Art Madrid'26 – FEMALE GALLERISTS, WOMEN OF ART IN ART MADRID’18

Nuria Formentí, “A veces ando por las nubes”, mixed technique.

 

 

 

Although the statistics continue to speak of a minimum visibility of women artists and a spurious role in the capital sectors of the art world (and we did not save any of the fairs or of the main institutions and museums ...), the women of art are coming out of this inherited trend and do what they have been doing for centuries: be true to their principles. In Art Madrid'18 we are lucky to work for years with great female professionals who have struggled to gain a foothold in the sector of their respective cities, women gallerists who bet on quality, for long and close relationships with their artists and for the intuition.


The Marita Segovia Gallery, in Madrid, opened its doors in 2004 and, uninterruptedly, has participated in national and international fairs, consolidating itself as a dynamic, eclectic space with an interesting curatorial work. The gallery works with national and foreign artists of short and long career and with work of all disciplines, from painting to photography, video-creation etc ... Marita Segovia presents a mixed proposal in Art Madrid’18 (2 male artists and 2 women) composed of Joaquim Chancho, Angela Glajcar, Hernández Pijuan and Dominica Sánchez.

 

 

Angela Glajcar, “Terforation 007”, 200gr paper, metal support and plastic, 2017

 

 

 

Angela Glajcar is a German sculptor who works with plastic and paper and creates works that play with the space between solid and vacuum. She perforates sets of sheets of paper creating a strong sculptural presence that floats freely in space or rests on the plane. During the last years, she has received numerous recognitions, such as ZONTA Art Prize, Phoenix Art Prize and Regionale 2010 Wilhelm-Hack-Museum.


Dominica Sánchez, on the other hand, uses painting to arrive at a more intimate observation of the natural world, to establish a dialogue between the fragile and ephemeral and the volume's musculature. Sánchez has long perfected this pictorial language, whose simplicity does not clash with the depth of the emotions that the drawings entail, they are not just sketches for his sculptures, but rather independent works.


From Valencia, comes the gallery Alba Cabrera, directed by Graciela Devincenzi D'Amico that is dedicated from its origins to promote young values and renowned artists to whom it dedicates fantastic monographic exhibitions and shows their work in fairs around the world. It also proposes an egalitarian tandem at the February fair with works by Cristina Alabau, Nanda Botella, Calo Carratalá and José Juan Gimeno.

 

 

 

Cristina Alabau, “Espacio interior”, watercolor and collage, 2017.

 

 

 

Cristina Alabau moves between natural figurative and abstraction with light as the main protagonist of her canvases, which brings poetics, emotion, intimacy and that almost meditative tone reminiscent of oriental philosophies, contemplation and retirement. Her work can be seen in the Museum of Villafamés, the Spanish Ministry of Culture, the Palau de Valencia or the Polytechnic University of Valencia.


Nanda Botella is undoubtedly more material, in her paintings and collages she combines the sign and the doodle, the writing and the color stain, the textual and what is sewn. Her pieces are vertebrate, reticular, whose aesthetics can be understood as a collage of memories and dreams in which fragments of cloth are mixed, written messages and that evolve from paintings to installations, more luminous and experimental.


In Oviedo, Arancha Osoro runs an art space in the heart of the city that has become a reference for collectors and local art lovers. Focused exclusively on contemporary and emerging art, they opt for an authentic and personal art that has nothing to do with the mercantilist trends that move the artistic sector and they approach their clients with a fresh, innovative, future offer, working closely with each artist, helping them in their career to consolidate their own style. The artists participating in Art Madrid’18 of this gallery are Nuria Formenti, Jezebel, Kiko Miyares, Luis Parades and Roberto Rodríguez.

 

 

 

Jezabel Rodríguez, untitled, acrylic on canvas, 2017.

 

 

 

The artist Nuria Formentí was born in Gijón but has lived in different countries such as Panama, the United States, the United Kingdom, Switzerland, although it was Colombia, specifically Cartagena de Indias, the city that left her a deep impression and in which, in 1999, she started to paint. Her work, essentially on paper, in watercolor, graphite and ink, has often been described as magical realism because her drawings and spots have something of narration and dream. Pictorial art and word are mixed in her papers, which recalls the first vocation as a writer of this artist.


