Art Madrid'25 – Sonia Delaunay, beyond the painting

 

 

"Flamenco Singer" 1915

 

 

 

Sonia Delaunay (1885-1979), ukrainian artist, was a key figure in parisian avant-garde. She first studied in Germany and later in Paris, where he had influences from Impressionism, Cubism and Fauvism. She experimented with Robert Delaunay, his husband, in the field of light and color, pursuing and abstract language directed toward a new art faraway from traditional habits. Together they create the Simultanism, current that focused on painting dynamism using simultaneous contrasts of colour. The artist expressed this trend both in painting and in the design of fashion, textiles and books, among others.The Delaunays associate Simultanism to modern life and urban development, and they wanted to bring it to all possible fields. Sonia claimed the importance of fashion design or decoration, equating them with painting or sculpture, in a moment when those minor arts were not valued.

 

 

 

Sonia Delaunay´s costume designs

 

 

 

The exhibition shows textile artwork together with the artist´s paintings, and underscores the period when the family lived in Madrid, city in which they settled in 1917 after I World War outbreak. The arrival in Madrid made her to approach the popular culture, above all flamenco, what she loved. After russian revolution, she no longer received an income. It was when Sonia began to design costumes for Diaghilev’s Ballets Russes. She designed her dresses by joining together small pieces of fabrics in different forms and textures. In parallel, she dedicated to interior decoration and, afterwards, she set up her own clothes brand and opened a shop first in Madrid and later in Paris.

 

 

 

Bal Bullier, 1913

 

 

 

Among her more relevant creations we can find her `simultaneous dresses´. The first of them was made in 1913 for Bal Bullier ballroom, and was defined by Apollinaire as `a living painting´. Sonia brings her designs on paper to canvas. It can be appreciated how flamenco culture influenced her in the `Grand Flamenco´ picture. It is also worth taking into account her designs for ballets, like the one she made for `Cleopatra´, or her dresses for film actresses, like the one she designed to Gloria Swanson.

 

 

 

Costume design for `Cleopatra´

 

 

 

Sonia Delaunay´s artwork is shown in 210 creations that belong to public institutions like the Pompidou Centre, the National Library of France, the Fashion Museum of Paris or Reina Sofía museum; as well as several private collections and the Thyssen funds, museum where it can be visited until October 10.

 

 

 

Dress designed for Gloria Swanson

 

 

 

 

 

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.



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