Art Madrid ’20 will feature almost 200 artists from around the world in this 15th edition. Within this wide-world international artistic panorama, the fair maintains its commitment to the professional development of the youngest. Artists whose career is their initial or intermediate state and that, despite their youth, already have a recognised place in the art market.

There is nothing more avant-garde than what we can observe in a fair. The need to give testimony of the historical evolution of art demands to originate an intergenerational representation. Artists who do not exceed 35 years and who are an essential part of the paradigm of contemporary art bringing an indispensable artistic reality in the eyes of who looks.

Cristina Gamón

60 Marina, 2016

Mixed media on methacrylate

81 x 130cm

Cristina Gamón

Colores Fronterizos, 2016

Acrílico sobre metacrilato

100 x 70cm

Art Madrid condenses, year after year, the whole work of the galleries, which strive to bring and show their best artists and their latest projects, and, among them, we cannot miss these artists who are in full creative and identity development. In this edition of Art Madrid ’20, the painting by Cristina Gamón (Valencia, 1987) stands out. She was granted the Gold Medal of the BMW National Painting Prize at her 24s. Shiras Gallery brings the work of this painter who is already present in public and private collections such as AEPE Foundation, Casa de Velázquez, Valencia City Council, Pierre Cardin, BMW Collection or Bilaketa Foundation.

Mária Švarbová

Origins, Trio 8, 2017

Digital print on paper

60 x 90cm

Mária Švarbová

The Tribune, Chill, 2016

Digital print on paper

50 x 50cm

It is worth to highlight this year, not only the youth of these artists but the representation they make of the multidisciplinarity present in the fair, as it happens with the photography of Mária Švarbová (Slovakia 1988). With a clean and direct style, she captures the subject's sense of psychology through experimentation with space, colour and atmosphere, moving away from the traditional portrait. Švarbová has worked for high-impact magazines such as Vogue, Forbes or The Guardian. In addition, she has won important awards, among which the Hasselblad Master 2018 stands out and has participated in exhibitions and fairs worldwide.


Meanwhile, 2019

Esmalte acrílico y spray sobre panel de madera

120 x 120cm


Meanwhile, 2019

Esmalte acrílico y spray sobre panel de madera

120 x 120cm

The fair defines itself as a dynamic space in which clearly, the work of these young artists reinforces also the approach of contemporary art to the younger audience. The urban style of Misterpiro (Madrid, 1994) is appreciated by this young audience. He was recognised by Forbes España magazine in 2017 as one of the 30 young Spaniards under 30 with the greatest influence in various activities. His work leads us to travel from complete abstraction to the figurative in all types of media.

We can also observe that social consciousness materialises strongly in younger artists with artistic impulses linked to the current historical moment. Nina Franco (Rio de Janeiro, 1988) leads us to deepen into contemporary socio-political conflicts through her work with a great visual impact.

Nina Franco, “Clandestinas”, installation, 2019

Within the curated program One Project, we cannot miss the youngest artists such as Julio Anaya (Málaga, 1987), with a marked artistic identity. He recreates iconic works of art and hides them in abandoned places, giving way to impressive contrasts. The ephemeral nature of his work makes photography fundamental because it gives meaning to artistic action by allowing the documentation of the work. The story closes with this gesture: the painting of a painting, which no longer exists.

Julio Anaya

Francisco de Goya - Vuelo de Brujas, 2019

Acrílico sobre cartón

100 x 75cm

Julio Anaya

Bocklin Zoom, 2019


80 x 100cm

Artists of medium-career artists are also present in the program of activities ART MADRID-PROYECTOR'20, framed in the action art and video art. The work of Maia Navas (Argentina, 1986) stands out. With her 33 years, besides teaching classes such as University professor, this artist and curator, directs the PLAY -Videoarte- Festival at the Cultural Center of the University Extension (Universidad Nacional del Nordeste). She has exhibited in various festivals of Argentina, Brazil, Uruguay, Peru, Colombia, Cuba, Spain, Italy, Portugal and China and won the award for the best Latin American Video Art at the VideoBabel Festival (Lima, Peru).

Maia Navas, “Restos de amor” (photogram), 2017.

And we must mention the other young talents that will be present at the fair: Adlane Samet (El Harrach, Argelia, 1989), Alejandro Monge (Zaragoza, 1988), Onay Rosquet (La Habana, 1987), Gerardo Liranza (San Antonio de los Baños, Cuba, 1987), Roldan Lauzán (La Habana, 1987), Joaquín Lalanne (Buenos Aires, 1989), Leonardo Moyano (Guayaquil, Ecuador, 1991), Chen Yun (Taiwan, 1988), Guim Tió Zarraluki (Barcelona, 1987), Lai Wei-Yu (Taipei, 1989). These are just some of the on-their-thirties artists who are part of the Art Madrid '20 exhibition.

