For the last decade, 'millennials' have become a trendy term and we heard often about the concerns of a new generation that has broken into the new millennium to address many of the challenges that the future has in store for us, with all its uncertainty and ambiguity. It is undeniable that any change, even if it generates a benefit, comes along with a time of transition in which the foundations and the structures that we believed to be immovable begin to crumble. The intrinsic evolution of these phenomena is linked to a sense of uneasiness that societies face from the collective support and from the need to open the debate on the concerns, as new and well-known, that marks our evolution and the fate of our time.

The new generation creators have made their way on the art scene, focusing part of their work on addressing topics that are intimately connected to the reality of the moment. It is the channel to subvert classicism, to make pieces that show commitment to the environment, to make their works a manifesto that transcends mere contemplation and becomes a form of plastic expression of a shared feeling.

Alejandro Monge

Black Series - The Wind, 2019

Oil on canvas

40 x 40cm

In Art Madrid, we have been able to verify this growing movement of artists of the new millennium that are detached from prejudices and archetypes to focus on issues of enormous social impact that affect us all. The number of young creators has been increasing in the latest editions of the fair, and it is also remarkable that the paths of expression chosen by many of them are fueled by artistic hybridization, the fusion of techniques, exploration beyond the image, the search for a second reading.

Today we remember the work of some of these authors who have visited us at the 15th edition of the fair and we get closer to their work.

Chen Sheng-Wen

Rusa unicolor swinhoei, 2018

Hilo de hierro e hilo flor danés

30 x 30cm

Chen Sheng-Wen

Martes flavigula, 2017

Hilo de bordar y lienzo, Plástico, Papel higiénico

25.5 x 25.5cm

Among the artists who show a concern for the excessive consumerism of our time, the depletion of resources or the future of an alienated society, we highlight the case of Alejandro Monge (Zaragoza, 1988) and that of Chen Sheng-Wen (Taichung, Taiwan, 1993).

Monge's work has on many occasions sought irony about the tangible value of money and superfluous appreciation of material things, often with art installations that replicated stacks of bills in bank deposits or safes. His latest, more pictorial works show a dark side of global society, drowned in its energy production needs and in the polluted and aggressive atmosphere in which we live in large cities.

For his part, Chen Sheng-Wen proposes a much more delicate hand-made work in which he represents the delicacy of nature and its need for care, reproducing with embroidery and mixed technique numerous animals from our immediate environment. Sheng-Wen's decision to use recycled materials, rescued from the forests usually inhabited by these beings, shows the lack of care for mankind and the degree of exposure to which these species are subjected.

Onay Rosquet

Attachments, 2018

Oil on canvas

200 x 200cm

Onay Rosquet

Tuesday, 2018

Oil on canvas

80 x 80cm

Onay Rosquet (Havana, 1987) moves in a similar line with a work that transmits a great aesthetic balance but allows multiple readings. Their boxes of papers, sometimes folded, others wrinkled or stacked, make us think about the problems of lack of communication in the society of our time while posing the dilemma of the appropriate use of resources and the generation of waste with high environmental impact. Of these two ideas, the first is the main line of his discourse: the era of hyperconnectivity leads to the paradox of the lonely, abandoned individual, who has lost the ability to interact in a non-technological way. A simple glance at his pieces makes us think of the thousands of words that do not arrive, the things that are not said, the feelings that are repressed in a context dominated by the pretending of happiness and the fake of perfection.

Art installation by Nina Franco at Art Madrid'20

Other creators emphasise social inequality. Nina Franco (Rio de Janeiro, 1988) tries to represent gender inequality and the harassment that many women suffer on a daily basis, especially in some patriarchal societies. Her work reflects a great concern for contemporary socio-political conflicts.

Adlane Samet

Tiens, 2016


144 x 120cm

Adlane Samet

Gants noir, 2018

Acrylic on canvas

100 x 80cm

For his part, Adlane Samet (El Harrach, Algeria, 1989) treats inequality from the perspective of its immediate environment, raising the question of where certain societies are located on the global scene, in which there seem to be first-class and second-class countries. His work is visceral and colourful, and the impulse of the brush strokes itself externalises that authentic and pure vitality of the environments not contaminated by imported ideas.

Cristina Gamón

60 Marina, 2016

Mixed media on methacrylate

81 x 130cm

Cristina Gamón

Colores Fronterizos, 2016

Acrílico sobre metacrilato

100 x 70cm

We also highlight the work of Cristina Gamón (Valencia, 1987), an artist who explores the evolution of painting with the incorporation of new materials and the integration of plastics as support. Her works remind us of landscapes of arid zones, laboratory experiments or the iridescent drawings of oil on water. She aims to offer a contemporary painting with representative materials of our time, without losing the expressive force of colour.


