Art Madrid'25 – DANIEL SCHWEITZER: THE FRACTAL GEOMETRY

Daniel Schweitzer. Courtesy of the artist.

ARTE & PALABRA. CONVERSATIONS WITH CARLOS DEL AMOR

When you research Daniel Schweitzer (Germany, 1988), you come face to face with fractal geometry, and you may feel the panic of the unknown, the panic of entering terrain in which you are not comfortable. But you soon realize that Daniel uses geometry to help us fill the void. He uses repetition as a quest to reach an unattainable infinity. He is able to make sense of this concept and activate our sensory mechanisms. It provokes an interaction with the viewer, who forgets about fractals and enters an unknown but comfortable, friendly world. And when something is friendly, conversation and dialogue are born, which is the ultimate aim of a work of art, to build bridges between object and person, and for both to understand each other in a space that would be different if the work were not there. The work transforms the space, which will be different for each person. This is where the infinity of a perfect fractal is reached, in the infinite perceptions or sensations one can have in front of a work of art.

If you had to define your work in one sentence, what would it be?

I think that defining my work in a single sentence is somewhat reductionist. I believe that the beauty and richness of the work lies in the complexity of the set of elements, in the nuances. That is why, beyond a concrete definition, I find the conversation and reflection around the work much more interesting. Isn't that the function of art? To propose questions, reflections and points of view rather than concrete answers.

Having said that, there are a number of keys, concepts, languages and resources that have been the backbone of various projects that can provide a framework for approaching my work. For some time now I have been working with geometry from a variety of approaches as a way of thinking about the construction of space. Sometimes literally, sometimes in a more symbolic or poetic way. Through my work I am interested in constructing experiences and interactions with the viewer that take advantage of the specificity of materials and sculptural languages. But if forced to give an answer, I would say that my work is a compendium of lines, planes, folds, twists and movements that capture time and space.

Visible spectrum. Object I. Lacquered aluminum. 2023.

Give me a hint, how do I look at your work: do I look at it standing up? Do I move?

You can look at it in many ways, but it is true that if you introduce movement into the way you look at the work, it becomes much more interesting. You introduce time and space, and in a way that movement changes the image, makes it stop being fixed or two-dimensional and becomes something much more changeable, richer. Movement allows you to approach the pieces in a much more spatial way. Movement also implies an active position for the viewer.

These elements are typical of the language of sculpture and are of particular interest to me because I work with them consciously. They allow me to open up the works to a space that is not "representational" but more in the realm of "literalness". This is the framework in which I am interested in working, where we move from the hieratic images of "representation" (which function inwards) to a realm of spatial and sensory relations, where the specificities of sculptural language are exploited. In this realm the object functions not only inwards but also outwards, in a much more relational space. This space allows for interaction between the object and the viewer. Here, movement allows for a richer and more complete form of contemplation, opening up to the discovery of perceptions, reflections and points of view that would otherwise be lost.

The idea of change seems to me to be very present in your creations. Each of them contains many, depending on the point of view. Do you think about the many possible points of view when you approach a new work?

Usually when I start a new work I start with an idea, sometimes a sketch, which is usually quite abstract. I like to have a non-coercive creative process. I like to have a mindful creative process. I like to be open to things happening. It's important for me to start from that basis, because the initial ideas often don't correspond to what is realized or simply don't work. Somehow you have to create a fluid conversation between what you have in your head and what comes out of your hands. This creative process has to be something active, intense, watchful. It can be a battle, a dance or a dialogue to get that object out and effectively transform that piece of sheet metal into something that is art. It's an almost magical process, an alchemy. I think it's also the part of the production that I enjoy the most, because it's where the suggestion is born. Let's say it's the most artistic part, the part that can't be delegated. The other 90% is pure hard work.

It is in this creative process that the various elements that make up the piece are defined. Not just "the" or "the" point of view, which is fundamental, but a series of plastic elements that have to do with the language itself, but also with the peculiarities of the material, the light, the composition, which in some way condition the point of view. But in any case, beyond thinking about the point of view, I like to think about the relationship with the spectator, that is, the body-object relationship. Here, planning the point of view opens up a much richer field of relationships. It is not the same, for example, to be confronted with a 2 meters piece as with a 50-centimeter piece. The point of view is different, but so is the whole experience.

Visible spectrum. Object II. Lacquered aluminum. 2023.

And how important is emptiness? Is emptiness necessary to create and to live with what is created?

In contemporary sculpture we cannot ignore the importance of emptiness. The moment sculpture stepped off the pedestal, a completely different relationship was established in the dichotomy between fullness and emptiness. I would even go so far as to say that it represents a paradigm shift. The relationship between space-object-subject has passed a point of no return. I think this is something that needs to be taken into account when thinking about emptiness and its implications.