We invite you to know and observe their work in this edition of the fair, where a great artistic diversity is presented from the different angles and characteristics that make up the contemporary art sphere in this 2020.


Buying the first work of art always instils respect. A difficult feeling to define that mixes vertigo with adrenaline. But over uncertainty and caution, a pleasurable sense of connection, understanding, and desire prevails. That work that, once seen, stays in the mind, reappears in the memory several times a day and seems to tell you that it is willing to be part of your home, is the perfect candidate to make the decision.

In the first steps, many collectors do point out that one does not start from an established plan, but rather that one acquires pieces based on taste and the connection one feels with them until, after time, they realise that the volume of works that accumulates can be labelled as a "collection". For example, this is how Alicia Aza explains it:

“I was not aware that I was collecting until many years later when a third party named me as a collector and talked about my collection. In 2005, I became aware of what collecting means and decided to articulate a collection with an identity of criteria and formats”.

Marcos Martín Blanco, co-founder, with his wife Elena Rueda, of the MER Collection, shares this same opinion:

“Collecting has been a passion, driven by a visceral state that encourages you to do so. The collection, in terms of acquisitions, has not been particularly complicated because, let's face it: it is easy to buy because they are all beautiful things and you have some clear idea of where you want to go, but at first those preferences were not so clear. It is with the time that a criterion is being formed”.

It is not always this way, of course, but for the buyer who starts out on this path, the personal connection that entails the first piece is essential. There it is the germ of a lasting relationship that is not limited to a simple aesthetic question but is an open window to knowledge, to exploration, to a world that is often unknown to us and awakens our fascination. The seed of that connection is purely sentimental, and it is precisely this impulse that determines the first acquisitions. The first piece is never forgotten.

Art Madrid'20, photo by Ana Maqueda

Exceeding the usual recommendations made by advisers and agents, rare is the occasion when the art lover decides to buy by pure investment. These paths usually open later, when the volume of pieces is large enough. In addition, there are those who are a bit against this classic concept of the traditional collector, approached from an eccentric, elitist and little accessible vision. On the contrary, art buyers are, above all, art lovers, sentient beings and permeable to creative stimulus who, at a given moment, decide to deepen the relationship they already have with art to take a piece home.

It is not that hard to overcome that small psychological barrier that turns the visitor into a buyer if one approaches the matter from a more personal and intimate perspective than from social consideration. Small-format works, graphic work or serial photography are of great help for this, whose price range, generally more affordable, allows a closer comparison to the daily basis expenses. In this way, the purchase of art falls within the range of feasible activities and becomes something close and possible.

Art Madrid'20, photo by Marc Cisneros

At that moment, a different relationship with art begins, based on pure experience and coexistence with the acquired piece. Perhaps it can be seen as an act of daring, but on many occasions, it is more a matter of necessity and transformation. Collectors also agree that the acquisition of an artwork is an exercise on personal analysis and opening up to a new field of knowledge that was previously alien to us. Alicia Aza explains that the reason she acquired her first piece of video art, by Sergio Prego, is because she did not understand it and because she saw it as a challenge and an opportunity to self-improve. This open window to knowledge creates new connections and bonds with creators, as one of the most fascinating parts of the process. Candela Álvarez Soldevilla explains that

"I think the most interesting thing in the art world is talking to artists. They are people with a special sensitivity to listen and understand.”

And Alicia Aza also says:

"I can share the satisfaction of being able to count on many artists in my circle of close friends today, and that is a long way to go."

Thus, with works that seem acceptable within the horizon of expenses that each one considers affordable, it is easy to find a piece that catches us. Since then, our home also evolves into a space in which art has a permanent place and presence, and there is no doubt that this transforms us inside.

Art Madrid'20, photo by Henar Herguera

Jaime Sordo, owner of Los Bragales collection and founder of the 9915 Contemporary Art Collectors Association, has always defined his relationship with art as a true passion and a vital necessity. For buyers who start on this path, he has the following recommendation:

“It is an essential condition that they feel the need to live with their passion to enjoy the works. Another very important aspect is that before making decisions for purchases, they are informed, so it is necessary to read specialised newspapers and books, visit exhibitions and museums and a lot of contact with galleries, which is an important and very specific source of information of the artists they represent. Finally, the presence in national and international art fairs. All this generates information and training.”

Indeed, fairs have become a good place for discovery because they condense a wide offer and allow diverse and global contact in a concentrated way. For this reason, many new generation buyers start in the context of an event such as Art Madrid, whose closeness and quality constitute a unique opportunity to meet, soak up and feed the passion for art.

(*) quotes taken from various interviews published in public media between 2013 and 2019.