In its 19th edition, Art Madrid will present a general Program of Galleries composed of thirty-six national and international exhibitors and a renewed Parallel Program. About the last one, we will tell you all the details we have prepared for our next encounter with contemporary art.

The main goal of the Parallel Program of Art Madrid'24 is to support emerging artists. We consider it fundamental to give our support and recognition to new generations of artists, offering our event as a space from which to insert and show their projects within the circuit of the contemporary art market. We have chosen a line of work that focuses on new artistic productions and creators at the beginning of their professional careers.

Sofía Cristina Jiménez. Naturaleza Plástica IIi: El Tigre Y El Mono. Acrílico sobre lino, 100 x 100 x 4 cm, 2021.

Have you ever wondered how the artistic diversity of a city can be captured in an event as ephemeral and dynamic as an art fair? As a reference event in the cultural sector, we see it as our responsibility to explore the different ways of giving a voice to artists, gallerists, curators, collectors and professionals in the cultural sector, proposing a multiplicity of ideas brought together under the premise of being the most important meeting of contemporary art in Madrid. Reception and sensoriality as cognitive experiences inseparable from the artistic object; criticism as an exegesis of its time and context; the ephemeral work of art and performance are some of the themes we will be exploring in our 19th edition.

The Art Madrid'24 Parallel Program celebrates the meeting of diversity of tendencies, creativity, provocative art and the exposure of new voices within the art scene; and recognizes the importance of creating inclusive platforms that promote the visibility and recognition of artists who represent the promise of the future. With this initiative, Art Madrid confirms its commitment to the accessibility and closeness of contemporary art to all audiences, promotes institutional collaboration as a necessary practice in the art scene, and renews its presence as an important event, this time with a curated, reflective and up-to-date edition.

Ryaskartstyle. Meatblue. Acrílico sobre lienzo, 150 x 200 cm, 2022.

The Parallel Program of Art Madrid'24 includes an agenda of activities that will take place in the pre-fair's prelude and during the days the fair is celebrated at the Galería de Cristal del Palacio de Cibeles, including: Art and Word: Conversations with Carlos del Amor ; OPEN BOOTH with guest artist: Marina Tellme; Intercessions X Tara For Women ; Lectures. Curated itineraries ; La Quedada. Studio Visits Art Madrid'24 and the Collectors Program: One Shot Collectors.

Jorge Luis Rodríguez Marrero. Fig. 169. Apolo 1. Óleo sobre lienzo, 30 x 30 cm, 2021.

ART AND WORD.
Conversations with Carlos del Amor

With his sensitive approach to the infinite worlds of creativity, Carlos del Amor reveals the artistic universe of ten creators participating in the 19th edition of Art Madrid. With this initiative, Art Madrid extends and reinforces its interest in bringing contemporary art closer to the public, this time through the voice of the artists who will accompany us during the most important week of Spanish contemporary art.

Invited artists:

Richard Garcia. Galería BAT; Francesca Poza. Alba Cabrera Gallery; Nacho Zubelzu. Metro Gallery; Alejandro Monge. 3 Punts Gallery; Suncityboy. Dr. Robot Gallery; Juan Miguel Quiñones García. Pigment Gallery; Manu Iranzo. CLC Art; Evans Mbugua. OOA Gallery; Daniel Schweitzer. Shiras Gallery and Carla Effa. Kleur Gallery.

Paco Dalmau. Evolution 90 III. Acrílico y resina sobre tela en tabla de madera,90 x 90 cm, 2023.

OPEN BOOTH

Art Madrid'24 exclusively presents Open Booth , a curated project with the Spanish artist Marina Tellme and her installation Reunion of Very Important People . The Open Booth is an open space in which an emerging artist can intervene; it is also an expanded place that presents a creator in the context of the fair and accompanies her in her "debut" in the Madrid art market circuit. With the intervention of the white cube, we offer the possibility of being part of the 19th edition of Art Madrid to an artist who does not have a gallery representation, and yet, we build a transparent section that embraces the values of our event, this time with the aim of creating a platform for the presentation and promotion of artists who have not yet been "discovered" in all their magnitude.

Iván Quesada. Rafael, la muda, retrato de mujer. Pastel al óleo, 40 x 30 cm, 2017.