In my case, emptiness has the obvious component of giving form to volume, which you could say is a classical approach. But at the same time, emptiness allows me to work in a field of relationships. I find this part much more enriching and interesting because the object ceases to be an autonomous entity and is placed in a field of relationships where it coexists with the viewer and its surroundings. It is also the field in which I am interested in working. It is a reading where the spectator comes to the fore. Where light and space become important. Where we can talk about sensory relationships, about the construction of sensory space. All this is basically impossible without the void.

Is geometry friendly, something that can provoke emotions and stimulate the senses?

Traditionally, we could say that geometry in art is understood as something cold, especially if we take the references of Minimal Art of the 60s. But there are many other examples that suggest the opposite, such as Gego, with a much more sensitive geometric work. It is a poetic geometry linked to drawing. Another contemporary example is the work of Olafour Eliason, where he approaches geometry from a different perspective: there is color, there are atmospheres, there is light, there is space. These are works that play directly with the senses. I believe that in order for geometry to be friendly and to evoke emotions, it must be related and contextualized with other elements. In my case, I try to question the viewer to generate a more emotional approach or through the senses. In my latest projects I use light and movement as forms of interrelation.

Visible spectrum. Object III. Lacquered aluminum. 2023.

Space is the word that comes up most often when people talk about you. How does space become an object and art at the same time?

Space is an obvious yet terribly elusive concept. It is an everyday thing that surrounds us, but when we try to conceptualize it, it remains an abstract, almost metaphysical realm. It is invisible and we only become aware of it when we can physically locate it or when it physically affects us. In my case, I am interested in space not as something measurable by "physics" or as something mathematical, but as a direct result of the body. As Donald Judd would say, "space is something that happens". That is, we speak of space as experience. In this sense the body is the center and space unfolds as an experience. I like to think of space in these terms because in this way point of view matters and our actions matter. Otherwise we are just a coordinate in an infinite space. I think it is essential to be aware of this fact. And in one way or another, my work approaches this reflection, sometimes poetically, sometimes metaphorically, and sometimes quite literally.

A very clear example is my recent work with holographic paint. This is painting that breaks down light into the visible spectrum, so that the color of the piece is transformed directly by the viewer's perspective and movement. They are pieces where the color literally changes depending on your point of view. For me it is a way of involving the viewer and inviting them to reflect on what this sensory construction of space implies.

Visible spectrum. Object IV. Lacquered aluminum. 2023.

Fractal (fractal geometry) comes from the Latin fractus which means something like broken... Can I define your art as broken art?

The word broken leads us to something broken or weak. In my case I'm much more interested in thinking of fractal as a working methodology. As a constructive system that responds to its own logic. It allows me to create complex shapes from very simple elements. I often use the 2D simplex (a triangle) or the 3D simplex (a tetrahedron) because they respond very well to this approach. The simplex is a minimal geometric element. The tetrahedron, for example, is the minimal element to build a volume, because if we eliminate any point, we lose three-dimensionality. The same happens with the triangle, if we eliminate any point we lose the plane. They then become the minimum constructive elements from which we can build infinite shapes and volumes. It is as if they were the letters of an alphabet, which on their own have no value, but when put together in the right way they become meaningful. I use these minimal elements to construct plastic languages. This allows me to create complexity from very simple elements. It allows the simple and the complex to coexist.

There are ideal and infinite fractals, which are usually mathematical, but there are also finite and natural fractals, like clouds, trees, a mountain range... In a way, every artist is a fractal, right?

I think the key is how you understand and position yourself in such a broad subject. In my case, although it may seem contradictory, I have never been interested in the mathematical part of the concept. I came to the idea of fractals by looking for ways to work with space. That is, as a constructive system or working method. I'm interested in fractals because they generate systems that can be repeated and expanded, but which generate different proposals. We can find good examples of this in nature. A leaf, for example, has a geometric system that repeats and expands within the logic and functionality of the hole itself. This means that each leaf is unique, but retains the same system that responds to its own logic.

This is the thinking I try to apply to my work. Irrespective of the mathematical measurements, the pieces must function according to their own logic and system. But I believe that geometry must be at the service of the senses, of physical experience. That's why I'm not interested in numbers: they're cold, rational and predictable. Art is unpredictable. So the challenge is to make the pieces work. That is to say, to go from an anodyne sheet of metal to an interesting object capable of questioning the viewer.

Visible spectrum I. Aluminum and holographic paint. 2023.

