Andrew Barsch - Journalist

Two huge art fairs in Madrid on exactly the same days. Coincidence? Art critic Andrew
Barsch thinks not. This year he sidelines his usual exhibition critique for a closer look at newcomer Art Madrid and its relationship with long-time InMadrid favourite, ARCO.

For the contemporary-art set in Madrid, February is like the coming of Christmas, as the city gets caught up in a whirlwind of photography, sculpture, painting, new-media art and music. This is the month of ARCO, Madrid’s contemporary-art fair, taking place as ever at the IFEMA exhibition centre. But this year there’s a new kid in town, Art Madrid, at the newly restored Pabellón de Cristal in the Casa de Campo. And wouldn’t you know it, Art Madrid happens to be going on during the very same week as ARCO. Coincidence? Doubtful. Direct competition? Perhaps not. The only thing for sure is that, for the better part of a week this month, our city will be infiltrated by artists, curators, collectors and journalists from around the globe, all hoping to get a piece of the action. It would be nice to think that all of this cultural exchange is for the advancement of humankind, here to awaken our senses through artistic expression — our beloved Madrid as the focal point for a proliferation of cultural awareness. But the bottom line is that there’s a lot of money to be made from all the commotion. Free-thinking artsy types included, everyone is well aware of this, and this year there seems to be a bit of squabbling going on, with accusations flying back and forth as to why this new kid is squeezing in searching of a share of the profits.

Super-sized art — does bigger mean better?
ARCO is going big in 2006, celebrating its twenty-fifth year in highbrow style. They’ve named the newly inaugurated — and frighteningly expensive — Hotel Puerta América as an official sponsor, giving them somewhere luxurious to put up their guests from around the world. Austria is ARCO’06’s guest country, represented by 22 gallery stands hawking artistic wares from Schwarzeneggerland, and complemented by Sonoaus06, billed as “The Sound of Austria at ARCO”. Venues around the capital will showcase what the organisers call “different music styles that are present in the current music scene in Austria”. And back at IFEMA, the second edition of theblackbox@arco is not to be missed. The work of 12 emerging artists working with digital media are put together in a big, black box (hence the name) at one end of the fair where anything and everything goes, creating a head-spinning exhibition of installations and new media art. Believe it or not, nothing in theblackbox@arco even seems to be for sale. The curator, Christiane Paul, admits that “very few galleries risk exhibiting this kind of art, and even recognise and established artists who work with this kind of media have trouble finding a gallery to represent them.” Think of it as clever advertising for jingle-weary art lovers, where artists from around the world make a name for themselves by
going over the top.

The indie kids break away
Across town, a fledgling contemporary art fair is about to open, the seemingly down-to-earth Art Madrid. In its virgin year, the fair already boasts the support of some 70 galleries from Europe and the Americas, and has backing from the Comunidad and the Ayuntamiento de Madrid along with the Ministerio de Cultura. Art Madrid brings together what press director Jorge Rodríguez del Álamo calls “the latest trends in contemporary art with big names in avant garde, photography, and digital art”. Sounds
familiar — so why break from the ARCO mainstream? Word has it that many galleries, artists and collectors were fed up with the political machine that operates a mega-event such as ARCO, or maybe they didn’t have the €11,670 to secure the smallest-size stand. Not wanting to make an issue out of the accusations, Rodríguez seems to inadvertently — but not directly — deny rumours of a rift by saying that because of “the contradictory news circulating about this, the organisers wish to make a point that this fair was created with the intention of complementing other fairs, and to give balance to the presentday artistic market in Spain. This new fair seeks to further open the contemporary art market with a series of private collections that weren’t being attended to. The proof of interest in this is that, so far, 70 galleries have confirmed their participation in the fair.” What a tactful way to put it. And, in what may be a media-savvy attempt to avoid any bad press, despite repeated attempts to contact ARCO, no response was forthcoming. But what does the Madrid scene make of it? “It’s all becoming too elitist,” says Madrid-based artist Phil Trout, from his studio in Lavapiés. “ARCO comes along and leaves too many local artists out of the picture. I know it’s an international art fair, but it should also represent the city where it takes place. There are loads of artists, especially those doing more experimental work, who concentrate on creating rather than the schmoozing and networking that is more and more what it takes to get into ARCO. I think Art Madrid has the right idea. There is definitely enough interest — especially during ARCO week, when everyone from the industry is in town — to keep both venues alive. I think Art Madrid will be a big success.”

Time to decide — it’s them or us
So maybe you’ve taken sides and have chosen one art fair or the other, or perhaps you’ve decided to support them both on either side of town. Another possibility is that all of this dissention has driven you to be a conscientious objector, and you’ll stay away altogether. Let me just say this: I’ve been in the mundillo covering ARCO for a number of years, and despite all my criticism of the increasing globalisation of the contemporary art world, the truth is that I always look forward to catching a glimpse of what has continuously been one of the most enlightening weeks of the year, with the most innovative, stimulating, provocative works I have ever seen brought under one roof. Sure, it would be nice to say that you found that special piece in some backstreet gallery, you dusted it off, gave it a home where it’s doubled in value — it makes for much more interesting conversation than saying you bought it ready-to-go in some faceless, tackily lit warehouse/ convention hall. But don’t be too hard on yourself for falling victim to consumerism in wanting to buy some undiscovered work of art. Unlike other globalised consumer products made by exploited children in third-world sweatshops, you’ve probably bought something thought provoking and original, and it’s doubtful that any of the money filters through to contribute to today’s political ills. And as for Art Madrid? Madrid will be brimming with art money that week, so creating an alternative fair that can take advantage of the international collectors and galleries that ARCO week attracts is a smart move. Get over yourself, Barsch, and enjoy the shows. See you at the fairs.