Intercessions.
Performance program X Tara For Women

*Intercession: Action and effect of interceding for the good of others.

Intercessions is a performance program organized with the support of the Tara For Women foundation that presents the work of four artists: Estel Boada, Teresa Búa, Sara Domínguez and Mónica Egido , whose practices reflect on our times. At the same time it proposes a clear view of the symbolic relationship between people and their context, using the body as a repository of affections. The works presented by the artists will transform the exhibition space into an activating instrument for a provocative and necessary dialogue in the context of Art Madrid'24.

Invited artists:

Estel Boada, Sara Domínguez, Mónica Egido and Teresa Búa.

Rut Massó. Guatiza. Óleo, tinta y acrílico sobre lienzo, 200 x 120 cm, 2022

Lectures.
Curated itineraries

Lectures. Curated itineraries is a cultural mediation project designed to bring the public closer to the works on display in the galleries that make up the General Program of Art Madrid'24. For this occasion, we have invited cultural promoter Eugenia Tenenbaum and curator Óscar Manrique. Through the tours curated by both of them, the public will experience the fair through a selection of works that respond to diverse perspectives and encourage an approach to the exhibition proposals of the edition.

Natalia Romanciuc. Belly. Óleo sobre lienzo, 180 x 150 cm, 2023.

La Quedada.
Circuit of studies Art Madrid'24

In order to anticipate what Art Madrid'24 will be like, we have organized a series of visits to the studios of some of the artists who will participate in the edition. Have you ever wondered what an artist's workspace is like? Have you ever thought about where an artist produces his or her work, for example, when preparing to participate in an art fair? Maybe you've ever wondered what the daily life of a visual artist is like. To try to answer these questions, we have organized #LaQuedada, an initiative of Art Madrid to bring you closer to the surprising and sometimes romanticized world in which visual artists live.

In the first edition of #LaQuedada we will have the opportunity to visit the studios of:

• Carlos Tárdez (Represented in Art Madrid by Bea Villamarín)
• Lara Padilla (Represented in Art Madrid by 3 Punts Galería)
• Richard García (Represented in Art Madrid by Galería BAT)
• Elena Gual (Represented in Art Madrid by Galería Arma)
• Marina Tellme (Represented at the Open Booth as part of the Art Madrid Parallel Program)

Xurxo Gómez-Chao. Arquivo NºIV, Fotografía, Glecleé, Papel Algodón Hahnemuhle 300gr, 130 x 100 cm, 2023.

One Shot Collectors Program

The Collectors Program is integrated into the fair with the commitment to continue building bridges to bring contemporary art closer to the public and to promote collecting on a national and international level. This initiative is aimed at both contemporary art professionals and art lovers who are considering starting a collection. Under the guidance of Ana Suárez Gisbert, art advisor and appraisal expert, Art Madrid offers a free advisory service to the interested public on the acquisition of works of art.

LIN Shih-Yung. Under Shuiyuan-2. Acrílico sobre lienzo, 194 x 130 cm, 2023.

The value of each of the proposals conceived to celebrate the 19th edition of Art Madrid resides in the collaboration and involvement of the people and institutions that make possible the continuity of our event. The Parallel Program of Art Madrid'24 celebrates contemporary art, the presence of new and loyal galleries, and positions itself as an event that is close, accessible and open to the synergies that make possible its commitment to the future of contemporary artistic practices.

Daniel Barrio. Guest artist of the third edition of OPEN BOOTH. Courtesy of the artist.

DESPIECE. PROTOCOLO DE MUTACIÓN

As part of the Art Madrid’26 Parallel Program, we present the third edition of Open Booth, a space conceived as a platform for artistic creation and contemporary experimentation. The initiative focuses on artists who do not yet have representation within the gallery circuit, offering a high-visibility professional context in which new voices can develop their practice, explore forms of engagement with audiences, and consolidate their presence within the current art scene. On this occasion, the project features artist Daniel Barrio (Cuba, 1988), who presents the site-specific work Despiece. Protocolo de mutación.

Daniel Barrio’s practice focuses on painting as a space for experimentation, from which he explores the commodification of social life and the tyranny of media approval. He works with images drawn from the press and other media, intervening in them pictorially to disrupt their original meaning. Through this process, the artist opens up new readings and questions how meaning is produced, approaching painting as a space of realization, therapy, and catharsis.

