Halloween has become fashionable nowadays because it adds a bit of humour and mystery to a traditionally solemn and serious celebration in which we face a mandatory appointment with death. Despite the imported traditions, the emptying of pumpkins and the famous phrase "trick or treat" (which was never said in our country ever), the truth is that there is a certain homogeneity in the fact that we get ready for an encounter with the after-death world. From this core idea, derive the others that play with the fear of the unknown, the fear of death, the connection with the underworld, etc., proposing a more open and humorous approach. And we, in our particular Halloween, make a reminder of some works that treat fear and terror in a masterly way.

Edvard Munch, "The scream", 1893

This well-known Munch painting is the work par excellence of the Expressionism, an artistic stream that tried to convey the sensations through the colour, without necessarily keeping coherence and verisimilitude. This artist, known for his tormented and dejected character, was one of the greatest representatives of this movement. The most famous version of this work is in Oslo, in the National Gallery of Norway, where it was stolen several times, the last in 2004, until in 2006 the piece could be recovered.

Goya, "Saturn devouring his son", (1819-1823)

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One of the most tormented paintings known is "Saturn devouring his son", by Goya. This work is framed within his famous period of Black Paintings, all dry oils, painted on the wall, in which the artist deals with dark themes related to tragedy and depression. This period coincides with a serious illness of the painter, who channelled his displeasure and disappointment through his work. Saturn represents the Titan Chronos, the god of time, who devours everything in its path. It is a crude and raw work that does not hide its violence, and that Goya had in his house of the Quinta del Sordo.

Salvador Dalí, "The face of war", 1940

"The face of war" painted by Dalí between the end of the Civil War and the beginning of World War II represents the horror of tragedy, the empty sockets, which enclose other faces multiplied in an infinite approximation, to manifest the desolation and impotence. It is said that another motivation of the author for this painting was the execution of Federico García Lorca, with whom Dalí had an intimate relationship.

Zdzislaw Beksinski

And we must highlight the work of Zdzislaw Beksinski. The life of this Polish artist was also testimony to a great life tragedy. He himself was found dead of 17 stabs in his home in 2005. This multidisciplinary author is considered one of the maximum representatives of contemporary surrealism, and his works do not leave indifferent. The presence of death, the connections with the underworld, the horror of sinister images with beings devoured by apocalyptic entities are their most recurrent motives. Beksinski said that he painted what was in his dreams, but he was very jealous of what he communicated, because he destroyed several of his works because he said they were too personal for the world to know them.

At the most recent edition of Art Madrid, artist Luis Olaso (Bilbao, 1986), represented by Kur Art Gallery (San Sebastián), received the Residency Prize of the Art Madrid Patronage Program. This award, the result of a collaboration between Art Madrid, DOM Art Residence, and the Italian association ExtrArtis, enabled him to undertake an artistic residency in Sorrento (Italy) in August 2025.

Through initiatives like this, the fair reaffirms its support for contemporary creation—a commitment aimed at increasing artists’ visibility and strengthening art collecting through concrete actions such as acquisition prizes, recognition of emerging talents, and international residencies.

Artists in Residence. DOM & ExtrArtis. Image courtesy of Agata D’Esposito.

The DOM & ExtrArtis 2025 Residency Program took place in Sorrento from August 1 to 31, 2025. The artists lived together at Relais La Rupe, a 16th-century villa surrounded by cliffs and centuries-old gardens, which became an ideal setting for experimentation and exchange.

In this edition, residents worked around the theme “Reimagining Genius Loci”, an invitation to reflect on how the movement of people and traditions transforms the “spirit of place.” During the residency, DOM organized two public group exhibitions: the first to present the artists’ previous work, and the second to showcase the projects developed in Sorrento.

Work by Luis Olaso. DOM & ExtrArtis. Image courtesy of Agata D’Esposito.

Luis Olaso’s work moves between expressionist figuration and abstraction, always employing a pictorial language charged with strength and emotion. Initially self-taught, he later graduated in Fine Arts and has developed a solid international career, with exhibitions at venues including JD Malat (London) and Makasiini Contemporary (Turku, Finland), and participation in fairs such as Untitled Miami, Estampa, and Art Madrid itself.

His work is part of prestigious collections, including the Tokyo Contemporary Art Foundation, Fundación SIMCO, and the Provincial Council of Bizkaia, and has been recognized in competitions such as the Reina Sofía Prize for Painting and Sculpture and the Ibercaja Young Painting Prize.

In Sorrento, Olaso found a unique context to expand his pictorial research, engaging in dialogue with the Mediterranean landscape and the region’s historical heritage. The residency provided him with time, resources, and a framework for exchange with other international artists, fostering the production of new works that were later presented in the group exhibitions organized by DOM.

Luis Olaso working on his project. DOM & ExtrArtis. Image courtesy of DOM.

Luis Olaso’s experience at DOM Art Residence concluded with a public showcase of the works produced, reinforcing his presence on the international circuit and consolidating his position as one of the most prominent Basque artists on the contemporary scene.

Through initiatives such as this, Art Madrid demonstrates its active role as a platform for direct support of contemporary creation, creating opportunities for research, production, and intercultural dialogue that extend beyond the fair itself and accompany artists in their professional development.