Art Madrid'24. Galería de Cristal of the Palacio de Cibeles.

ART MADRID'24 SUCCESSFULLY CELEBRATES ITS 19TH EDITION AND ITS COMMITMENT TO EMERGING CREATION

For a week, the Galería de Cristal of the Palacio de Cibeles was the venue for the 19th edition of Art Madrid. A space for encounters where gallerists, artists, public, curators, critics, collectors... have gathered. This temporary home that our fair becomes for one week is nineteen years old in 2024. On the eve of our twentieth, we celebrate the success of the edition and the commitment to emerging creation.

Art Madrid'24 opened with a General Program presenting thirty-six galleries and around two hundred artists representing the latest artistic trends on the national and international scene. It also presented a Parallel Program of activities that were held in the prefair period and during the week of the event. The objective was to support new generations of artists and offer them a space for promotion in the contemporary art market circuit., the program consisted of: Arte & Palabra: Conversations with Carlos del Amor; OPEN BOOTH X LIQUITEX with guest artist: Marina Tellme; Intercessions. Performance Cycle X Tara For Women; Lecturas. Curated Walk-throughs; La Quedada. Art Madrid'24 Studio Visits and the Collecting Program: One Shot Collectors, which includes an advisory service for the acquisition of works by Ana Suárez Gisbert.

Partial view Art Madrid'24. Booth A5 Aurora-Vigil-Escalera.

During these five days, Art Madrid'24 received a total of 19,893 visitors, including collectors, professionals, the general public and new buyers, all interested in the works of the artists represented by the 36 national and international galleries, as well as in the wide range of parallel activities. For the director of Art Madrid, Alberto Cornejo, «this edition has been the most committed of Art Madrid to emerging art. Art Madrid continues to be a reference date for those looking to make their first acquisition and a reunion for collectors and professionals who are regulars at our fair. We are very satisfied».

The General Program of this 19th edition has been complemented by a Parallel Program made up of curated walk-throughs, performances and unpublished installations, offering an interesting overview of the most current contemporary art and turning the Galería de Cristal into a window on the most groundbreaking artistic trends, thanks to the talent of established and emerging artists. In this way, Art Madrid consolidates its commitment to the most contemporary art, supporting new generations of artists and giving them the opportunity to place their projects in the contemporary art market.

Reunión de gente importantísima. Marina Tellme. OPEN BOOTH X LIQUITEX. Parallel Program. Art Madrid'24.

THE MARÍA CRISTINA MASAVEU PETERSON FOUNDATION ADDS EMERGING ARTIST MARINA TELLME’S INSTALLATION TO ITS COLLECTION

The site-specific Reunión de gente importantísima, which opened OPEN BOOTH X LIQUITEX. Having been acquired by the Masaveu Foundation, it was created especially for Art Madrid by up-and-coming artist Marina Tellme as part of the Art Madrid'24 Parallel Program. Yudinela Ortega, artistic director of the fair, remarks: «It's an intelligent work of art, critical of the context of contemporary art and accessible to all audiences. A sign of its success in this edition, it breathes Art Madrid's DNA: a fair that is close, accessible and democratic for everyone». She added «the fact that the installation, which has been backed by Art Madrid and sponsor Liquitex, has been acquired by such a prestigious foundation like the Masaveu Foundation, completes the cycle of what backing those who are just starting out on the contemporary art circuit really means. We can already say that Marina Tellme has entered the art scene, and she has done it in a big way». As for Marina Tellme, she highlights the incredible opportunity Art Madrid’24 has provided and added, «Never in my wildest dreams would I have imagined that one of my works would be acquired by a foundation like the Masaveu. I am happy and grateful to the organization of the fair for promoting it and for giving me the opportunity to be part of this edition's Parallel Program».

Partial view Art Madrid'24. Booth A21 Gallery One.

The 19th edition of Art Madrid'24 has produced very pleasing sales figures, with a total of 325 works of art having been acquired. Of these, 72 were purchased through the Art Madrid'24 Collecting Program led by Art Advisor Ana Suárez Gisbert. 10% of the artworks exceeded the value of 20,000 euros; 20% were pieces costing between 8,000 and 20,000 euros; 40% ranged from 3,000 to 8,000 euros; and 30% were pieces acquired for less than 3,000 euros. These figures underscore Art Madrid's position as an unmissable event for those who want to get started in the world of collecting. This year's fair has welcomed more international visitors, as well as those from other parts of Spain, thereby highlighting the great interest of foreign collectors who wish to broaden their collections with artworks by Spanish artists.

