Featured Events in Madrid in January, 2025 (May Updated)

The Palacio de Cristal has traditionally been a space where artists are commissioned to work on a new piece conceived specifically for its unique architecture. Although the restoration and repair work currently being carried out on its structure means visitors cannot access its interior, the programme held within to support the public display of current art continues all the same. In fact, it is the radical imagination of artists that will enable the Museo Reina Sofía to continue to endow this emblematic space with cultural content. The first such artist to take part in this series is Miguel Ángel Tornero (Baeza, 1978), who contributes with a work devised for the canvases which will cover the building during its first year of restoration work.

The Palacio de Cristal has traditionally been a space where artists are commissioned to work on a new piece conceived specifically for its unique architecture. Although the restoration and repair work currently being carried out on its structure means visitors cannot access its interior, the programme held within to support the public display of current art continues all the same. In fact, it is the radical imagination of artists that will enable the Museo Reina Sofía to continue to endow this emblematic space with cultural content. The first such artist to take part in this series is Miguel Ángel Tornero (Baeza, 1978), who contributes with a work devised for the canvases which will cover the building during its first year of restoration work.

The Palacio de Cristal has traditionally been a space where artists are commissioned to work on a new piece conceived specifically for its unique architecture. Although the restoration and repair work currently being carried out on its structure means visitors cannot access its interior, the programme held within to support the public display of current art continues all the same. In fact, it is the radical imagination of artists that will enable the Museo Reina Sofía to continue to endow this emblematic space with cultural content. The first such artist to take part in this series is Miguel Ángel Tornero (Baeza, 1978), who contributes with a work devised for the canvases which will cover the building during its first year of restoration work.

The Palacio de Cristal has traditionally been a space where artists are commissioned to work on a new piece conceived specifically for its unique architecture. Although the restoration and repair work currently being carried out on its structure means visitors cannot access its interior, the programme held within to support the public display of current art continues all the same. In fact, it is the radical imagination of artists that will enable the Museo Reina Sofía to continue to endow this emblematic space with cultural content. The first such artist to take part in this series is Miguel Ángel Tornero (Baeza, 1978), who contributes with a work devised for the canvases which will cover the building during its first year of restoration work.

In January 1986, in the basement of a block of flats in the Madrid neighbourhood of Chamberí, Maite Arratibel, Celia García Bravo, Nacho Pérez de la Paz and Pedro Roldán founded an alternative art space christened, ironically, Galería Nacional. At the same time, in January of that same year, Manuel Saiz launched the Postal Service for Multiple Exhibitions and Propaganda, a postal art initiative presented as “an unorthodox magazine, in which the pages and articles are received one by one and separately, a gallery that in each delivery will show a work to the viewer’s home and not the other way around.” According to the editorial note, simply and plainly, “a wedge of artistic opposition.” A radical collaborative project that, months later, would merge with the critical spirit of the partners and friends of the Galería Nacional, where Manuel Saiz arrived guided by Julio Jara, a colleague in exhibitions at the Villalar gallery and an early collaborator in both projects. It was from this meeting, and together with the contributions of other artists and theorists such as Javier Colis, José Díaz Cuyás, Celia Martín, Pamen Pereira or Alberto Vidarte, when they decided to unite both independent initiatives in a common project: GENE, a gallery of collective production that publishes multiples in postcard format.

A lost Caravaggio painting that was almost mistakenly sold at auction for a bargain price has gone on display at the Prado Museum in Madrid, Spain, after being rescued and restored. “Ecce Homo,” which was painted by the Italian master around 1606-09, will feature in a special one-piece exhibition from Tuesday, according to a statement from the museum.

In January 1986, in the basement of a block of flats in the Madrid neighbourhood of Chamberí, Maite Arratibel, Celia García Bravo, Nacho Pérez de la Paz and Pedro Roldán founded an alternative art space christened, ironically, Galería Nacional. At the same time, in January of that same year, Manuel Saiz launched the Postal Service for Multiple Exhibitions and Propaganda, a postal art initiative presented as “an unorthodox magazine, in which the pages and articles are received one by one and separately, a gallery that in each delivery will show a work to the viewer’s home and not the other way around.” According to the editorial note, simply and plainly, “a wedge of artistic opposition.” A radical collaborative project that, months later, would merge with the critical spirit of the partners and friends of the Galería Nacional, where Manuel Saiz arrived guided by Julio Jara, a colleague in exhibitions at the Villalar gallery and an early collaborator in both projects. It was from this meeting, and together with the contributions of other artists and theorists such as Javier Colis, José Díaz Cuyás, Celia Martín, Pamen Pereira or Alberto Vidarte, when they decided to unite both independent initiatives in a common project: GENE, a gallery of collective production that publishes multiples in postcard format.

