With some nostalgia, as it happens with all good things that reach to an end, last Sunday, March 1st, we closed the doors of our 15th edition; but we also have a deep feeling of satisfaction and gratitude towards all those who have participated in this party and have made Art Madrid the best celebration of contemporary art to date.

Photo by Mario Domingo, Art Madrid'20

We close our 15th edition reinforcing its position as a must-see fair within the Art Week of the capital, thanks to our commitment to innovation and the expansion of disciplines, that has resulted in a huge reception by the public and the professional art sector. For five days, Art Madrid has transformed the Crystal Gallery of the Palacio de Cibeles into a real dynamic and festive event around contemporary art, attended by about 20,000 people.

Our audience grows and diversifies every year, and both visitors as exhibitors remark that Art Madrid is one of the most attractive, accessible and welcoming fairs to visit. The gallery owner Luisa Catucci, who participated in the Art Madrid for the first time, says that “it was surprising to see the fair full of people at all times, it has been a fantastic first experience; in addition, there were many collectors and directors of foundations and institutions, so the public was excellent.”

Photo by Henar Herguera, detail of "Orejuda V", by Iván Prieto, in Art Madrid'20

Other galleries that chose Art Madrid as the first option to enter the Spanish market share this same opinion, such as Panoptikum or Urban Spree, who underlines the high interest of visitors, the extraordinary opportunity to expand contacts and the satisfaction of concluding operations with new collectors. As Adeline Jeudy, director of the Parisian Galerie LJ who premiered at Art Madrid, comments “it is a very positive experience and the location of the fair is perfect; and I have been able to meet new collectors, art lovers and visitors of more professional as well as varied profiles.”

In addition to having grown in terms of the interest and specialisation of the visiting public, the galleries also underline the potential growth of Art Madrid year after year and its emblematic situation in the heart of the capital, besides the constant effort to offer the best contemporary art of the moment. Some senior exhibitors at the fair, such as the Kreisler Gallery, highlights the influx of public and the increase in sales with new national customers. Likewise, Aurora Vigil-Escalera points out that Art Madrid is “one of the most important contemporary art fairs and it is essential to take care of it and pamper it. I think that the space is unbeatable and that the quality of the galleries has been increasing every year.”

Photo by Lourdes Diaz

This evolution of Art Madrid is also much appreciated by the professional sector. Carlos Delgado, a critic, curator and member of the Art Madrid Committee, explains that the fair has established itself as “an absolute expression of the most contemporary scene that seeks direct contact with present art and strengthens its commitment to support young artists and emerging creators maintaining the balance with more consolidated artists.” In the same way, Art Madrid also stands out as the optimal space to enter into collecting, something that confirms Nuria Blanco, director of the Moret Art gallery (A Coruña), who corroborates an increase in young buyers around the age of 40 that start their collections with small or medium-sized pieces. “We have had many couples who bought their first piece together. This makes it a more special sale for us”. Nuria also states: "We are very happy with the presence of institutional collectors, such as the Museum of La Palma that acquired a piece of Lino Lago, something that has a positive impact for both the gallery and the artist.”

Photo by Lourdes Diaz, Art Madrid'20

Indeed, this edition has seen an increase in the support provided by public institutions, with a greater presence of authorities and political representatives. It should be highlighted the visits from the Ministry for Culture and Sports with, among others, Elisa de Cabo de la Vega, Deputy Director for the Protection of Historical Heritage (Fine Arts G. D.); as well as the Government of the Community of Madrid, among which we mention Antonio Sánchez Luengo, Deputy Director of Fine Arts of the General Management of Cultural Promotion. Likewise, the support provided by regional and local governments is remarkable. All this gives an account of the interest shown by the public sector to support art and culture, with its active participation in large events such as Art Madrid.

It should be noticed the numerous visits of directors and curators of outstanding museums and cultural institutions such as the MNCARS, Thyssen-Bornemisza Museum, Würth La Rioja Museum, Galician Centre of Contemporary Art, Circle of Fine Arts of Madrid, Museum of Contemporary Art of Vigo, CaixaForum Madrid, CEART, Cab de Burgos, Atlantic Centre of Modern Art-CAAM, TEA Tenerife Space of the Arts, Es Baluard Museum of Modern and Contemporary Art or MUSARCO, to name a few. We also had the visit of collections and private entities such as the INELCOM Collection, SOLO Collection, Thyssen Bornemisza Foundation, Repsol Foundation, Casa de Alba Foundation, Manuel Benedito Foundation, Enrique Ochoa Foundation, Support Art Foundation, BBVA Foundation or Cepsa Foundation.

Photo by Lourdes Diaz, Art Madrid'20

In addition, this 15th anniversary has achieved a very positive impact on the public, critics and the media, thanks to its determined commitment to turn the event into a dynamic and up-to-date celebration that everyone loved. Both the new video art, action art and performance program carried out together with the video art platform PROYECTOR, curated by its director Mario Gutiérrez Cru; as well as the redefinition and expansion of the One Project program, directed by art critic and curator Fernando Gómez de the Cuesta under the title of “Salvajes. La cage aux fauves”, have kept alive the spirit of celebration and full relevance that has served as a leit motiv to this 15th edition.

