Latest Events in Madrid(March Updated)

The World Olive Oil Exhibition is the biggest international trade fair totally devoted to the olive oil sector The World Olive Oil Exhibition is the biggest international trade fair totally devoted to the olive oil sector. It is mainly geared towards producing cooperatives and olive mills that seek to open new markets and exportation possibilities, as well as towards the main olive oil purchasers from around the world. Information Source: Pomona Keepers, S.L. | expotobi

This thematic route offers an approach to the Museum’s permanent collection through a selection of works on display. Devised by Eduardo Barba Gómez, gardener and researcher into art and botany, it reveals how the latter subject plays a significant role in the stories. The diversity and richness of the Museo del Prado’s collections allow for this new interpretative approach, with a focus on more than 40 botanical species through a selection of 26 paintings by artists of the significance of Patinir, Fra Angelico, Titian, Velázquez, Rubens and Zurbarán. The route is complemented by a publication and an audio guide in Spanish and English.

A Life in a Few Lines marks the first major European retrospective of the Lebanese-born artist Huguette Caland (Beirut, 1931–2019), whose life and work spanned decades, continents and media, challenging the aesthetic and social conventions of her time. Featuring approximately 300 drawings, paintings, sculptures and work in other media, as well as documentary ephemera, the exhibition weaves a new narrative around Caland’s practice, questioning perceptions of her cosmopolitan rootlessness to show an artist deeply connected to community, communication and the idea of home. It also reveals her defiance of social and sexual norms in work that explores notions of gender, the body, belonging, love, aging and personhood, all of which is set against the broader geopolitical currents of a decolonising and neoliberalising world.

A Life in a Few Lines marks the first major European retrospective of the Lebanese-born artist Huguette Caland (Beirut, 1931–2019), whose life and work spanned decades, continents and media, challenging the aesthetic and social conventions of her time. Featuring approximately 300 drawings, paintings, sculptures and work in other media, as well as documentary ephemera, the exhibition weaves a new narrative around Caland’s practice, questioning perceptions of her cosmopolitan rootlessness to show an artist deeply connected to community, communication and the idea of home. It also reveals her defiance of social and sexual norms in work that explores notions of gender, the body, belonging, love, aging and personhood, all of which is set against the broader geopolitical currents of a decolonising and neoliberalising world.

AC/DC and The Pretty Reckless are set to electrify the stage at EstadioRiyadhAirMetropolitano in Madrid on July 12, 2025, at 21:30. This highly anticipated event promises an unforgettable night of rock music, featuring the legendary AC/DC, known for their high-voltage performances and iconic hits, alongside the dynamic and powerful presence of The Pretty Reckless. With ticket prices set at 100 EUR or 501 USD, fans will experience an evening of unparalleled energy and musical prowess. EstadioRiyadhAirMetropolitano, located in the heart of Madrid, offers a premier venue for this monumental concert, ensuring excellent acoustics and a vibrant atmosphere. This event is a must-see for rock enthusiasts and promises to be a highlight in Madrid's 2025 concert calendar.

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.

Cinegetica will display products like rods, reels, lures, threads, accessories, fishing probes, engines, boats, technical clothing and much more Cinegetica will display products like rods, reels, lures, threads, accessories, fishing probes, engines, boats, technical clothing and much more. Information Source: IFEMA | expotobi

AULA is a fair that helps students to effectively decide their educational and professional future AULA is a fair that helps students to effectively decide their educational and professional future. It combines a significant offering of educational and training centres, entities and service companies that respond to the training needs of students (from 14-15 years and above) who come to choose which centre to attend for training to get onto the job market. Information Source: IFEMA | expotobi

The exhibition Néstor Reencountered puts forward a retrospective re-reading of the figure of Néstor Martín-Fernández de la Torre (Las Palmas de Gran Canaria, 1887–1938), an artist from the Canary Islands who cultivated myriad disciplines. From painting and murals to theatre sets and wardrobes for eminent figures such as Manuel de Falla and Antonia Mercé y Luque, La Argentina, the show retrieves over a hundred pieces which are relatively unknown outside the island.