Jezabel Rodríguez paints memories. In her paintings, the matter is a fugitive, transparent matter, almost a phantom of the object, of still life, a shadow of presence ... Educated in diverse disciplines such as sculpture, painting and ceramics, her paintings, of a pure white have fragile volumes like pieces freshly taken out of the oven. In 2016, she participated in the exhibition in the Museum of Fine Arts of Asturias "Contemporary Art in the Museum of Fine Arts of Asturias, last generations", she won the third prize in the Contest of Casimiro Baragaña and the second prize in the XXI Painting Contest Nicanor Pinole.

 

 

Juan Genovés, “Abaco”, Gliclee-papel Hahnemuhle Photo, 2016.

 

 

 

Also from Asturias, from Gijón this time, comes one of the faithful gallerists to Art Madrid, Aurora Vigil-Escalera, which directs new space as continuity to her thirty years of profession, initiated in 1984, as a member of the Van Dyck Gallery by the hand from his parents Alberto Vigil-Escalera and Ángeles Pérez. Consecrated art, artists of a long and medium career that are updated according to the concerns of the director, her discoveries and her own changes in the art sector, in definitive, experience and quality are the hallmarks of this gallery, an essential visit for many collectors. The artists with whom she participates in Art Madrid'18 are Pablo Armesto, Gorka García, Juan Genovés, Pablo Genovés, Rafa Macarrón, Chema Madoz, Ismael Lagares, David Rodríguez Caballero and Santiago Picatoste. An impressive portfolio.


And more news, because the new project of the Galician Art Gallery Luisa Pita was born as a continuity of the activity that the Bus Station Space Gallery, founded and directed by herself, had been developing in Santiago de Compostela since 2012. Focused now as a more ambitious cultural project, with its own and more personal meaning, this new exhibition space aims to be a meeting point for art between renowned and emerging artists. She works with, among other artists, Yolanda Dorda (a real discovery in the last edition of Art Madrid), Rebeca Plana and Maria José Gallardo (another of the favorites last year at the fair). For Art Madrid'18 she has selected works by Arturo Álvarez, Pierre Louis Geldenhuys and Christian Villamide.

 

 

 

Lino Lago, “Rojo”, oil on linen canvas, 2017.

 

 

 

We finish with another Galician gallery, the Moret Art gallery in A Coruña, directed by Nuria Blanco and with a team of professionals specialized in the contemporary art market committed to emerging art. Moret Art uses many resources that have been incorporated into the sector in recent years, documentary supports, didactic activities, artistic meetings, technological resources designed around the exhibition project ... Everything to bring art, in all its forms, to one audience at a time more extensive and varied. Moret Art also carries out consulting projects related to the valuation and cataloging of works of art and antiques. With a taste for photography and for the new realism, they come to Art Madrid'18 with works by Xurxo Gómez-Chao, Miquel Piñeiro, Iván Prieto and Lino Lago, whose hyperrealist paintings are abruptly interrupted by the stain, or left barely imagining behind of relentless curtains of pure color, always playing with the expressive possibilities of painting with an almost irreverent attitude and pop in the hands of a master with a very refined pictorial technique.


To this group of women of art they join, for the first time in Art Madrid, the gallerists Mercedes Roldán and Soraya Cartategui, both based in Madrid, the Valencian gallery Shiras, with Sara Joudi in charge, and Nebo Art Gallery, directed in Ukraine by Valeriia Ivanova. In addition, Sofía Hernández, director of the Léucade de Murcia gallery participates for the second year in a row at the fair, as well as Arte Periférica, co-directed by Anabela Antunes, and the Zielinsky Gallery, with Carla Zerbes. In the One Project program we will have the presence of Bea Villamarín, director of the homonymous gallery in Asturias and the Brazilian Rv Cultura e Arte, directed by Larissa Martina, as well as Laura Clemente, co-director of Pantocrator Gallery. We can not forget some unconditional galleries like the Gallery BAT, where Mariam Alcaraz is in charge, Art Lounge, by Sofía Tenreiro da Cruz, and the Kreisler Gallery, co-directed by Gabriela Correa. Of all of whom we will talk to you later.

 

 


ART MADRID’26 INTERVIEW PROGRAM. CONVERSATIONS WITH ADONAY BERMÚDEZ


The work of Iyán Castaño (Oviedo, 1996) is situated within a genealogy of contemporary art that interrogates the tension between the ephemeral and the permanent, placing artistic practice on a threshold where nature, time, and perception converge. His research begins with an apparently minor geomorphological phenomenon—the traces left in the sand by the action of the tides—and transforms it into a poetic device for sensitive observation of the landscape. The temporal restriction imposed by low tide functions not only as a technical constraint but also as a conceptual structure that organizes the creative process and aligns it with an ethic of radical attention and presence.