The cultural agenda gradually recovers after the health-crisis halt and art lovers are eager to enjoy the rich cultural offer that the different spaces and museums throughout our geography have to offer. In addition, one must remember that these centres have made an enormous effort to adapt to the demands that the new situation imposes and have created abundant online-accessible content to overcome confinement. We bring you a selection of content that can be visited both in person and through the web. There is no excuse for not enjoying contemporary art again.

Olafur Eliasson, “En la vida real (In real life)”, 2019

The Guggenheim Museum in Bilbao continues with its exhibition dedicated to Olafur Eliasson and offers numerous resources to understand not only the exhibition but also the work of the centre in the assembly and installation process. The website allows us to expand content with interviews with the artist, the download of the audio guide and the vision of the curator Lucía Aguirre, who offers us different video-pills on the pieces in the exhibition.

"Olafur Eliasson: in real life" brings together a part of this artist's work since 1990 through sculptures, photographs, paintings and installations that play with reflections and colours. Likewise, the integration of elements such as moss, water, ice, fog... put the visitor in a situation that confuses the senses and tries to challenge the way we perceive our environment and move in it.

Regina de Miguel, “Isla Decepción”, 2017

The Botín Centre in Santander hosts the exhibition "Collecting processes: 25 years of Itineraries" which brings together the work of 25 of the 210 scholarship recipients who, to date, have enjoyed the Botín Foundation Plastic Arts Scholarship, started in 1993. With the works Lara Almárcegui, Basma Alsharif, Leonor Antunes, Javier Arce, Erick Beltrán, David Bestué, Bleda and Rosa, Nuno Cera, Patricia Dauder, Patricia Esquivias, Karlos Gil, Carlos Irijalba, Adrià Julià, Juan López, Rogelio López Cuenca, Renata Lucas, Mateo Maté, Jorge Méndez Blake, Regina de Miguel, Leticia Ramos, Fernando Sánchez Castillo, Teresa Solar Abboud, Leonor Serrano Rivas, Jorge Yeregui, David Zink-Yi, the exhibition is a good example of up-to-date and young contemporary art contributed by artists with very diverse profiles.

Clemente Bernad. Series “Ante el umbral”, Madrid, 2020

The Reina Sofía Museum wanted to create a visual chronicle of what the confinement and the tragic numbers of infected and deceased have meant for the lives of many of us: a tale of pain, nostalgia and uncertainty made by the photographer Clemente Bernad. This exhibition, curated by Jorge Moreno Andrés, is entitled “Before the threshold”, a title that expresses the strange sensation that occurs when faced with something new and unknown, something that we cannot control or avoid, and that we all must go through. The alteration imposed on our lives unexpectedly is reflected in the streets, transformed into places of solitude and abandonment where life has been paralysed.

Mario Merz / No title, Triplo Igloo, 1984 MAXXI Collection

At the IVAM, the exhibition "What is our home?" brings together works from the IVAM collection and the MAXXI centre in Rome to propose a reflection on the space we inhabit seen from a personal and social perspective. It is about investigating the value that these spaces have as a home or refuge, as well as part of a city or community.

The exhibition, curated by José Miguel G. Cortés, also wants to delve into the feeling of those who feel like foreigners anywhere, because they do not identify with the habits or customs of the society, they do not fit into these social patterns, and home becomes the only shelter space that can adapt to their identity needs.

Martha Rosler, frame from “Backyard Economy I-II”, 1974 © Courtesy of Martha Rosler, 2020

Es Baluard Museu is committed to video creation and performance and hosts the monographic exhibition “Martha Rosler. How do we get there from here?” dedicated to this New York artist who pioneered the use of video as a mechanism for social and political analysis. This exhibition includes various works, from video to photography and several publications, which synthesise her main lines of discourse. Her concern for public policies and the social equality of women has led her to actively participate in numerous social movements in La Havana, New York, Mexico DC or Barcelona, and these experiences are present in one way or another in her work.

With the curatorship of Inma Prieto, a selection has been made within the abundant production of this artist, which presents one of the most coherent careers in towards-the-new-Millenium contemporary art.

Image from file, via

The MEIAC - Museo Extremeño e Iberoamericano de Arte Contemporáneo, host the works of the prestigious international digital art archive "Turbulence", a platform dedicated to network and hybrid art. In view of the inevitable closure of this institution, the MEIAC has offered to host all this valuable content collected since 1996. The uploading of the file also served as an opportunity to restore numerous pieces and convert formats so that files that had become obsolete remain readable by new systems. A huge job of conservation and updating that can be enjoyed online today. The archive is made up of hundreds of digital works from around the world that can now be visited remotely.