The group is self-managed by Ascensión Soto Fernández, Gabriela Feldman de la Rocha, Sasha Camila Falcke, Sara Gema Domínguez Castillo, Sofía Barco Sánchez, and Regina Lagos González—six artists from diverse backgrounds and trajectories who met at the Hospital de Artistas at La Juan Gallery.

The collective brings together practitioners working across jewelry, painting, the performing arts, music, dance, cultural mediation, and arts management. Its activities include an annual residency in Totalán, the production of performative works, cultural mediation initiatives, and site-responsive interventions.

Since its inception, the collective has participated in the Periscopio series at La Térmica; presented A granel at the MVA in Málaga; carried out a number of actions in Totalán—the most recent during its second annual residency—and contributed its own proposals to the performance Displacement of the Congress of Deputies by Roger Bernat in Madrid.

At the core of La Burra Negra lies a commitment to collective creation and the exchange of knowledge. United in their effort to experiment with and disseminate performance art, the group explores the invisible dimensions of artistic labor—its temporalities, efforts, and relational dynamics, which so often remain unseen—as a form of critical affirmation.

Their practice emerges from dialogue and shared reflection, in the pursuit of decentralized spaces where art can be experienced and its processes made visible. Each residency and each action becomes an attempt to inhabit creation collectively, challenging conditions of precarity while fostering networks of care and collaboration that sustain both their own practice and that of those around them.