The Arco 2025 in Madrid

The 44th Arco Madrid kicked off was a tribute to the legendary German-Spanish collector and gallery owner Helga de Alvear, who died in February at the age of 88. The stand of her gallery shows selected pieces from the de Alvears collection, from Jonathan Judd to Man Ray, which she had all bought on the Arco.

“She really wanted to make it,” says the daughter Patricia de Alvear in an interview with the FAZ “She also told the doctors and nurses: she really wanted to go to the Arco again.” It shouldn’t be. Friends and companions began to start the Mass Mass with a long applause for the deceased. The atmosphere at the fair is good, as the director Maribel López confirms. 214 exhibitors from 36 countries have come, including nine new galleries that have been carefully selected, because the ARCO cannot (and wants) not become much larger than the 38,000 square meters of exhibition space on the ifema site allow. In addition to the high proportion of Spaniards (around a third) and Latin Americans (another third), Portugal, France and Germany are strongly represented. The dispute over Spanish VAT remains on the purchase of works of art. López complains that 21 percent in Spain – compared to seven percent in Germany and 5.5 percent in France – ensured an unequal competition among the gallery owners. In protest, the Spanish stands switched off the lights for a few minutes on Wednesday. The government, the director believes that the local art trade has to meet with a reduction to ten or even four percent. Eugenio Merino has again his Arco appearance of the striking political statements at the beginning of the mass came from the Madrilenen Eugenio Merino, who has often added the ARCO. ADN sold his dishwasher “White Washing”, the plates with the portraits of Donald Trump, Javier Milei, Elon Musk and others again, after a few hours for almost 22,000 euros. Feared political players have achieved pop cultural status, although it is questionable whether this is of a more solidarity understanding of politics. Some will have thought according to the catastrophic messages of the past ten days, the real Trump could also take a rinsing. On his two -meter -wide oil painting “Dining Hall” (25,000), fifty -shaped boys in black suits consume their fearfully clean -arranged food. The tables and benches are pedantic in a row, as if they came from the architectural catalog: the quiet terror of the regulatory state. Wave lines for the sea or many colorful points under which you can imagine various fruit, but do not have to (15,000 each). The interiors of the Spaniard DIS Berlin are similarly shining, but a bit melancholy are the interior of Berlin, with which the director Pedro Almodóvar likes to equip his popular films. At Guillermo de Osma (Madrid), his “bachelor” (4400). After Miamials three years ago, the Russian attack war against Ukraine broke out, Max and Julia Voloshyn were currently in Miami, and because their gallery in Kiev was threatened with destruction, they shifted their location to Florida. Approximately easy for them is correspondingly easy for them to the Latin American scene, a fixed focus of the Arco. In Madrid they present the Cuban Jonathan Sánchez Noa, born in 1994, who uses one of the prey materials of the colonial era of his country for his sculptures and paper work: tobacco leaves, tobacco dust and tobacco paint. The Latin America had its own abstract avant -garde, which means the name of the Uruguayer Joaquín Torres García, among other things (1874 to 1949). The Galería de Las Montevideo shows a small show of his son Horacio Torres from the 1970s. On the wonderful nude picture of Torres’ woman, a deep blue seems to be flooded with the figure, which is partly under the covers (48,000). Smaller oil formats show pillows and bedding from the same series – at that time a return of the figurative in view of the rule of abstraction and minimalism. Idishes for an Amazofuturismus in the third year in a row, the Arco celebrates a water. After the Mediterranean and the Ocean, the Amazon is on this time. The word already suggests life, nature and the indigenous roots of the global south, but also unscrupulous deforestation and the risk of suffocation of the planet in climate change. A separate exhibition in the Casa de Ámerica entitled “Wametisé: Ideas for Amazofuturism” reveals the claim of Latin American art, in addition to the identity roots of a continent, also to emphasize sustainability and the responsible use of resources. On the ARCO, the “Mata” series of Brazilian Alice Shintani at Marcelo Guarnieri, which in 26 pictures (8000 each) conjures up the flora of the Amazon against a bad black background, could already think of the pessimists for our future. At Herlitzka & Co., three beautiful, indigenous craftsmanship from northern Argentina, manufactured by a three-man collective with the name Tsufwelej (8000 each) .Madrid has something to offer during these rainy days at every corner. The Museum Thyssen-Bornemisza shows Proust and the Arts, the Fundación Juan March a show about the autonomy of color, and the Fondazione Sandretto rebaudengo continues their promotion of young artists with a show by Pol Taburet, curated by Hans Ulrich Obrist, who kidnaps the audience in the restored “Pavilion of the Hexagonal” Filigree building of the Brussels World Exhibition from 1958. Taburet says the FAZ that he had dealt intensively with Goya’s “black paintings” in the Prado. His dark, strong color fields and surreal elements will also be shown in the Berlin Schinkel Pavilion at the end of the month. Arco Madrid, IFEMA measuring grounds, until March 9, admission and catalog together 65 euros

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