Once again this year, the art galleries that chose Art Madrid have noted the increase in visitor numbers and in interest from buyers. These positive figures are made up of many experienced collectors as well as novices keen to delve into the world of art. Sara Joudi, director of Shiras Gallery, pointed out «the public's interest in the proposals from day one, as well as the high standard of the fair, which is advancing towards the specialization of emerging art». Bea Villamarín, director of the gallery of the same name, also highlights the positive reception and constant stream of visitors. The director of the Korean gallery Banditrazos, Ahn Jinog, underlines «the interest in Korean art generated by its first appearance at the fair, the success and approachability of the organizers, and the presence of buyers not only from Spain but also from other European countries».

Partial view Art Madrid'24. Booth A5 Aurora Vigil-Escalera.

This year, Art Madrid'24 was visited by prominent personalities and institutional representatives such as the Mayor of Madrid, José Luis Martínez-Almeida; the Delegate of the Government Area of Culture, Tourism and Sport, Marta María Rivera de la Cruz; the current Spokesperson of the Socialist Municipal Group in the Madrid City Council, Reyes Maroto; the deputy secretary of Culture and spokesperson of the Popular Party, Borja Semper; representatives of the general sub-directorate for the promotion of tourism of the Community of Madrid, the directorate of Plastic Arts of the Ministry of Culture, Tourism and Sport of the Community of Madrid; as well as representatives of other autonomous communities such as Aragon, the Valencian Community, the Cabildo of Gran Canaria and the Foral Community of Navarre, among others. Also present were representatives of the embassies of: Republic of Lithuania, Republic of Argentina, France, Ireland, Romania, Republic of Iraq, Bosnia Herzegovina, Mexico, Portugal and Brazil.

The event also welcomed important foundations and institutions such as the Goethe Foundation, Azcona Foundation, Carmen and Lluís Bassat Foundation, María Cristina Masaveu Peterson Foundation, BBVA Foundation, Ankaria Foundation, Thyssen-Bornemisza Art Contemporary Foundation, Banco Santander Foundation, SETBA Zona d'Art Foundation, Telefónica Foundation, Mapfre Foundation, Enrique Ochoa Foundation, ENAIRE Foundation, Caja de Burgos Foundation, Tara Women Entrepreneurs Foundation and Paradores Nacionales.

Partial view Art Madrid'24. Booth B6 Arma Gallery.

Art Madrid'24 was attended by important institutions such as: Centro Atlántico de Arte Moderno (CAAM), INELCOM Collection, Centro de Arte Contemporáneo de Burgos (CAB), Centro de Arte Contemporáneo José Guerrero, CCCB Centro de Cultura Contemporánea de Barcelona, Centro Museo Vasco de Arte Contemporáneo (ARTIUM), Instituto Valenciano de Arte Moderno (IVAM), Institut Français de España, Museo de Navarra, Museo ThyssenBornemisza, Museo de Arte Contemporáneo (MUSARCO), Museo Nacional Centro de Arte Reina Sofía (MNCARS), Museo de Arte Contemporáneo de Vigo (MARCO), Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC), Tenerife Espacio de las Artes (TEA), Casa de Colón. Cabildo de Gran Canaria, Casa de América, MAS Museo de Arte Contemporáneo de Santander, Casa Árabe de Madrid, Museo Lázaro Galdiano, Museo del Romanticismo, Centro de Arte de Alcobendas, Es Baluard Museo de Arte Moderno y Contemporáneo, Museo Barjola, among others.

Partial view Art Madrid'24. Booth B2 Yiri Arts.

BOOSTING COLLECTING AT ART MADRID'24

Throughout the 19th edition of Art Madrid, the Fundación Carmen y Lluís Bassat has provided continued support and collaboration. The BASSAT FOUNDATION ACQUISITION PROGRAM was launched as part of its important work to continue supporting contemporary art and its firm commitment to promote collecting. In line with the quality and values of Art Madrid'24, the program aims to create a permanent platform for the expansion and enrichment of the foundation's collection, spotlighting and acquiring works of contemporary art that reflect the diversity of emerging voices and trends in the market. Consequently, the program has acquired artworks by Carlos Tárdez (Galería Bea Villamarín), Samuel Salcedo (3 Punts Galeria), Fernando Daza (Trema arte contemporânea).

THE ONE SHOT COLLECTORS EMERGING ARTIST AWARD sponsored by ONE SHOT HOTELS was presented to artist Luz Moreno Pinart (CLC ARTE Gallery). The award, which focuses on sustainable practices in contemporary art, has the backing and support of the official sponsor of Art Madrid'24, One Shot Hotels, which since its very beginning has demonstrated its commitment to art in all its formats and disciplines.

Partial view Art Madrid'24. Booth A11 Galería Arancha Osoro.