Far from approaching the landscape as a mere backdrop or stage, Castaño recognizes in the maritime environment a generative system that precedes all human intervention. The sea, wind, and light produce autonomous records that he translates pictorially, shifting authorship toward a practice of listening and mediation.

The territory—initially asturian and progressively extended to other geographical contexts—functions as a material archive and situated memory. Each work becomes an unrepeatable index of a specific place and moment, revealing the fragility of natural cycles without resorting to explicit rhetoric of denunciation. In this way, Iyán Castaño’s painting operates as an active pause, a gesture of suspension that allows us to experience the world’s constant transformation from a sensitive and reflective proximity.


Open waters. 14-04-24. Expanded graphic on canvas. 2024. Detail.


In your practice, you work under the time constraint imposed by low tide. How does this temporal limit shape your creative process?

Low tide profoundly conditions my working method, but it does not function merely as a time limit; rather, it is the axis around which the entire project is structured. There is a prior phase in which I study meteorological conditions and the possible climatic variations of a specific day; based on this, I know whether I will be able to work and with which materials.

Once on the beach, during low tide, I have a very limited window—sometimes barely two hours or even less—in which I must move through the space searching for existing traces. If I find one, I intervene in it; if not, I must move on to another beach. After the intervention, I have to remove it quickly before the sea returns and erases every trace. In a way, these works transform the ripples of sand—those forms that are essentially ephemeral—into something permanent.


Where the sea is born. 15-09-25. Expanded graphic on canvas. 40 x 60 cm. Rodiles Beach, Asturias. 2025.


How does the meteorological and maritime environment—the unpredictability of the sea, wind, light, and tide—become a co-author of your pieces?

I do not consider the environment a co-author in the traditional sense, but rather the true author of the traces I work with. I am interested in understanding nature as a great creator: through tides, waves, wind, and light, the sand generates forms that are in constant regeneration. In order to create my works, the sea must first have created its own.

From there, using acrylics, oils, waxes, or sprays, I attempt to translate into the work my sensations and emotions in front of the sea at that specific moment. Whether it is winter or summer, cloudy or sunny, a small cove or an expansive beach, all of these context conditions result and become imprinted in the work.


Sand Ripples. 07-04-21. Expanded graphic on canvas. 189 x 140 cm. Niembro Estuary. Asturias. 2021.


Your work is closely tied to the Asturian territory—beaches, coastal forests, the cove of La Cóndia. What role do place, topography, local identity, and geographic memory play in your practice?

Place is everything in my project. Asturias was the point of departure and the territory where my gaze was formed. I have been working along this line for seven years, and over time I have come to understand that each trace is inseparable from the specific site and the exact day on which it is produced.

From there, I felt the need to expand the map and begin working in other territories. So far, I have developed works in Senegal, Ecuador, the Galápagos Islands, Indonesia, and elsewhere—and in each case, the result is completely different. The sea that bathes those coasts, the arrangement of the rocks, the morphology of the beach, or even the animals that inhabit it generate unique traces, impossible to reproduce elsewhere. This specificity of territory—its topography and geographic memory—is inscribed in each work in a singular, inseparable, and unrepeatable way.


Mangata. 05-11-25. Expanded graphic on canvas. 190 x 130 cm. Sorraos Beach. Llanes. 2025.


To what extent are climate change, rising sea levels, altered tidal cycles, or coastal erosion present—or potentially present—as an underlying reflection in your work?

My work does not originate from an ecological intention or a direct form of protest. If there is a reflection on the environment, it emerges indirectly, by bringing people closer to the landscape, inviting them to observe attentively and to develop a more empathetic relationship with the environment they inhabit. Beaches are in constant transformation, but I do not seek to fix the landscape; rather, I attempt to convey the experience of being in front of it. In this sense, each work is like a small sea that one can take home.


Tree of Life. 19-02-25. Expanded graphic on canvas. 50 x 70 cm. El Puntal Beach. Asturias. 2025.


To what extent do you plan your work, and how much space do you leave for the unexpected—or even for mistakes?

In my work there is very little planning in terms of the final result, but there is a very precise preliminary planning. Before going to the beach, I monitor the time of low tide, wave height, wind, and weather conditions; based on this, I decide which beach to go to. Even so, when I arrive, I still do not know what work I am going to make. It is there that I determine which material to use, which color to apply, and where the intervention will take place. Many times, the environment simply does not allow work on that day, and chance becomes an essential element of these works. Error, in turn, becomes a new possibility if one learns how to work with it.