Art Madrid'24 – A FRESH LOOK, SAME PASSION TO CONNECT

ART MADRID: 20 YEARS OF CONTEMPORARY ART!


In a world where contemporary art is constantly evolving, our fair has decided to take a step into the future with a new image that reflects our evolution, energy, and commitment to art created both in Spain and beyond. Our new logo, colors, and typography are a reflection of an organic, dynamic approach in tune with current trends.

We have decided to give our identity a fresh twist, but let it be clear: this is not just an aesthetic rebranding; it is a transformation that reflects who we are today and where we want to go. We remain who we are: Art Madrid, a fair that is approachable, open, accessible, and transparent, but with a fresher, more dynamic feel, more in line with these times. We are committed to movement, diversity, and optimism. Because we believe art is not static; it moves, connects, and evolves, and we want that evolution to be evident in how we experience the creative processes within our event.

These two decades have been an incredible journey, full of challenges, learning, and above all, a lot of contemporary art. We allow ourselves a moment to look back and feel fortunate for the path we’ve traveled with artists, gallerists, collaborators, friends, and the public who have supported us up until now. Today, Art Madrid is renewed, looking to the future with eagerness for the journey ahead, fresh ideas, and a stronger-than-ever commitment to creativity, accessibility, and cultural dialogue. We want to continue being that meeting point where art and society connect in a special way, and where Madrid shines as one of the epicenters of contemporary art internationally.



NOW THE DESIGN

Change is not something that happens by chance; it is the result of careful listening, self-reflection, and understanding that each stage requires its own form of expression. Today, at Art Madrid, we present a new identity that not only reflects who we are but embraces all that we can become. Our essence has not changed, but the way we share it with the world has. This new design is more than a visual update; it is a commitment to the essentials, to the authenticity of our fair. We’ve chosen a clean and simple aesthetic, built from basic elements that reflect our search for clarity, balance, and depth. In simplicity lies strength, and this transformation proves it. Art is dynamic, organic, always in motion. And our visual identity had to reflect that: original, solid, flexible, and capable of evolving. These principles have guided every decision in this process. Our logo, with its redesigned typography and carefully crafted strokes, conveys the confidence of knowing where we come from and where we’re going. It’s a brand that doesn’t need embellishments to stand out because every detail speaks with purpose.

THE COLORS OF EMOTION

But it’s not all about form; it’s also about substance. The colors, vibrant yet balanced, are designed to connect on an emotional level. They represent our vision of art: accessible, human, transformative. With them, we want every encounter with our brand to be an experience that lasts, that inspires, that leaves a mark. This change also reflects our deeper values: transcending purely commercial purposes to become a bridge to something more meaningful. We invest in initiatives that foster education, sensitivity, and artistic creativity. We know that art has the power to enrich not only those who create it, but an entire community. And that’s what we want to keep doing: contributing to the cultural and social fabric around us.

ART MADRID: A LIVING AND FLEXIBLE BRAND

Our brand is not static; it is a living organism. It is flexible and organic, capable of adapting to the different scenarios we face, moving naturally between the emotional and the rational. This flexibility is essential for staying relevant in a constantly changing world. Every part of this transformation, from the standalone pictogram to the balanced modernism of the Satoshi Bold typography, is designed to generate recognition, loyalty, and engagement. We want to be more than just a brand; we want to be a symbol. A place where the abstract and the concrete meet, where the viewer can explore with their imagination.

WE ARE ART MADRID

Looking ahead, we reaffirm our commitment to the new generations. Emerging art is not only the future; it is the present that deserves to be seen, supported, and celebrated. At Art Madrid, we believe in being a space where these talents find a home and a community that encourages them to dream bigger. This is not just an aesthetic transformation; it is a statement of intent. It is our way of saying that art matters, that art connects, that art transforms. We want this new visual language to be the bridge that brings us closer to you, to the artists, to the galleries, and to everyone who makes art an essential part of their lives.

Welcome to this new phase of Art Madrid. It is clean, renewed, with the same passion as always, but with a much broader horizon. And we want to walk with you toward it.


Antonio Ovejero

CONVERSATIONS WITH MARISOL SALANOVA. INTERVIEW PROGRAM. ART MADRID'25

Antonio Ovejero (Valencia, 1999) explores memory and the retrieval of scenes that dwell in our collective imagination, focusing on the sublime aspects of everyday life. He is fascinated by women adorned with jewelry and large bags, dresses with geometric patterns, and extravagant hairstyles that bridge different eras. Through a kitsch aesthetic, he seeks the ostentatious in attire, the conspicuous, and the pretentious, elements that are often more common and closer than one might expect.

His portraits often highlight the hands, revealing details and the objects they hold, such as a retro handbag. The use of print as an identity and aesthetic tool is a recurring element in his work. For him, the combination of age, the everyday, and elegance forms a constant image. He defines his pictorial project as a neo-pop costumbrista.

What role does experimentation play in your creative process?

I believe experimentation is crucial for any artist, as it is the means by which you discover how to represent what you wish to convey. Since I began painting, I have used various techniques to achieve the results I was looking for.

Oil painting dominates my work. I've always favored this medium because I feel more comfortable with it, and it delivers the results I want. However, when I decided to incorporate printmaking, I sought ways to present it in a more contemporary manner. Initially, I chose photographic transfer because it seemed like an interesting resource that complemented oil painting well. But I later realized I wanted the work to be entirely plastic, with painting as the dominant element. That’s when I began working with silkscreen, a printing technique that allowed for more precise results and integrated well with oil painting.