SPONSORS AND PARTNERS COMMITTED TO ART

The 19th edition of Art Madrid was made possible thanks to the support of its official sponsors: Liquitex, One Shot Hotels, Lexus, and Safe Creative; its partners Tara for Women, Fundació Bassat, AVAM, Rotary Club Marbella, and Bezoya; as well as the institutions Museo Nacional Centro de Arte Reina Sofía, Madrid City Council, Ministry of Culture and Sport of Spain, Community of Madrid, Ministry of Culture of Taiwan, and Economic and Cultural Office of Taipei, and all media partners.

We thank everyone for their trust and support in this 19th edition. Your support is essential to continue building towards culture and contemporary art. We promise to work with renewed enthusiasm in the next event, where Art Madrid will celebrate its 20th edition.

¡SEE YOU IN ART MADRID'25!

Partial view Art Madrid'24. Booth B5 Loo & Lou Gallery.

Aurelio San Pedro

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

Aurelio San Pedro (Barcelona, 1983) draws with great delicacy, focusing his attention on natural settings and favoring black and white. Memory plays a crucial role in his creative process, which is based on treating recollection as a means of artistic expression. His background in engineering and topography influences his search for inspiring images, helping him select the ideal landscapes—ones that stem from both real and imagined places.

Each of his pieces follows a slow and meticulous process, requiring deep introspection. Paper is almost a fetish for him; both the areas he chooses to intervene in and those he leaves blank hold equal importance. He navigates between abstraction and figuration while maintaining a distinctive and deeply resonant style.

Return to Oneself. From the series Books and Landscapes. 2024. Mixed media. 100 x 100 cm.

What role does experimentation play in your creative process?

Experimentation is fundamental in my creative process, both conceptually and aesthetically. My work evolves in parallel with unfolding events, gradually shaping what will become the final piece. However, in terms of production, the role of experimentation depends heavily on the series I am working on at the time.

For example, in the Books series, which is created using book fragments, three-dimensionality is essential. While working on it, I encountered trial and error, residue, simplification, and the streamlining of processes.

In contrast, when it comes to drawings, physical experimentation is much less pronounced. However, there are still discoveries, searches for tools, trials, and shifts within the working process. For instance, in Landscapes, I use a pencil with three extenders that measures about fifty to sixty centimeters. In my two latest series, Iceland and Nature, I had to learn how to move and position myself within nature, while also refining my drawing technique significantly.

Always Stumbled Upon the Same Stone.Detail. From the series Books and Landscapes. 2024. Mixed media. 10 x 19 cm.

What are your references?

I cannot pinpoint specific aesthetic influences, but I can mention those who have left a mark on my artistic journey. First and foremost, my father, due to his connection with art and architecture. I also had the privilege of learning for a year in the studio of Antoni Marqués, a renowned Catalan artist.

Historically, the works of Magritte and Joseph Kosuth have had a profound influence on me. Formally, I find a certain connection with Arte Povera, and I identify with minimalism.

Twenty Dark Episodes. 2024. From the series Books and Landscapes. Mixed media. 100 x 100 cm.

How do memory and recollection influence your drawings?

Much of my work, if not all, is rooted in memory. I began with the Diane series, a collection of pencil drawings based on old photographs by Diane Arbus. In these drawings, I removed the main subjects, leaving only the backgrounds. They were complemented by diptychs that included descriptions of the absent characters, the location where the photograph was taken, and the year. This approach created a dialogue between presence and absence, exploring themes of memory and recollection.

Later, I worked on Landscapes, a much more ethereal series in which I sought to represent an idealized and undefined image through personal memory. Currently, I am developing Nature and Iceland, projects that reflect on natural memory in relation to the landscape’s own form.

I am interested in posing questions such as: How did this rock end up here? How was this meandering river formed? A simple landscape holds countless traces and processes. For me, that is the essence of memory in my work.

ST.3. From the series Iceland. 2024. Pencil on paper. 120 x 100 cm.

How long does it take you to complete your works?

The time I dedicate to each piece depends mainly on its complexity and specific characteristics. Generally, I spend between two and four weeks on each piece, with an average of about three weeks. This varies, as some works require more time for reflection, adjustments, or details, while others emerge more fluidly. The diversity of the creative process is what makes the difference, each piece has its own demands and rhythms, making every artistic experience unique.

Return to Oneself. From the series Books and Landscapes. 2024. Mixed media. 100 x 100 cm.

Why do you choose to work in black and white?

I am deeply drawn to black and white for its timelessness. This visual approach not only eliminates distractions but also removes certain details that might diminish the work’s mystery, allowing the viewer to focus on the essential. The absence of color and the diffuse light I use contribute to a sense of distortion and vagueness, which, to me, enhances the enigmatic nature of the image.

By omitting volume and color, I create an atmosphere that invites interpretation, leaving room for the viewer to project their own narrative onto what they see. This quality of uncertainty and suggestion is what I find so powerful about working in black and white.

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