ARCOmadrid concluded its sessions at Ifema Madrid on Sunday, after four days that drew steady crowds and approached pre-pandemic levels from years past.
In 2020, the fair closed with about 93,000 visitors, and organizers had expected this edition to surpass 95,000 attendees.
The director of ARCOmadrid, Maribel López, emphasized that the fair’s content this year was extraordinary, with many works finding new homes as galleries reported solid sales.
Speaking to the media about the event, López applauded the galleries, describing the fair as a success that mobilized roughly 38,000 professionals from around the world. She noted that the stands showed strong individual design and that exhibitors were increasingly operating at a high level in their own field, a sign of maturity in the fair’s ecosystem.
There was widespread confirmation of strong participation from both national and international collectors, which contributed to numerous sales. Early ticket sales and research activity also reflected high interest. The edition featured 15 exhibition spaces dedicated to women, a point viewed positively by many attendees.
The International Contemporary Art Fair showcased 211 galleries from 36 countries, drew more than 450 international collectors, and welcomed about 200 invited professionals from 40 nations.
acquisitions
ARCOmadrid recorded a wave of important acquisitions from corporate and institutional players, including support from the ARCO Foundation following its first professional-only discussions. Notable purchases included institutions such as the Reina Sofía Museum, the Community of Madrid, and the Madrid City Council. Other significant acquisitions came from the Aldo Rubino Foundation for MACBA in Buenos Aires, TBA21 Thyssen-Bornemisza Contemporary Art, the María Cristina Masaveu Peterson Foundation, the Helga de Alvear Foundation, the María José Jove Foundation, and DKV Seguros, among others.
Additionally, López referred to a recent Madrid court decision that temporarily seized four works for legal review, noting they were held in reserve pending judicial instructions. The ARCO Foundation disclosed a total acquisition tally that included ten works, eight by women and two by men, reflecting a deliberate effort to highlight female artistic production.
Kings and the White Dove
Kings visitors attended ARCOmadrid on the opening day, meeting gallery owners who represent the event’s core talent. Notable encounters included Helga de Alvear and Juana de Aizpuru. The festival coincided with the Eurovision moment, featuring a performance by Spain’s Blanca Paloma, who is set to compete in the upcoming contest.
For this edition, a Ukrainian gallery participated for the first time, marking a broader international presence, though Kings did not stop there. A key moment occurred at Helga de Alvear’s space, where the veteran curator described the pair as longstanding colleagues.
After routine rounds of studio visits, the Kings wrapped up their tour at the RTVE stand, where a surprise awaited: the singer White Dove sang a preview of her Eurovision entry, sparking excitement about Spain’s upcoming participation.
‘We were deceived’
Other editions featured memorable installations, such as ADN Gallery’s controversial piece by Eugenio Merino, a hyperreal soda machine with a depiction of Franco. The gallery’s owner recalled that Picasso’s anniversary is used to spotlight the artist’s enduring cultural pull and its connection to tourism and gentrification in the city. The piece, titled Picasso Died Here, is a 2017 work comprising three elements, with one already sold.
The work priced at 45 thousand euros depicts Picasso reclining in a striped shirt and white pants, while a related fragment by Julio Anaya Ixt echoes the painter’s cubist motifs. Eugenio Ampudia’s Guernica at Max Estrella gallery can be unfolded into a shelter-like structure, a stark reminder of the ongoing conflict and art’s role as witness. The gallery described the piece as an anti-war statement with the original dimensions preserved.
The same space also showcased Marco Godoy, a young artist blending protest imagery with contemporary banners to craft new visual statements. His neon pieces reference the 15-M movement and other social moments, shaping a form of contemporary protest through art.
“I work with protest language, capturing statements that might otherwise fade. I aim to heighten awareness of social realities, like the banners from 15-M,” the artist explained to Europa Press.
Awards
Several prizes highlighted this edition, including the Lexus Award for Best Stand and Artistic Content, attributed to the Monitor Gallery from Portugal, recognizing Lucia Canto and Elisa Montessori. The HOA gallery from São Paulo received the IX Opening Award by Allianz for the works of Laís Amaral and Ayrson Heráclito. Romanian and Valencian spaces also earned jury mentions, while Cervezas Alhambra announced its Emerging Art Award to Alberto Odériz for If It Looked Like Something, It Would No Longer Be Whole, a piece selected by a jury of international experts from among finalists.
Illycaffè continued its support for emerging artists, presenting the XVI Illy SustainArt Award to Cristina Mejías from Jerez, represented through participating galleries. The ARCO-BEEP Award for Electronic Art marked its 16th edition with Evru/Zush and Galería Senda, and Peter Weibel-Beckers + Kornfeld joining the NewArt collection. Zé Carlos García from Pasto gallery in Buenos Aires earned the First Six Senses Ibiza Sustainable Art Award, part of this year’s ARCOmadrid program.
The SOLO Collection bestowed the Acquisition Award to Sandra Vásquez de la Horra for Emancipation of Myth, presented by Senda Gallery, while the Catalina d’Anglade Award supported Ester Partegàs from NoguerasBlanchard, contributing to the collection’s funds.