For this technique, I used acrylic paint because it dries faster and provides a greater margin for error, although it requires a lengthy process that involves more than just painting. This is when I discovered stenciling, a method where I create designs in Illustrator and then cut them out with a laser cutter. Stenciling makes the painting more organic and faster. So, I continue to search and experiment until I find the right means to complete a painting.

I believe using different techniques within one work greatly enriches it. Currently, I am focused on finding a direct way to combine brushstrokes with prints. I am experimenting with animal prints, which are more organic and forge a direct link between the painting and the act of painting itself.


Always matching bags and heels. 2024. Oil on panel. 180 x 140 cm.


What are your references?

To discuss my references, I think I need to divide them into those within my environment and those from outside. I was born into a family where my father was a painter, and my brother Miguel Ángel is also a painter, so painting has been present since my early years. Additionally, my mother always supported my dedication to the art world, and I spent a lot of time with my grandmother, who was a seamstress. Therefore, anything related to textiles, scraps, and printmaking has always caught my attention, and I have tried to capture it in my work.

As for external references, in painting, I think of artists like Marten Ant and David Storey, who work with photographic archives, or Juan Ugalde, who intervenes in photographs to create new narratives, or Gerhard Richter, whose painting is closely linked to photography. I find the union of photography and painting very interesting. I also think that my work has a strong connection with certain cinematic or photographic influences. In this respect, I highlight Martin Parr, a photographer who captures everyday scenes at the beach, focusing on details like wrinkled hands.

Another reference is Eric Persona, a Milanese photographer who explores daily life from a perspective that blends the extravagant with the mundane, creating very interesting images. I am also inspired by Thandiwe Muriu, a Kenyan photographer who creates images in which prints merge with the model, making prints a symbol of identity for Kenyan women.

As I mentioned earlier, my painting has a close connection to cinema, which is why I always think of Marisa Paredes, especially in Almodóvar’s films, where she portrays a woman with a tough life but remains elegant and sublime, something I try to reflect in the female figures I paint. In this sense, Almodóvar is an important cinematic reference. I also think my work mirrors the interplay of patterns and colors in his films. Another reference is Paolo Sorrentino, an Italian filmmaker who blends the glamorous with the everyday, the extravagant with the costumbrista, concepts I also try to incorporate into my work, just as Fellini captured a strange everydayness.

I believe all these references have a direct influence on me and help me create the imaginary I aim to represent in my work.


Your leather bag. 2024. Oil on panel. 180 x 140 cm.


How important is gesture in your portraits?

Throughout my work, I have explored portraiture from various angles, especially in the "Señoras" project, where I wanted to use the portrait as a collective stamp representing the women it portrayed, so that a figure like Conchita or Paca would symbolize all the women of that generation. I think the gesture in the portrait is very important, something I tried to emphasize in my work. Also, depending on how you portray a person, you can convey different things.

For instance, a grimace, a lascivious or defiant look, is also a form of narration within the work. But now, I use portraiture in a different way. I believe that portraying people can also be done by showing the elements that make them up. For example, I now work with close-up shots where elements such as handbags, jewelry, hands, or posture take on great significance. All of these elements also reflect what a person or a group of people is like. So, the current portrait I work on, where I use gestures, relies on the arrangement of elements: how a hand is placed, how a bag is positioned, and how the image I am portraying is constructed.


Whisky on the rocks. 2024. Oil and acrylic on panel. 40 x 40 cm.


What is your favorite format for painting?

I believe the format is crucial in how you want to create your work and how you work. I almost always work on plywood, on a frame, because the strength of the wood allows me to have more impact on the work. Also, I use printmaking techniques that require a more rigid support; if I used linen or canvas, for instance, it would loosen and make the creative process more challenging. That’s why I always work on wood.

I find it very interesting to use the brush more aggressively in the first strokes, the initial stains, which directly relate to the format. The size of the work is very important. I prefer large formats because I feel freer in that space, where the first brushstrokes and stains feel more satisfying. It also creates a connection between the painting and the act of painting itself, which I believe is essential to creation. I think pleasure has a powerful role in the work, as the result greatly depends on whether there is a certain enjoyment or if you are looking for something more perfectionist or precise.

Large formats allow me to develop best, where the work is constructed and the shapes and brushstrokes merge. When I work with smaller formats, I also enjoy the process, but it requires more consistency and thoroughness. The brushstroke has to be more precise, the focus is on a specific part, and the construction process is slower because the combination of tones is more complex.

On the other hand, in larger formats, the tones and brushstrokes come together more easily, and the form is gradually created as I work. That’s why I generally prefer large formats and plywood.


Always matching bags and heels. 2024. Oil on panel. 180 x 140 cm.


How do you think your works reflect temporality?

In my work, I always try to address themes like memory, the preservation of memory, and the passage of time. Since I began creating, this has been reflected in my first projects such as Mujeres sin color (Women without Color), Relato sobre el luto (Mourning Story), or Señoras (Ladies). I depict elderly women who lived through the post-war era and the cultural and belief systems of Spain at the time, and who, in their maturity, have somehow detached themselves from that past.

That’s why I like to represent them in a more ornate and glamorous way, as a sign of empowerment. For me, it’s important to reflect that resilience through aesthetics and print, which I use as an identity resource for a generation like that of my grandmother and her friends, who came from that harsher Spain but are still present in our society. These women, with their rings, dresses, and handbags, are the women I capture in my work.

I believe that ostentation belongs to the representation of a certain empowerment after a life in black and white, so to speak. Temporality plays a fundamental role in my work. The passage of time and how these people were treated is something I focus on a lot. I try to represent them through their objects or scenes that evoke that era, combining the experiences they have shared with me and those I have lived through, creating a whole imaginary that I seek to capture in my work, centered around these women and this society.





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