Art Madrid'26 – THE ART MADRID ESSENTIALS

Art Madrid'20 has in this edition 41 galleries and more than 200 artists coming from all over the world will exhibit their work during five days in the Crystal Gallery of the Cibeles Palace.

With a wide and varied exhibition proposal, this edition has a thousand works among painting, photography, sculpture, installation and video art.

Art Madrid hosts works by emerging and mid-career artists as well as consolidated professionals with an outstanding international career, which allows us to observe a varied and broad proposal of contemporary art as a whole.

We have made a selection of the essential ones of Art Madrid so that you do not miss the must of this edition in your visit:

The metaphysical and ethereal photographs of Aqua Aura in the Luisa Catucci Gallery. The artist's personal training continues with trips inside museums, in research laboratories and through enormous spaces in the natural environment. His studies range from the field of astrophysics to particle physics, biogenetics, philosophy and psychology of perception. Thanks to the participation for the first time of the Berlin gallery Luisa Catucci we will be able to enjoy the work of this artist.

Aqua Aura

Museum Highlight The Basement, 2018

Impresión

153 x 96cm

Aqua Aura

Museum Highlights The Great White Hall, 2019

Impresión

153 x 96cm

Marta Fábregas and her series of "Colonized" women in the booth of Pigment Gallery. Her main talent is knowing how to capture in a quick and natural way the beauty that is in the things that surround us, that is why her works are so powerful. Putting the spotlight and the spark to everything that passes through her lens. Without a doubt, his empathy, involvement and creativity make each project he works on have a strength and character that makes it special and unique. We bet because his series of "Colonized" women will not leave the public indifferent with such a mixture of elegance, beauty and character.

Marta Fàbregas

Colonitzada nº52, 2019

Fotografía antigua, mix media sobre papel de acuarela sobre tela

130 x 100cm

Marta Fàbregas

Colonitzada nº61, 2019

Fotografía antigua, mix media sobre papel de acuarela sobre tela

130 x 100cm

Hendrik Czakainski's post-architectural panels with the Urban Spree gallery. The artist becomes a forensic architect, collecting evidence of disasters, past, present and future, incorporating them into large scale surrealistic compositions, creating three-dimensional landscapes that have become both empty of human presence and beautiful at the same time. His creations bring us to a state of contemplation by asking us if humanity is still part of the global equation or if the tipping point has already been reached; if a reversal is even possible.

Hendrik Czakainski

26390, 2019

Cartón y pintura sobre MDF

250 x 150cm

Hendrik Czakainski

Circle Crash, 2019

Cartón y pintura sobre MDF

156 x 88cm

The colorful works of Misterpiro in Galería Kreisler. After his beginnings in graffiti in his adopted city, he evolved in his studio towards watercolors, acrylics and water-based techniques. His technique is based on improvisation, where the aggressiveness of spray paint and the delicacy of watercolor are mixed in all types of support, creating a world that makes us travel from complete abstraction to the figurative.

Misterpiro

Meanwhile, 2019

Esmalte acrílico y spray sobre panel de madera

120 x 120cm

Misterpiro

Meanwhile, 2019

Esmalte acrílico y spray sobre panel de madera

120 x 120cm

Patricia Escutia's wire technique with the gallery Bea Villamarín. The artist participates with her work for the first time in Art Madrid. With a very personal technique where the wires resemble the lost words, "Transcriptions", she collects the lost messages of what has passed through our lives without leaving a trace; texts, notes, paintings, words... highlighting the lack of communication between individuals, when these belong to different realities. To highlight this fact, the artist creates a form of non-language that abstracts the system of signs used by human beings to communicate, which is materialized in an abstract, three-dimensional writing that turns these messages into a succession of empty lines of content.

Patricia Escutia

Page 53-54, 2018

Alambre e hilo de caucho sobre lienzo

81 x 124cm

Patricia Escutia

Page 50, 2018

Alambre e hilo de caucho sobre lienzo

73 x 60cm

Jorg Karg's photo collages at BAT Alberto Cornejo Gallery. The German artist has lived throughout his life an obsession with images. He takes, reorganizes and abstracts the photographic material, using an editing software, resulting in images full of surrealism and delicacy. His images, which are based on photographs of himself and others, are fragmented, superimposed and mutilated so that our eyes do the remaining work and compose a new picture full of beauty and sensuality.

Jorg Karg

Slow Rain, 2018

Impresión por pigmento bajo vidrio acrílico sobre dibond de aluminio, MÁS TAMAÑOS DISPONIBLES

80 x 58cm

Jorg Karg

One mile light, 2019

Printing by pigment under acrylic glass on aluminum dibond

80 x 76cm

Mari Quiñonero and her pastels on paper with the Taiwanese gallery Yiri Arts. The artist has created her own creative universe through different techniques that go from watercolor and acrylic to drawing and collage, to achieve her own quiet style where calm and order direct the look.

Mari Quiñonero

No.130, 2018

Pastel sobre papel

60 x 42cm

Mari Quiñonero

No.151, 2018

Pastel sobre papel

60 x 42cm

Luciano Ventrone and his extreme realism at the Italian Stefano Forni Gallery. Despite the fact that Luciano Ventrone is internationally recognized as one of the master realistic painters of his generation, he considers that his works are really about optics: "Painting is not about the mere representation of an object, but about its color and light". For each of his works, Ventrone carefully stages a theme under studio lights. Luciano's paintings "invite the viewer to an atmosphere of pure contemplation"; they are works of great skill and supreme aesthetic beauty. Ventrone shows things more clearly and distinctly than they appear to us in reality; everything is focused, everything is examined.