This exhibition explores the concept of the grotesque, a core of aesthetic thought capable of offering new perspectives on reality. Developed by the writer Ramón María del Valle-Inclán (1866-1936) as a tool of critical questioning in response to the backwardness and moral despair that plagued Spain in the first half of the 20th century, the grotesque confronts the country’s social, political and cultural constraints, insisting on the distance of the gaze and a range of aesthetic strategies to deform with maximum efficiency. Unlike other cultural representations of the grotesque that emerged in Europe, in which horrific distortions embodied the absurdity of life during that period, the grotesque proposed a new aesthetic that needed to be dedicated to the renewal of social structures. Through extensive documentation and various works of art, this exhibition explores the main themes and strategies that express the grotesque, emphasizing that it is an aesthetic proposal that survived Valle-Inclán’s time and thought. The exhibition is divided into eight main sections. It begins with the Antes del esperpento of the last decades of the 19th century, which displayed a selection of satirical news, drawings and popular optical devices of the time, which were forerunners of anamorphosis.

This exhibition explores the concept of the grotesque, a core of aesthetic thought capable of offering new perspectives on reality. Developed by the writer Ramón María del Valle-Inclán (1866-1936) as a tool of critical questioning in response to the backwardness and moral despair that plagued Spain in the first half of the 20th century, the grotesque confronts the country’s social, political and cultural constraints, insisting on the distance of the gaze and a range of aesthetic strategies to deform with maximum efficiency. Unlike other cultural representations of the grotesque that emerged in Europe, in which horrific distortions embodied the absurdity of life during that period, the grotesque proposed a new aesthetic that needed to be dedicated to the renewal of social structures. Through extensive documentation and various works of art, this exhibition explores the main themes and strategies that express the grotesque, emphasizing that it is an aesthetic proposal that survived Valle-Inclán’s time and thought. The exhibition is divided into eight main sections. It begins with the Antes del esperpento of the last decades of the 19th century, which displayed a selection of satirical news, drawings and popular optical devices of the time, which were forerunners of anamorphosis.

Isabel Muñoz, one of the greatest photographers of our time, visits MNA again after "Women of the Congo" (2017). Now he presents his latest major project that gives us insight into the profound anthropological values ​​of the formation of Neolithic societies through his impressive photographs of four archaeological sites in Anatolia: Göbekli Tepe, Karahan Tepe, Nevalichori and Seburç. In recent years, the excavations of these "sanctuaries" have not ceased to surprise us, the discoveries of which are changing our knowledge of societies in transition between nomadism and sedentarism: their chronology, their organization and way of life, their megalithic architecture, their artistic expressions and their concept of the "sacred". This exhibition kicks off a special program for the 150th anniversary of the National Museum of Anthropology (1875-2025), thus evoking the very first stages of its life, in which it was also a prehistoric museum. In fact, the project now links the MNA with three major museums dedicated to the dawn of man: the Pera Museum in Istanbul and the Museum of Civilization in Ankara, where it began, and the National Museum of Altamira, where it will stop next spring. The Altamira Museum was then the destination of most of the MNA's prehistoric collection, since part of the objects, mainly stone tools collected throughout the 19th century in different archaeological "sites", came from Cantabria. In this way, the exhibition, while opening a phase of renovation of the museum, also closes a kind of "magic circle". The powerful images created by Isabel Muñoz are meant to look back to the distant past, but they challenge us from the most palpitating contemporaneity and connect us to questions that are still very valid. Humanity has travelled a path since then, are we really fundamentally different from the people who created and used those sacred spaces 9,000 years ago? Have we not forgotten the fundamental things that these people knew and felt about our relationship with the universe? Is it possible to rediscover those fundamental identities that have been lost by establishing a connection with the invisible dimension of these creations mediated by Isabel Muñoz? There is only one way to examine it...

On display in Room 16B of the Villanueva Building until 16 February 2025 and benefiting from the collaboration of the Comunidad de Madrid, this exhibition features more than 30 works including paintings executed by Rubens himself, works by his assistants and others resulting from different degrees of collaboration between them. Through the figure of Peter Paul Rubens, one of the most prolific and successful painters of the Early Modern age, the exhibition aims to reveal how European artists produced their paintings in workshops, making use of numerous collaborators.

Curated by French thinker Georges Didi-Huberman, the exhibition “In the moved air…” articulates a political anthropology of emotion in poetic terms, outlining ways of breathing and resistance that confront the persuasive culture of capitalism that has permeated everything. Its title, taken from Federico García Lorca’s Romancero gitano, appeals to overflowing emotion that is not restricted to a single subject, where Lorca’s idea of ​​the “duende” comes into play. In this way, emotion is understood here as a movement that is transmitted to the community through a singular body and that is capable of leading to a “commotion,” that is, a concatenation of emotions that affects a group, an environment, a relationship.

