Art Madrid returns to Madrid Art Week and will celebrate its seventeenth edition from February 23 to 27 at the Crystal Gallery of Palacio de Cibeles. A unique, open-plan, and bright space located in the ‘Landscape of Light’: next to Prado Museum, Thyssen-Bornemisza Museum, and MNCARS - Museo Nacional Centro de Arte Reina Sofía.

Art Madrid 2021

Art Madrid selection committee has once again been in charge of evaluating the applications of galleries interested in participating in the seventeenth edition of the fair. To guarantee a high level of artistic quality in the Art Madrid'22 programming, the committee has evaluated the applications based on the proposals submitted and the represented artists' careers. On this occasion the committee was integrated of Alfonso de la Torre (critic and curator), Aurora Vigil-Escalera (gallery owner), Natalia Alonso (critic and curator), Angel Samblancat (gallery owner and international fairs consultant), and Javier López (gallery owner) ).

For the first time, the galleries will participate in Art Madrid: Galerie Alex Serra (Köln, Germany), Arena Martínez Projects (Madrid, Spain), ARTITLEDcontemporary (Herpen, Netherlands), Dr. Robot Gallery (Valencia, Spain), GARNA Art Gallery ( Madrid, Spain) and Jackie Shor Arte (São Paulo, Brazil).

Carolina Serrano, “My nameless words II”, Paraffin, 91 x 12 x 8 cm (2021). Galerie Alex Serra ©

In the other hand, the international galleries at Art Madrid will be: Art Lounge Gallery (Lisbon, Portugal), ARTITLEDcontemporary (Herpen, Netherlands), Collage Habana (Havana, Cuba), Galeria São Mamede (Lisbon, Portugal), Galerie Alex Serra (Köln, Germany), Galerie LJ (Paris, France), Jackie Shor Arte (São Paulo, Brazil), Nuno Sacramento (Ílhavo, Portugal), Studija Mindiuzarte / Kaunas (Kaunas, Lithuania) and Yiri Arts (Taipei), Taiwan).

More than 160 artists will exhibit their work at the fair, dealing with different disciplines such as painting, sculpture, photography, and installation, and offering the visitor a unique experience enjoying contemporary art.

Among them are some of the most prominent emerging artists of the moment such as Mária Švarbová, Carmen Pastrana, Chang Teng-Yuan, Costa Gorelov and Camille Bonneau; mid-career as Carlos Cartaxo, Gerard Fernández Rico and Marcos Tamargo; along with established artists such as Chema Mádoz, David Rodríguez Caballero, Carmen Calvo, Uiso Alemany, Alberto Guerrero, Josecho López Llorens, Manolo Valdés, Rafael Barrios and Lars Zech, among others.

Carlos Cartaxo, “Several Windows VII”, Acrylic and enamel on canvas. 195x140cm (2021).Arena Martinez Projects ©

Chang Teng Yuan, “The School of Parrotman Athens” ,Acrylic on canvas, 130x193cm (2021). Yiri Arts ©

PROGRAMS

One Shot Hotels is once again the sponsor of Art Madrid and has prepared two initiatives with which it renews its faithful commitment to contemporary art. One is the curated program by Natalia Alonso, who will curate a tour of various artworks exhibited at Art Madrid'22 to introduce and bring the public closer to understanding the art market ecosystem. The other is the collectors' program by Pía Rubio, one of the most prestigious art consultants in our country. The service aims both to enhance the commercial work of the galleries and to offer advice on the acquisition of works of art for new buyers.

Finally, the fair co-organizes, together with the video art platform Proyector, a parallel program focused on video creation, action art, and performance, under the curatorship of Mario Gutiérrez. In this edition, Proyector will focus on investigating and rethinking the concept of “loop” through the pioneers of video art, both from the creation point of view, distribution and collecting. During the fair you will also be able to enjoy an installation by Gary Hill, considered the founder of New Media Art, and two live proposals by Hill himself; together with works by Llorenç Barber, a pioneer of sound art.

