Natalia Alonso Arduengo retratada por Federico Granell

The critic and independent curator Natalia Alonso Arduengo will be in charge of the curated tour of Art Madrid for the second consecutive year, which, together with the Collecting Program, will form part of "One Shot Collectors".

Natalia Alonso Arduengo (1984, Madrid): Lives in Gijón and works between her place of residence and Madrid. She has a degree in Art History from the University of Oviedo, and she's a critic and independent curator. Part of her interests are oriented to art made by women and focused on gender aspects. In this sense, she has curated shows such as "Perséfone's Fugue" by Cristina Ferrández and Norma Desmond's Syndrome by Cristina Toledo. Another issue towards which she directs her work is living and how the contemporary subject relates to the environment. Under this theme, she was the guest curator of Art Madrid in 2021 with the project "El arte de habitar", which brought together, among others, artists such as Sandra Paula Fernández, Silvia Flechoso, Hugo Alonso and Guillermo Oyágüez.

She has worked for media such as the magazine "Tendencias del Mercado del Arte" and has been at the helm of the blog "Con el arte en los talones" for years, which has now changed to radio format in a program broadcast on RTPA's La Buena Tarde. Currently, she works as Liaison Manager for Arteinformado. She is director of ArteOviedo, a contemporary art fair held in the Principality's capital that brings together a selection of galleries from the region.

Mário Macilau

Breaking news, 2015

Pigmento inyectado

60 x 90cm

ICONOSPHERE

Every image is an artifice. This axiom of Román Gubern sticks in mind like the finger of the recruitment poster made by James Montgomery Flagg, which is the cover of Gubern's book entitled Iconic mass media of the late nineties of the last century. In his final chapter, dedicated to the electronic image, he outlined the future that was to come. Over two decades later, the presence and influence of images in our society are winning the battle of oversupply and over information, from mass media to self-media and the metaverse. The curated selection of works for ARTMADRID22 seeks to reflect on the ways of looking at and the ways of reading images, the subject's interaction with them, and the relationships and influences between them. How do we assimilate and rework images today? What look do we apply to multiform reality?

Lantomo

(un)MASKED FIGHTER, 2021

Grafito, carbón, acuarela sobre papel encolado a madera

130 x 97cm

The curated tour comprises twelve works from different disciplines, among which drawing and photography stand out. The artists that are part of this selection are: Catarina Patrício (Sâo Mamede), Mário Macilau (Galerie Alex Serra), Lantomo (BAT alberto cornejo), Beatriz Díaz Ceballos (Rodrigo Juarranz), Chang Teng-Yuan (Yiri Arts), David Delgado Ruiz (DDR Art Gallery), Juana González (Arena Martínez Projects), Aurora Cañero (Galería Kreisler) , Julien Primard (Galerie LJ), Jaime Sancorlo (Inéditad), Kepa Garraza (Víctor Lope Arte Contemporáneo) y María Treviño (Moret Art).

RAÍCES AFUERA. PERFORMANCE CYCLE X ART MADRID'25

Art Madrid celebrates twenty years of contemporary art from March 5 to 9, 2025, at the Galería de Cristal of the Palacio de Cibeles. During Art Week, it becomes an exhibition platform for national and international galleries and artists. In this edition, with the aim of providing a space for artists working in the realm of performance art, the fair presents Raíces Afuera, a performance cycle that explores notions of belonging and the need for rootedness in a contemporary world marked by fragmentation, displacement, and disconnection. Positioned within the fair as a critical and reflective space, the project challenges the individual’s relationship with their environment, community, and sense of identity.

PERFORMANCE: EL PESO DE LA CIUDAD LO LLEVO CONMIGO. BY AGUSTINA PALAZZO

March 9 | 17:00h. Galería de Cristal of the Palacio de Cibeles.

El peso de la ciudad lo lleco conmigo. Agustina Palazzo. Peformance documentacion. 2025.

The current urban landscape represents an environment saturated with symbols of modernity and technological “progress.” The television and radio antennas, which hover over rooftops, embody much more than their technical function. They emerge as markers of change, connecting generations to a global world, transforming urban life into a web of communication and entertainment.

This modification of the urban landscape has direct implications for the contemporary body, a body defined and altered through technology and its relationship with the environment. As Laura Barros Condés says in Habitar(se), “Technology has become an intrinsic part of individuals, largely through the body.”

Space itself is an organism that intervenes in the body. We experience an environment through the body, and inevitably, this relationship influences our way of connecting physically and psychologically, as well as the process of constructing identity. The body is defined and altered through its relationship with the environment.

The antennas, these inanimate objects that hover over the urban landscape, represent a powerful metaphor for an era saturated by technological mediation. Their abundant presence points to the paradox of connectivity that, while promising to unite us, fragments our attention and collective experience. As unnoticed monuments, they invite us to reflect on how technology redefines cities and our relationship with them.

El peso de la ciudad lo llevo conmigo seeks to make visible contemporary oppression—how industrialization, urbanization, and digitalization condition the construction of identity, stripping individuals of a vital connection and leaving an existential void in a body that inhabits the saturation of the urban landscape.

Radiorator II. Performance documentation. 2025. Agustina Palazzo.

ABOUT AGUSTINA PALAZZO

Agustina Palazzo (Córdoba, Argentina, 1992) is a multidisciplinary artist from Córdoba, Argentina. Based in Barcelona, her practice spans art, education, and cultural management within the context of the digital world and new technologies. Her work oscillates between the critical and the poetic, using emerging themes and technologies as creative tools in performance, sound design, and installation. Her artistic research is nourished by the relationship between communication, human behavior, and new technologies, creating experiences that question the boundaries of human behavior and the digital realm. She has participated in solo and group exhibitions, festivals, and residencies across Latin America and Europe. Some of her notable engagements include IMMERSIVA at Espronceda, Institute of Art and Culture (ES), Tsonami Sound Art (CHILE), Rake Community, art and research platform (UK), SONAR + D (ES), LLUM (ES), Teorema (ES), 220 Contemporary Culture (AR), Millesuoni (IT), Espai 19 (ES), among others.

Agustina Palazzo's work focuses on human behavior, desires, and misunderstandings, exploring the contradictions of the contemporary crowd caught between technological refinement and moral erosion in fragmented attention spans. It swings between the critical and the poetic, inspired by science fiction, utopia, and dystopia, but with an emotional sensitivity anchored in the present. Her practice moves across performance, installation, video, sound, and archive, using technology not only as a tool but as a symbol of a social and political condition.

Taking advantage of its poetic dimension, she blends digital and analog techniques with everyday objects, stretching their meanings. Sound and radio are recurring elements in her quest, but her language is expansive, crossing through the visual, performative, and sonic. Experimentation, process, and critical reflection are the core of her practice, inviting the viewer to question their relationship with the digital and the real.