Despiece. Protocolo de mutación is built from urban remnants, industrial materials, and fragments of history, inviting us to reflect on which memories we inherit, which we consume, and which ones we are capable of creating. Floors, walls, and volumes come together to form a landscape under tension, where the sacred coexists with the everyday, and where cracks matter more than perfection.

The constant evolution of art calls for ongoing exchange between artists, institutions, and audiences. In its 21st edition, Art Madrid reaffirms its commitment to acting as a catalyst for this dialogue, expanding the traditional boundaries of the art fair context and opening up new possibilities of visibility for emerging practices.

Despiece. Protocolo de mutación emerges from a critical and affective impulse to dismantle, examine, and reassemble what shapes us culturally and personally. The work is conceived as an inseparable whole: an inner landscape that operates as a device of suspicion, where floors, walls, and volumes configure an ecosystem of remnants. It proposes a reading of history not as a linear continuity, but as a system of forces in permanent friction, articulating space as an altered archive—a surface that presents itself as definitive while remaining in constant transformation.

The work takes shape as a landscape constructed from urban waste, where floors, walls, and objects form a unified body made of lime mortar, PVC from theatrical signage, industrial foam, and offering wax. At the core of the project is an L-shaped structure measuring 5 × 3 meters, which reinterprets the fresco technique on reclaimed industrial supports. The mortar is applied wet over continuous working days, without a pursuit of perfection, allowing the material to reveal its own character. Orbiting this structure are architectural fragments: foam blocks that simulate concrete, a 3D-printed and distorted Belvedere torso, and a wax sculptural element embedded with sandpaper used by anonymous workers and artists, preserving the labor of those other bodies.

A white wax sculptural element functions within the installation as a point of sensory concentration that challenges the gaze. Inside it converge the accumulated faith of offering candles and the industrial residues of the studio, recalling that purity and devotion coexist with the materiality of everyday life. The viewer’s experience thus moves beyond the visual: bending down, smelling, and approaching its vulnerability transforms perception into an intimate, embodied act. Embedded within its density are sanding blocks used by artists, artisans, and laborers, recovered from other contexts, where the sandpaper operates as a trace of the effort of other bodies, following a protocol of registration with no autobiographical intent.

Despiece. Protocolo de mutación addresses us directly, asking: which memory do we value—the one we consume, or the one we construct with rigor? The audience leaves behind a purely contemplative position to become part of the system, as the effort of moving matter, documentary rigor, and immersive materiality form a body of resistance against a mediated reality. The project thus takes shape as an inner landscape, where floor, surface, and volume articulate an anatomy of residues. Adulteration operates as an analytical methodology applied to the layers of urban reality, intervening in history through theatrical and street advertising, architectural remnants, and administrative protocols, proposing that art can restore the capacity to build one’s own memory, even if inevitably fragmented.

ABOUT THE ARTIST

DANIEL BARRIO (1988, Cuba)

Daniel Barrio (Cienfuegos, Cuba, 1988) is a visual artist whose practice articulates space through painting, understanding the environment as an altered archive open to critical intervention. He studied at the Academy of Fine Arts of Cienfuegos (2004–2008), specializing in painting, and later at the Madrid Film School (ECAM, 2012–2015), where he studied Art Direction. His methodology integrates visual thinking with scenographic narrative.

His trajectory includes solo exhibitions such as La levedad en lo cotidiano (Galería María Porto, Madrid, 2023), Interiores ajenos (PlusArtis, Madrid, 2022), and Tribud (Navel Art, Madrid, 2019), as well as significant group exhibitions including Space is the Landscape (Estudio Show, Madrid, 2024), Winterlinch (Espacio Valverde Gallery, Madrid, 2024), Hiberia (Galería María Porto, Lisbon, 2023), and the traveling exhibition of the La Rioja Young Art Exhibition (2022).

A member of the Resiliencia Collective, his work does not pursue the production of objects but rather the articulation of pictorial devices that generate protocols of resistance against the flow of disposable images. In a context saturated with immediate data, his practice produces traces and archives what must endure, questioning not the meaning of the work itself but the memory the viewer constructs through interaction—thus reclaiming sovereignty over the gaze and inhabiting ruins as a method for understanding the present.