Below, we detail the list of galleries of Art Madrid 2022:

The circle as critical device and the marker as contemporary catalyst

POSCA, the Japanese brand of water-based paint markers, has established itself since the 1980s as a central instrument within contemporary artistic practices associated with urban art, illustration, graphic design, and interdisciplinary experimentation. Its opaque, highly pigmented, fast-drying formula—compatible with surfaces as diverse as paper, wood, metal, glass, and textiles—has enabled a technical expansion that extends beyond the traditional studio, engaging public space, objects, and installation practices alike.

In this context, POSCA operates as more than a working tool; it functions as a material infrastructure for contemporary creation. It is a technical device that enables immediacy of gesture without sacrificing chromatic density or formal precision. Its versatility has contributed to the democratization of languages historically associated with painting, fostering a more horizontal circulation between professional and amateur practices.

This expanded dimension of the medium finds a particularly compelling conceptual framework in The Rolling Collection, a traveling exhibition curated by ADDA Gallery. The project proposes a collective investigation of the circular format, understood not merely as a formal container but as a symbolic structure and a field of spatial tension.

Historically, the circle has operated as a figure of totality, continuity, and return. Within the framework of The Rolling Collection, the circular format shifts away from its classical symbolic charge toward an experimental dimension, becoming a support that challenges the hegemonic rectangular frontality of the Western pictorial tradition. The absence of angles demands a reconsideration of composition, balance, and directional flow.

Rather than functioning as a simple formal constraint, this condition generates a specific economy of visual decisions. The curved edge intensifies the relationship between center and periphery, dissolves internal hierarchies, and activates both centrifugal and centripetal dynamics. The resulting body of work interrogates the very processes through which images are constructed.

Following its 2025 tour through Barcelona, Ibiza, Paris, London, and Tokyo, a selection of the exhibition is presented at Art Madrid, reinforcing its international scope and its adaptability to diverse cultural contexts. The proposal for Art Madrid’26 brings together artists whose practices unfold at the intersection of urban art, contemporary illustration, and hybrid methodologies: Honet, Yu Maeda, Nicolas Villamizar, Fafi, Yoshi, and Cachetejack.

While their visual languages vary—ranging from graphic and narrative approaches to chromatic explorations charged with gestural intensity—the curatorial framework establishes a shared axis: a free, experimental, and distinctly color-driven attitude. In this sense, color functions as a conceptual structure that articulates the works while simultaneously connecting them to the specific materiality of POSCA.

The marker’s inherent chromatic vibrancy engages in dialogue with the formal assertiveness of the circle, generating surfaces in which saturation and contrast take center stage. The tool thus becomes embedded within the exhibition discourse, operating as a coherent extension of the participating artists’ aesthetic vocabularies.

One of the project’s most significant dimensions is the active incorporation of the public. Within the exhibition space—activated by POSCA during Art Madrid’26—visitors will be invited to intervene on circular supports installed on the wall using POSCA markers, thereby symbolically integrating themselves into The Rolling Collection during its presentation in Madrid.

This strategy introduces a relational dimension that destabilizes the notion of the closed artwork. Authorship becomes decentralized, and the exhibition space transforms into a dynamic surface for the accumulation of gestures. From a theoretical standpoint, the project may be understood as aligning with participatory practices that, without compromising formal coherence, open the artistic dispositif to contingency and multiplicity.

The selection of POSCA as the instrument for this collective intervention is deliberate. Its ease of use, line control, and compatibility with multiple surfaces ensure an accessible experience without diminishing the visual potency of the outcome. In this way, the marker operates as a mediator between professional practice and spontaneous experimentation, dissolving technical hierarchies.

The title itself, The Rolling Collection, suggests a collection in motion—unfixed to a single space or definitive configuration. Its itinerant nature, combined with the incorporation of local interventions, transforms the project into an organism in continuous evolution. Within this framework, POSCA positions itself as a material catalyst for a transnational creative community. Long associated with urban scenes and emerging practices, the brand reinforces its identity as an ally of open, experimental, and collaborative processes.

POSCA x The Rolling Collection should not be understood merely as a collaboration between a company and a curatorial initiative; rather, it constitutes a strategic convergence of tool, discourse, and community. The project proposes a reflection on format, the global circulation of contemporary art, and the expansion of authorship, while POSCA provides the technical infrastructure that makes both individual works and collective experience possible.