Finally, we cannot forget our sponsors Royal Bliss, Yelmo Cines Luxury, One Shot Hotels, and all our collaborators, volunteers and media partners, who have contributed to turning this anniversary into a memorable event.

Art Madrid celebrates this way 15 years of experience, consolidating its evolution and recognition as a unique space for present international creation, supporting both emerging artists and the most consolidated professionals, becoming an essential event for collectors, experts and other cultural agents necessary to the revitalization of contemporary art.

Painting, in its most classical sense, has traditionally been considered a representative medium of human creativity, defined by the support, pigments, and figure. However, contemporary art has pushed this concept toward a radical redefinition. What was once a two-dimensional surface limited to visual representation has transformed into a multisensory experience involving space, time, and interaction. In this context, expanded painting emerges as a field of experimentation that invites us to reconsider the boundaries between disciplines and traditional forms of art-making.

In its origins, painting was conceived as an act of representation; a visual medium whose primary function was to capture reality through images. From the Renaissance to Impressionism, artists developed techniques and approaches aimed at increasingly accurate depictions of nature, the human body, and light.

Paco Díaz. TDE Carne y Piedra. Oil on paper glued to wood. 50 x 50 cm. 2024.

The history of painting was marked by an obsession with perspective, proportion, and harmony. However, as we move into the 20th century, avant-garde movements began to challenge these conventions. Cubism, Surrealism, and Abstraction introduced new ways of conceiving the pictorial act, which was no longer confined to imitating reality but aspired to deconstruct and reconfigure it. This break from visual tradition was merely the beginning of a series of transformations that would lead painting into previously unexplored territories.

Expanded painting, a term coined to describe this evolution, refers to the broadening of the medium’s possibilities in both materiality and context. Experimentation with new supports, the fusion of media, and the dissolution of boundaries between painting, sculpture, architecture, and performance are some of the most prominent aspects of this trend. Instead of being confined to canvas or panel, contemporary artists have incorporated materials such as wood, plastic, metal, glass, and even digital elements.

Alexander Grahovsky. The Unbreakable Will of the Spirit. Oil, spray paint, and colored pencils on canvas. 46 x 61 cm. 2024.

The flat surface has given way to a broader, more three-dimensional concept of space, where painting inhabits not only the support but also the surrounding space, inviting direct interaction from the viewer. Many of these breakthroughs can be seen in the works of artists who use heavy and textured materials to endow their two-dimensional pieces with a sculptural quality. The notion of painting as an object has disappeared in favor of a spatial experience encompassing both the visible and the conceptual.

Luis Miguel Rico. Untitled from the Sand Series. Oil on linen. 140 x 100 cm. 2024.

In this same vein of boundary expansion is Luis Miguel Rico, who, through a series of material explorations combining pigments, fabrics, and textures, addresses the relationship between color and space, seeking a balance between the emotional and the formal. His work focuses on transforming the traditional canvas, inviting viewers to reconsider the potential of painting as a three-dimensional expressive medium.

Jan Schüler. Dresden Die Elbe Bei Wachwitz. Oil on linen. 70 x 90 cm. 2024.

Jan Schüler, on the other hand, acts as a bridge between classical and contemporary painting. His introspective approach, where portraits and landscapes transcend mere visual representation, highlights the viewer’s interaction with the work. Through direct gazes that meet the viewer’s eyes, the characters in his portraits challenge the traditional conception of painting as a passive medium, inviting emotional and personal reflection.

César Goce. Liquid Shadows. Oil on wood. 58 x 42 cm. 2023.

César Goce, blending graffiti influences with traditional painting, brings expanded painting into his own dimension by integrating urban art with academic techniques. His approach aligns with the dissolution of disciplinary boundaries, incorporating graffiti, a contemporary medium, within a studio format that could be considered traditional. This reflects the process of expanded painting, where contemporary artists blur the lines of mediums to create a hybrid experience.

The expansion of the pictorial medium pertains not only to the choice of materials but also to the redefinition of what we understand as "painting." In this context, painting is no longer limited to representing the real or visible but becomes a field for exploring the invisible, the subjective, and the emotional. Instead of working within a single perspective or defined style, contemporary artists operate with multiple languages, where process and creative action become essential elements of the work. Spontaneity, error, improvisation, and the deconstruction of gesture have been integrated into pictorial practice, generating works that invite not only contemplation but also active reflection on the nature of art.

Federico Uribe. Still Life. Bullet casings. 65 x 75 cm. 2020.