Where is your art going, towards infinity?

It's hard to say. I came out of my studies with figuration and I've ended up with geometric repetitions. Although they are two things that have nothing to do with each other, there is a common thread, a way of going from figuration to geometry.

This change has to do with the progressive incorporation of new elements of interest that have led me to work on the body from representation to questioning the spectator's body with fractal geometry.

Now I am aware of the danger of working with fractal repetitions, or the repetition of different geometric modules, because from a theoretical point of view they can be infinitely extended. But if we introduce the spectator into the equation, this idea is immediately truncated. I may be redundant, but the body (the spectator) is still the measure of the world, just as it is the measure of my work, because it is the only thing that can give meaning to a proposal. When we introduce the dimension of the body, "natural" and "sensual" limits are automatically generated in the work. For me, it is a fundamental and constant reference in order not to get lost in an infinite sea of fractal repetitions.



ART MADRID'25: TWENTIETH BIRTHDAY

The rain did not prevent the twentieth anniversary of Art Madrid from being celebrated in style at the Galería de Cristal of the Palacio de Cibeles. From the 5th to the 9th of March, the headquarters of the fair opened its doors to artists, galleries, collectors, art lovers and professionals of the sector to welcome us in an edition marked by a greater presence of women artists, more than 50% of debut artists, the presence of 34 galleries and around 1100 works produced between 2022 and 2025.


Art Madrid'25. Photo by Lucas Amillano.


Art Madrid'25 opened its doors with a gallery program that included 34 exhibitors, 22 national, 12 international and 7 for the first time at the fair. More than 200 artists exhibited their most recent works, representing the latest artistic trends on the national and international scene. Painting with a relevant presence in all its forms of expression and representation; sculpture, photography, drawing, video and installation.

During these five days, Art Madrid'25 welcomed around 20,000 visitors, including collectors, professionals, the general public and new buyers.


Art Madrid'25. Photo by Lucas Amillano.


The celebration of this edition was accompanied by a parallel program focusing on the conceptual axis: Territorio Ciudad. In the run-up to the fair, from 28 February to 2 March, the following projects took place in the city of Madrid: Arquitecturas Imaginadas, Dialoga Ciudad and the second edition of La Quedada: Arquitecturas Imaginadas, Dialoga Ciudad and the second edition of La Quedada, a tour of studios and spaces for artistic creation. Arquitecturas Imaginadas transformed the metro into an ephemeral art gallery; Dialoga Ciudad filled the streets with poetry, establishing a direct dialogue with passers-by; while La Quedada opened the doors of artists' studios, allowing visitors to get a closer look at their creative processes. The week of the fair was also preceded by the Interview programme: Conversations with Marisol Salanova.


Art Madrid'25. Photo by Lucas Amillano.


After the opening of the fair, the programme continued with innovative proposals such as Open Booth, a space created in collaboration with the University of Nebrija and Liquitex, which invited students from the university's Fine Arts department to present their work in a professional context. Similarly, the Raíces Afuera** cycle explored concepts of identity and belonging through performances that proposed different points of view and an extended reflection on rootedness and mobility in contemporary society.

Art in motion also played a prominent role in this edition, thanks to Cartografías de la Percepción, a video art programme curated by PROYECTOR that analysed the relationship between inhabitants and their urban environment through immersive audiovisual works. There was also 20 Grados**, developed at Espacio Tectónica, where ten artists used augmented reality, sound and performance to explore the interaction between architecture and its inhabitants.


Art Madrid'25. Photo by Lucas Amillano.


One of the most innovative proposals in the edition was Ciudad Sutil by Susi Vetter, which transformed Montalbán Street into an interactive digital installation. This initiative transformed the public space and raised new questions about the relationship between people and their environment, inviting viewers to reflect on their impact on the urban landscape.

Around 30 artists were invited to participate in the parallel program of Art Madrid'25. An initiative that the fair's organisers intend to continue in future editions, with the aim of incorporating into the event other ways of supporting creation and encouraging dialogue between artists, the public and professionals in the sector, thus enriching the cultural experience of the fair.


Art Madrid'25. Photo by Lucas Amillano.


PATRONAGE, PRIZES AND RESIDENCIES: PROMOTING CONTEMPORARY CREATION

One of the fundamental pillars of Art Madrid is its commitment to promoting art and supporting creators. Through its Patronage Program, the fair has consolidated its role as a platform for the promotion of emerging talent and the consolidation of artists in the market.