Juvenalia 2025, set to take place from January 2nd to January 4th at IFEMA in Madrid, promises to be an unparalleled event, drawing families and children from all corners of the globe. Held at the renowned Feria de Madrid, this event is a cornerstone in the Community of Madrid's calendar, offering a plethora of activities, workshops, and performances designed to captivate and educate young minds. With a focus on innovation and creativity, Juvenalia 2025 will feature interactive exhibits, educational games, and live shows that cater to a wide range of interests and age groups. Attendees can expect a well-organized, enriching experience that fosters learning and fun in a safe, engaging environment. This event is a must-visit for those seeking to immerse themselves in a vibrant, family-friendly atmosphere while exploring the latest trends in children's entertainment and education.

PROMOGIFT 2025 is set to take place in the vibrant city of Madrid, at the renowned IFEMA, Feria de Madrid. From January 14th to 16th, 2025, this prestigious event will bring together industry professionals and enthusiasts alike, showcasing the latest trends and innovations in the promotional gift sector. The fairgrounds will be buzzing with anticipation as attendees explore an array of exhibits, featuring top-of-the-line products and cutting-edge services. With a focus on creativity and originality, PROMOGIFT 2025 promises to be a dynamic and inspiring experience. As visitors wander through the spacious halls of IFEMA, they'll encounter a wealth of knowledge and expertise, with industry leaders ready to share their insights. Opportunities for networking abound, providing an ideal platform for forging new partnerships and collaborations. Mark the calendar for an event that's not to be missed. PROMOGIFT 2025 is set to be a landmark occasion, positioning Madrid as a hub of innovation in the promotional gift industry.

C! Print brigs together all the agents of the visual communication market and new agents from related markets and creative industries decorators, interior designers C! Print brigs together all the agents of the visual communication market and new agents from related markets and creative industries decorators, interior designers, architects, designers, retail marketers and etc. Information Source: 656 Éditions | expotobi

賽車馬德里 2025將於2025年1月17日至1月19日在西班牙馬德里的玻璃館隆重舉行。這一盛大的賽車活動將匯聚全球頂尖車手和賽車愛好者，為觀眾呈現一場速度與激情的視覺盛宴。玻璃館位於馬德里自治區的核心地帶，以其現代化設施和卓越的觀賽體驗而聞名。賽車馬德里 2025不僅是一場賽事，更是一個展示最新賽車技術和創新成果的平台。參賽車隊將在這裡展現他們的高超技藝和精湛車技，爭奪榮譽。無論是賽車迷還是技術愛好者，都不容錯過這次難得的機會。賽車馬德里 2025將為觀眾帶來前所未有的刺激和享受，成為2025年初最值得期待的體育盛事之一。

Experience the thrill of Bingo Loco in Kansas City at Madrid Theatre on January 18, 2025. Get ready for a night of music, dancing, and of course, bingo with a twist. Located at 3810 Main Street, Kansas City, MO, 64111, this event promises an unforgettable evening filled with prizes, surprises, and plenty of excitement. Don't miss out on this unique blend of entertainment that has taken the world by storm. Join in the fun and see why Bingo Loco is a must-attend event for anyone looking for a one-of-a-kind experience.

IGB 附屬機構 2025將於2025年1月20日至1月23日在西班牙馬德里的加泰羅尼亞Gran Via舉行。作為一個備受矚目的國際盛會，IGB 附屬機構 2025將匯集來自全球的專業人士和行業領袖，共同探討最新的科技創新和市場趨勢。此次活動選址於馬德里自治區的核心地帶，交通便利，周邊設施完善，為參與者提供了理想的交流和學習環境。活動期間，將舉辦多場高端論壇、專題研討會和技術展示，旨在促進跨領域合作，推動行業發展。參加IGB 附屬機構 2025，不僅能夠獲取前沿資訊，還能拓展專業人脈，為未來的業務發展奠定堅實基礎。敬請期待這場不容錯過的行業盛會。

Igb Affiliate 2025 is set to be a landmark event in the affiliate marketing industry, taking place in the vibrant city of Madrid. From January 20 to January 23, 2025, the Catalonia Gran Via in the Community of Madrid, Spain, will host this prestigious gathering. Industry leaders, innovative marketers, and key stakeholders will converge to explore the latest trends, strategies, and technologies shaping the future of affiliate marketing. With a comprehensive agenda featuring insightful keynote speeches, interactive workshops, and ample networking opportunities, Igb Affiliate 2025 promises to be an invaluable experience for professionals aiming to stay ahead of the curve. The event's strategic location in Madrid, a city renowned for its rich cultural heritage and dynamic business environment, further enhances its appeal. Attendees can expect a well-rounded experience that combines professional development with the chance to enjoy the unique charm of Spain's capital.