Federico Uribe, through his assemblages of everyday objects, offers a radically different vision of expanded painting. While he does not adhere directly to traditional painting, his use of unconventional materials such as bullet casings and pieces of colored pencils creates a point of contact between painting, sculpture, and nature. Uribe’s reinterpretation of common objects relates to the expansion of painting beyond the canvas, suggesting a new way of thinking about the medium and its function.

The use of unconventional supports and the incorporation of performative elements are also fundamental aspects of expanded painting. By moving painting out of its traditional space, artists invite the viewer to engage more actively and participate in the work.

The advent of digital technologies has provided artists with a new palette of possibilities. Painting, understood as an action or process, can now simultaneously involve both digital and traditional creation, demonstrating that painting need not be bound to a single medium. This digital integration not only expands the painter’s tools but also raises questions about the very essence of art: must painting retain its physical and material character to remain painting, or can it transcend into the virtual and ephemeral without losing its essence?

CHOU Ching-Hui. A Promised Land: The Planet of Angels No.9. Inkjet print. 148 x 290.8 cm. 2023.

Chou Ching-Hui’s photographic approach also aligns with the idea of expanding the boundaries of traditional art. His transition from photojournalism to artistic photography shows how the photographic medium can interact with pictorial works, creating a new way of experiencing and reflecting on reality. Ching-Hui’s transformation of the real into the conceptual in his projects is a clear manifestation of expanded painting, now integrating other visual disciplines.

In this sense, expanded painting is defined not only by technical or material innovation but by a more philosophical approach to art. By eliminating the barriers between disciplines and expanding the boundaries of the medium, contemporary artists challenge our conceptions of art’s role in society. Painting, rather than being a closed and static process, becomes an open practice, in constant dialogue with its environment and its audience. Painting is no longer just a transcription of reality but an active intervention in it.

Alexander Grahovsky. If Only You Were as Prickly as a Thistle. Oil, spray paint, and colored pencils on canvas. 33 x 41 cm. 2024.

In the case of Alexander Grahovsky, his surrealist pictorial treatment merges the classical with the contemporary, combining figurative elements with the dreamlike. His work invites continual reflection on what lies beyond the surface, dissolving the boundaries of representation in an approach that resonates with the concept of expanded painting.

Tiffany Alfonseca. The Barbie You Can’t Buy in Stores. 183 x 152 cm. Acrylic, pencils, glitter, and rhinestones on canvas. 2023.

Meanwhile, Tiffany Alfonseca transcends the traditional sense of painting as well. Her vibrant portraits not only depict Afro-diasporic communities but also provoke reflection on themes of race, identity, and representation. Through her work, painting becomes a vehicle for amplifying historically silenced voices, transforming the pictorial act into a social and political intervention that invites viewers to experience more than just the visual.

Paco Díaz. RIBERA. Oil on paper glued to wood. 50 x 50 cm. 2024.

Paco Díaz, with his conceptual and reflective work, emphasizes the relationship between viewer and artwork, creating space for reflection on the personal, collective, and political. By focusing on the everyday, he invites us to reconsider life’s simplest elements through painting imbued with emotion and meaning. His compositions play with nostalgia and memory, creating works that are both a tribute to the commonplace and an exploration of the self.

Iyán Castaño. Circular Currents. Experimental graphics on canvas. 130 x 100 cm. 2024.

Iyán Castaño demonstrates how painting adapts to the contemporary era, where printmaking techniques, direct landscape intervention, and the exploration of social and personal themes offer a broad field for artistic reflection. By working with the changing conditions of the sea, he integrates nature into his work in a way that blurs the lines between painting and environmental intervention.

Antonio Ovejero. The Tomato Can. Oil and acrylic on board. 50 x 35 cm. 2024.

Antonio Ovejero’s unique fusion of kitsch and popular elements challenges traditional conceptions of painting. His work explores tensions between the banal and the artistic, creating a space where kitsch acquires aesthetic and critical relevance. Ovejero prompts viewers to question the relationship between art and popular culture, reflecting on nostalgia, consumerism, and the aesthetics of the everyday.

Paco Dalmau. A Borderline of Gules. Mixed media on canvas over board. 36 x 36 cm. 2024.

Paco Dalmau, on the other hand, delves into the relationship between color and form in contemporary painting. His work is characterized by a profound exploration of these elements, where structure and composition become vehicles of communication. Dalmau deconstructs traditional painting, leading viewers to a sensory experience where color and form are perceived not only visually but also emotionally, expanding the medium’s boundaries toward greater viewer interaction.

Painting has ceased to be a medium confined to visual representation and has become a discipline in constant expansion. By questioning what we understand as pictorial art, expanded painting not only broadens the boundaries of its discipline but also invites deeper reflection on the role of art in understanding the world. In conclusion, contemporary painting has evolved into a space of unprecedented creative freedom. Expanded painting redefines the boundaries between disciplines, materials, and meanings, inviting both artists and viewers to participate in an active reflection on the nature of art and its relationship with society. Far from being a closed discipline, painting today presents itself as an open field, in constant dialogue with the present and its infinite possibilities.