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In the ecosystem of contemporary art fairs, where the acceleration of visual consumption threatens to drain meaning from even the most solid proposals, Art Madrid faces a challenge that is anything but minor: how to remain relevant without being lost in the noise. This is not merely about showing artworks; it is about articulating an experience of reading, about offering visitors something more than a succession of brief stimuli that are quickly forgotten. This edition of Art Madrid is played out precisely on that terrain: the persistence of the gaze. In contrast to easy spectacle or outdated rhetoric, many of the participating galleries commit to practices that demand time, attention, and a certain critical disposition from the viewer. There is no single dominant aesthetic or unified narrative; what emerges instead is a field of tensions in which painting insists on its continued relevance, the body is understood as a political archive, matter operates as a form of resistance, humor functions as a critical tool, and memory appears as an unstable territory.

The work of Julian Manzelli (Chu) (Buenos Aires, Argentina, 1974) is situated within a field of research in which art adopts methodologies close to scientific thinking without renouncing its poetic and speculative dimension. His practice is structured as an open process of experimentation, in which the studio functions as a laboratory: a space for trial, error, and verification, oriented less toward the attainment of certainties than toward the production of new forms of perception. In this sense, his work enters into dialogue with an epistemology of uncertainty, akin to philosophical traditions that understand knowledge as a process of becoming rather than closure.

Contemporary art has ceased to be an exclusive territory reserved for elites and has become an increasingly democratic and accessible space. In the context of fairs such as Art Madrid, which in 2026 brings together more than 200 artists from five continents, a new generation of collectors is emerging—one that challenges the traditional codes of the art market. But how do you make the leap from admirer to collector? What do you need to know before acquiring your first artwork?