The Acquisition Award has enabled selected works to enter important private collections. This year, the Studiolo Collection, E2IN2 Collection and Devesa Law have chosen the works of Armando de la Garza (Acquisition Award. Studiolo Collection), represented by DDR Art Gallery; Fernando Suárez Reguera (Acquisition Award. E2IN2 Collection), represented by the Luisa Pita Gallery, and Moisés Yagües (Acquisition Award. Devesa Law), represented by the Aurora Vigil-Escalera Gallery; an initiative that ensures the dissemination and preservation of the works of the winning artists within the national collecting circuit.


Art Madrid'25. Photo by Lucas Amillano.


For its part, the Emerging Artist Award, granted by One Shot Hotels as part of the One Shot Collectors program, has recognised the talent of Ana Cardoso, represented by Galería São Mamede. This recognition provides an important economic boost for the consolidation of artists in the development phase.

Finally, the Residency Award, organised in collaboration with DOM Art Residence and ExtrArtis, has been awarded to Luis Olaso, represented by Kur Art Gallery. Thanks to this award, the artist will enjoy an artistic residency in Sorrento, Italy, in August 2025, a unique opportunity for experimentation, cultural exchange and expansion of his artistic practice.


Art Madrid'25. Photo by Lucas Amillano.


COLLECTING: THE ART OF ACQUIRING WITH CRITERIA

With the One Shot Collectors Program, sponsored by One Shot Hotels, the fair sought to promote the acquisition of works of art through a space for specialised advice. Under the guidance of expert Ana Suárez Gisbert, participants received guidance on how to start buying art or expand their collections with knowledge and criteria. This programme has made a significant contribution to strengthening the contemporary art market and strengthening the link between artists and collectors.


Art Madrid'25. Photo by Lucas Amillano.


The twentieth edition of Art Madrid leaves behind sales figures that exceed those of the 2024 edition, with a total of 675 works acquired. Of these, 39 were acquired through the Art Madrid'25 Collecting Programme, led by art advisor Ana Suárez Gisbert. Ten per cent of the works exceeded the price of 20,000 euros; 15 per cent were pieces between 10,000 and 20,000 euros; 30 per cent were between 3,000 and 10,000 euros; and 45 per cent were works acquired for less than 3,000 euros. This confirms Art Madrid's role as a key event for those wishing to enter the world of collecting. In this latest edition, the fair has seen a greater influx of international visitors, as well as visitors from different regions of Spain, which confirms the growing interest of foreign collectors in adding works by Spanish artists to their collections. Once again, the galleries participating in Art Madrid have noticed an increase in the number of visitors and the interest shown by buyers, both experienced collectors and new enthusiasts who want to start collecting art.


Art Madrid'25. Photo by Lucas Amillano.


AN EVENT MADE POSSIBLE BY ITS NETWORK OF PARTNERS

The success of Art Madrid'25 was made possible thanks to the support of its official sponsors: Liquitex, Lexus, One Shot Hotels, Safe Creative, Universidad Nebrija and Cervezas Alhambra. Their support has been fundamental in the celebration of Art Madrid's twenty years of contemporary art.

In addition, the fair has enjoyed the collaboration of cultural platforms and institutions such as **PROJECTOR, CRU Cultural Platform, Contemporary Art Collectors Association 9915, Colección Studiolo, E2IN2, DOM Art Residence, Devesa, Enviarte, Vanille Bakery Lab & Café and Pago de Cirsus.

It has also received the support of public institutions such as the Museo Nacional Centro de Arte Reina Sofía, the Madrid City Council, the Ministry of Culture and Sports, and the Madrid Community, strengthening its presence in the cultural scene.

In the field of dissemination, the media partners are: PAC, Gráffica, Cultura Inquieta, ArtPrice, Arte al Límite, Arte por Excelencias, VEIN, Art Facts and Bonart Cultural have contributed to the global project of the event.


Art Madrid'25. Photo by Lucas Amillano,


ART MADRID: A FUTURE FULL OF POSSIBILITIES

After two decades of development, Art Madrid reaffirms itself as a dynamic, accessible and constantly evolving event. With more than 100,000 visitors in the last five editions, the fair has established itself as an essential reference in the national and international art scene.

The Galería de Cristal of the Palacio de Cibeles is once again the ideal setting for this celebration of contemporary art, a meeting place for galleries, collectors and artists from all over the world. With an innovative program and an increasingly open approach, Art Madrid'25 has shown that, after twenty years, its role in the artistic ecosystem is more relevant than ever, and its future is full of possibilities and new artistic explorations.


Art Madrid'25. Photo by Lucas Amillano.


Thank you for joining us in this 20th edition of Art Madrid. Your trust and support are essential to continue promoting contemporary art and culture.


See you at Art Madrid'26!