Luciano Ventrone

Profondo rosso, 2013

Oil on canvas

60 x 70cm

The sculpture by Nicolas Laiz with his series "Nopalia". The artist unifies the natural and the artificial, what is desired and what is imposed. He works on the reflection, through different techniques, of concepts such as landscape, exoticism and the construction of nature as a cultural, social and economic concept.

Nicolás Laiz

Nopalia III, 2019

polvo de mármol, resina, hierro y laca

95 x 43cm

Nicolás Laiz

Política Natural I, 2018

Resina, fibra de vidrio, aridos y pintura doble componente

80 x 30cm

Samuel Salcedo's amazing heads, 3 Punts Galeria. His sculptures and characters always question the viewer with their subtle irony and vulnerability. Salcedo's sculptural work is characterized by technical excellence. One can see his mastery in the diversity of the materials he uses (resin, wood, aluminum, bronze) and which he integrates into the painting.

Samuel Salcedo

Pinball Wizard 1, 2019

Aluminum

95 x 95cm

Samuel Salcedo

Toy Land - Mirror Mirror, 2019

Resina poliuretano policromada

27 x 10cm

 


ART MADRID’26 INTERVIEW PROGRAM. CONVERSATIONS WITH ADONAY BERMÚDEZ


The work of Cedric Le Corf (Bühl, Germany, 1985) is situated in a territory of friction, where the archaic impulse of the sacred coexists with a critical sensibility characteristic of contemporary times. His practice is grounded in an anthropological understanding of the origin of art as a foundational gesture: the trace, the mark, the need to inscribe life in the face of the awareness of death.

The artist establishes a complex dialogue with the Spanish Baroque tradition, not through stylistic mimicry, but through the emotional and material intensity that permeates that aesthetic. The theatricality of light, the embodiment of tragedy, and the hybridity of the spiritual and the carnal are translated in his work into a formal exploration, where underlying geometry and embedded matter generate perceptual tension.

In Le Corf’s practice, the threshold between abstraction and figuration is not an opposition but a site of displacement. Spatial construction and color function as emotional tools that destabilize the familiar. An open methodology permeates this process, in which planning coexists with a deliberate loss of control. This allows the work to emerge as a space of silence, withdrawal, and return, where the artist confronts his own interiority.


The Fall. 2025. Oil on canvas.195 × 150 cm.


In your work, a tension can be perceived between devotion and dissidence. How do you negotiate the boundary between the sacred and the profane?

In my work, I feel the need to return to rock art, to the images I carry with me. From the moment prehistoric humans became aware of death, they felt the need to leave a trace—marking a red hand on the cave wall using a stencil, a symbol of vital blood. Paleolithic man, a hunter-gatherer, experienced a mystical feeling in the presence of the animal—a form of spiritual magic and rituals linked to creation. In this way, the cave becomes sacred through the abstract representation of death and life, procreation, the Venus figures… Thus, art is born. In my interpretation, art is sacred by essence, because it reveals humankind as a creator.


Between Dog and Wolf II. 2025. Oil on canvas. 97 × 70 cm.


Traces of the Spanish Baroque tradition can be seen in your work. What do you find in it that remains contemporary today?

Yes, elements of the Spanish Baroque tradition are present in my work. In the history of art, for example, I think of Arab-Andalusian mosaics, in which I find a geometry of forms that feels profoundly contemporary. In Spanish Baroque painting and sculpture, one recurring theme is tragedy: death and the sacred are intensely embodied, whether in religious or profane subjects, in artists such as Zurbarán, Ribera, El Greco, and also Velázquez. I am thinking, for example, of the remarkable equestrian painting of Isabel of France, with its geometry and nuanced portrait that illuminates the painting.

When I think about sculpture, the marvelous polychrome sculptures of Alonso Cano, Juan de Juni, or Pedro de Mena come to mind—works in which green eyes are inlaid, along with ivory teeth, horn fingernails, and eyelashes made of hair. All of this has undoubtedly influenced my sculptural practice, both in its morphological and equestrian dimensions. Personally, in my work I inlay porcelain elements into carved or painted wood.


Between Dog and Wolf I. 2025. Oil on canvas. 97 × 70 cm.


What interests you about that threshold between the recognizable and the abstract?

For me, any representation in painting or sculpture is abstract. What imposes itself is the architectural construction of space, its secret geometry, and the emotion produced by color. It is, in a way, a displacement of the real in order to reach that sensation.


The Anatomical Angel. 2013. Ash wood and porcelain. 90 × 15 × 160 cm.


Your work seems to move between silence, abandonment, and return. What draws you toward these intermediate spaces?

I believe it is by renouncing the imitation of external truth, by refusing to copy it, that I reach truth—whether in painting or in sculpture. It is as if I were looking at myself within my own subject in order to better discover my secret, perhaps.


Justa. 2019. Polychrome oak wood. 240 × 190 × 140 cm.


To what extent do you plan your work, and how much space do you leave for the unexpected—or even for mistakes?

It is true that, on occasions, I completely forget the main idea behind my painting and sculpture. Although I begin a work with very clear ideas—preliminary drawings and sketches, preparatory engravings, and a well-defined intention—I realize that, sometimes, that initial idea gets lost. It is not an accident. In some cases, it has to do with technical difficulties, but nowadays I also accept starting from a very specific idea and, when faced with sculpture, wood, or ceramics, having to work in a different way. I accept that.