Visiting an artist's studio means entering an intimate field and breathing the creative environment that surrounds the author's work. When one enters this space, all senses are on to trace and locate those little details that tell us a little more about the spirit and thought of the artist, the corrected sketches, the rectifications, the essays, the tests pinned on the walls, the traces in reused paper, the notes, the newly sharpened pencils, the stains of paint... We speak of orderly chaos, of a sphere where work and inspiration coexist and that the creators resist sharing, because, sometimes, opening the doors of the studio is almost like opening the doors of the soul.

Visiting Rubén Martín de Lucas' studio during Art Madrid'19

These spaces also have a halo of mystery, intimacy and familiarity in which we must move forward cautiously, being careful not to go too deep, to discover the secrets as far as the artist wants to confess. But it is also the ideal opportunity to enter into direct communication with the work, to know the production process from its beginnings to the end, to understand the doubts, the intentions, the aim and the message of a project from the bowels.

In the past editions of Art Madrid, we were lucky to visit Rubén Martín de Lucas's and Okuda San Miguel's studios, guest artists in 2019 and 2018 respectively. With Martín de Lucas we were able to know in detail his great vital creative project “Stupid borders”, from which different concrete actions with their titles derive. Still, all of them respond to the same idea: deepen in the relationship of man with the earth and understand the artificial patterns that we impose as a society. In the studio, we could see his most recent pieces and understand the process of conception and expression, the reasons for choosing one discipline or another, his latest video works and the millions of notes and sketches of each line of the project.

Okuda San Miguel opened for us the doors of his studio in 2018. This large diaphanous white-painted unit looked like the perfect canvas for its multicoloured pieces, in the middle of shelves and tables full of spray cans. At the time of the visit, the artist was giving the final touches on the work "Lake of Desire" of 6x3 m, which he made exclusively for Art Madrid and could be seen at the entrance of the fair. This painting is inspired by the Garden of Earthly Delights by El Bosco, an author of reference for Okuda and that continues to arouse the interest, surprise and curiosity of many. The large format pieces coexist with small-sized enamels, in addition to sculptures, test boards and huge sketches for buildings' facades. Because Okuda works big and has a complete team that helps him focus on his work. As he explains, the creative process never stops, and having a team allows him to carry out so many projects at once.

Guillermo Peñalver, “Yo, dibujando” (detail), 2019

Some other artists make their own home their studio. This is the case of Guillermo Peñalver, to whom the ABC Museum of Illustration dedicated an exhibition within its program "Connections" with the title "Self-portrait inside." His voracity for the cropping, the use of paper in various shades, the overlapping of whites and the discreet use of the pencil make Peñalver's work a delicate and intimate one, like the scenes he recreates. In this case, the vision of his collages is like a visit to their house/studio, where the rooms become multipurpose spaces, and the daily actions take the stage. The last work of this author is a sincere exercise where he represents his day to day from the precarious reality of the creator that fuses his work with his daily activity.

FAC 2015

Honouring this direct relationship with the author that occurs when visiting the studio, David Heras launched his project FAC (Home Art Fair), which counts already on five editions. The idea is to foster an open dialogue with the creators by exhibiting their works in a domestic environment and eliminating traditional market barriers. Although the initiative continued to grow, the original proposal was born in David's own house, who opened his studio and his home to exchange, knowledge and experience. It is about linking to art from personal experience, meeting the artists and enjoying their work, whether in the kitchen, the living room or the bedroom.

ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. CICLO DE PERFORMANCE 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: OFF LINE. JIMENA TERCERO

March 7 | 7:00 p.m. Galería de Cristal of the Palacio de Cibeles.

OFF LINE is a performance piece that reflects on the fragility of the body in the digital age. Our relationship with the outside world is mediated by a screen, which distances us further and further from physical contact and interpersonal relationships. Focusing on creating a digital identity causes the body to distance itself from the physical world and lose its memory.

Hyperconnectivity and fragmented attention lead to a more passive physical existence, characterised by reduced spontaneous movement and less direct sensory interaction. This raises fundamental questions: how is the concept of presence redefined when our relationship with the world relies on technological mediation? What will the experience of the body be like in a future where virtuality predominates over the physical? There is a risk of progressive bodily passivity: bodies that remain still, whose activity is determined by devices and whose memory is stored digitally. The fragmentation of physical experience and the primacy of technological representation create a scenario in which, although the body is visible, it is displaced from its original function as an agent of perception and action.

This conceptual framework invites reflection on the impact of digitisation on corporeality, memory and social relationships, and on the vulnerability and inertia experienced by bodies in environments that are increasingly mediated by technology.

ABOUT JIMENA TERCERO

Jimena Tercero (Madrid, 1998) is a multidisciplinary artist whose work explores the boundaries of the female body, identity, and the subconscious. She uses performance, video, and painting to address concepts such as memory, tangibility, and play. Tercero trained in painting with Lola Albín and in analog photography at Cambridge in 2014. She studied audiovisual direction from 2018 to 2020 with renowned figures such as Víctor Erice and the production company El Deseo. She is currently pursuing a Master's degree in Creative Direction at ELISAVA. She completed her performance training at La Juan Gallery. In 2011, she was part of the children's jury at the Isfahan Film Festival in Iran.

Her directed works include Private (2016) and Paranoid (2021), which were exhibited at the Aspa Contemporary Gallery. She has also worked on projects such as Yo, mi, me, conmigo (2023, Teatros del Canal), Inside Voices (2021, Conde Duque with Itziar Okariz), and La última regla (La Juan Gallery). She has directed fashion films for publishers and brands such as Puma, Dior, and Dockers. She has also provided art direction for artists such as Sen Senra and Jorge Drexler. Additionally, she directed the documentary Also Here for ArtforChange–La Caixa. She presented Out of View (Nebula Gallery), EDEN (White Lab Gallery), and Navel Bite (Sinespacio). She participates in residencies such as Medialab with Niño de Elche and Miguel Álvarez Fernández. In 2025, she will be part of the Special Jury of the Asian Film Fest in Barcelona and the International Cultural Museum of Assilah Art Residency in Morocco).