2025年，馬德里將迎來一場盛大的活動，這一盛事將於2025年1月22日至1月26日在IFEMA - Feria de Madrid舉行。作為西班牙首都，馬德里以其豐富的文化遺產和現代化設施而聞名，而IFEMA更是該市最重要的展覽中心之一。這次活動將匯聚來自世界各地的專業人士和參展商，展示最新的技術創新和行業趨勢，為參與者提供一個交流和合作的平台。無論是商業機會還是行業洞察，2025年在馬德里的這次盛會都將成為不可錯過的亮點。參與者將有機會在這個充滿活力的城市中，體驗到前所未有的專業交流和文化碰撞。IFEMA的現代化設施和便捷的交通也將確保每一位參加者能夠舒適、高效地參與各項活動。這一盛會不僅是行業內的重要事件，更是推動全球創新和合作的關鍵平台。

Fitur is the global meeting point for tourism professionals and the leading fair for receptive and issuing markets in Spain Fitur is the global meeting point for tourism professionals and the leading fair for receptive and issuing markets in Spain. This is an international tourism trade fair which serves as a global communication platform which helps in developing future strategies and the event aims to take into consideration the customer demands and trends. Some of these are about Travel, Holiday, Tourism, Accommodation, Travel Agencies, and Hotels. Information Source: IFEMA | expotobi

A lost Caravaggio painting that was almost mistakenly sold at auction for a bargain price has gone on display at the Prado Museum in Madrid, Spain, after being rescued and restored. “Ecce Homo,” which was painted by the Italian master around 1606-09, will feature in a special one-piece exhibition from Tuesday, according to a statement from the museum.

A lost Caravaggio painting that was almost mistakenly sold at auction for a bargain price has gone on display at the Prado Museum in Madrid, Spain, after being rescued and restored. “Ecce Homo,” which was painted by the Italian master around 1606-09, will feature in a special one-piece exhibition from Tuesday, according to a statement from the museum.

Throughout her career, the painter Soledad Sevilla (Valencia, 1944) has developed a rigorous language based on the purity of line and color and on the construction of forms based on geometric modules. This exhibition, curated by Isabel Tejeda, chronologically retraces the artist's career, from her first steps at the Computing Center of the University of Madrid to her current work, through more than a hundred works, some of which were made especially for the exhibition. The retrospective focuses on the artist's statement that she has been painting the same picture all her life, linking her early works from the 1960s to her latest series, such as White Horizon or Waiting for Semper, in which she pays tribute to her recommender and friend Eusebio Semper.

Throughout her career, the painter Soledad Sevilla (Valencia, 1944) has developed a rigorous language based on the purity of line and color and on the construction of forms based on geometric modules. This exhibition, curated by Isabel Tejeda, chronologically retraces the artist's career, from her first steps at the Computing Center of the University of Madrid to her current work, through more than a hundred works, some of which were made especially for the exhibition. The retrospective focuses on the artist's statement that she has been painting the same picture all her life, linking her early works from the 1960s to her latest series, such as White Horizon or Waiting for Semper, in which she pays tribute to her recommender and friend Eusebio Semper.

Throughout her career, the painter Soledad Sevilla (Valencia, 1944) has developed a rigorous language based on the purity of line and color and on the construction of forms based on geometric modules. This exhibition, curated by Isabel Tejeda, chronologically retraces the artist's career, from her first steps at the Computing Center of the University of Madrid to her current work, through more than a hundred works, some of which were made especially for the exhibition. The retrospective focuses on the artist's statement that she has been painting the same picture all her life, linking her early works from the 1960s to her latest series, such as White Horizon or Waiting for Semper, in which she pays tribute to her recommender and friend Eusebio Semper.

In January 1986, in the basement of a block of flats in the Madrid neighbourhood of Chamberí, Maite Arratibel, Celia García Bravo, Nacho Pérez de la Paz and Pedro Roldán founded an alternative art space christened, ironically, Galería Nacional. At the same time, in January of that same year, Manuel Saiz launched the Postal Service for Multiple Exhibitions and Propaganda, a postal art initiative presented as “an unorthodox magazine, in which the pages and articles are received one by one and separately, a gallery that in each delivery will show a work to the viewer’s home and not the other way around.” According to the editorial note, simply and plainly, “a wedge of artistic opposition.” A radical collaborative project that, months later, would merge with the critical spirit of the partners and friends of the Galería Nacional, where Manuel Saiz arrived guided by Julio Jara, a colleague in exhibitions at the Villalar gallery and an early collaborator in both projects. It was from this meeting, and together with the contributions of other artists and theorists such as Javier Colis, José Díaz Cuyás, Celia Martín, Pamen Pereira or Alberto Vidarte, when they decided to unite both independent initiatives in a common project: GENE, a gallery of collective production that publishes multiples in postcard format.