The exhibition Opera to a Black Venus, dedicated to the multidisciplinary artist Grada Kilomba (Lisbon, 1968), brings together a selection of installation works that is the most complete presentation of her work to date in Spain. Trained in clinical psychology and psychoanalysis at the Instituto Superior de Psicologia Aplicada (ISPA) in Lisbon, she worked at the Júlio de Matos Hospital with survivors of the war in Angola and Mozambique before completing her PhD in Philosophy at the Freie Universität in Berlin. Strongly influenced by the work of the revolutionary philosopher, writer and psychiatrist Frantz Fanon, Kilomba began to research and write about memory, trauma, race and gender to question the connections between power, knowledge and violence. With this solid academic foundation in clinical psychoanalysis and philosophy, as well as a long career as a researcher, the artist later expanded her interests on these issues through different formats, including performance, stage reading, video, photography and large-format sculptural and sound installations. Through these, the artist analyses the dominant systems of knowledge production and proposes a process of unlearning regarding Western epistemology with the intention of challenging the linearity of the historiography that in some way perpetuates the colonial economy.

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 museum presents for the first time in its entirety in Madrid the set of works of Francesco Guardi belonging to the Calouste Gulbenkian Museum, thanks to a collaboration agreement between the two institutions. With a total of 18 oils and a drawing, he is the artist best represented in this collection of more than 6,000 pieces of art assembled by financier Calouste Sarkis Gulbenkian (1869-1955), which, since 1969, has been exhibited in the museum that bears his name in Lisbon. Along with Guardi's paintings, acquired between 1907 and 1921, a drawing of the same artist, incorporated in 2002, and an oil from his son Giacomo, is shown. The works are dated between 1765 and 1791 and illustrate iconic places in Venice, such as the Rialto Bridge or the Ducal Palace, festivals such as the Ascension, the surroundings of the city and some whims, belonging at the end of his career. After an initial stage in which he served mainly as a painter of history, religious themes, frescoes and even still lifes, Guardi began to paint views of his city, first following the precise style of his predecessor Canaletto to then add vitality and illusion to his compositions. After the death of Canaletto in 1768, he became the most important vedutist in Venice.

The exhibition Marina Vargas: Revelations is part of the Kora cycle, with which the museum proposes to give visibility to works carried out by women artists of the current scene with a gender perspective. For this exhibition, Marina Vargas (Granada, 1980) has carried out a research project around the silence of women throughout history, especially in relation to the sacred and the spiritual, a topic that he has already dealt with in previous works and whose objective now is to reveal his extensive contributions. From the figure of Mary Magdalene, studied by feminist theologians such as Karen King (Harvard University), Cynthia Bourgeault (University of Pennsylvania) or Meggan Watterson (University of Columbia), Vargas traces a tour that explores the figure of women in the history of art, in the imagery, but also in the sacred story, from his biography and personal experience, with a current perspective that seeks to break the silence through which the patriarchal system has relegated them to asecond place. Revelations show the hidden through newly created works that will be presented for the first time in this exhibition.

The majlis is the traditional hospitality space in Arab and North African houses, the place where guests and travelers are welcomed, offering them shelter and cohabitation. Hospitality is also the central proposal of the exhibition that Lebanese artist and composer Tarek Atoui (Beirut, 1980) presents at the Thyssen-Bornemisza National Museum, in collaboration with TBA21 Thyssen-Bornemisza Art Contemporary. It is called At-Triq, which means "the one who comes from the night" or "the star of the morning," and is part of a long-term research project on the rural musical traditions of the Arab world on sub-Saharan pilgrimage and trade routes.Atoui shows in the museum the first chapter of his proposal, with which he approaches the Tamazgha, the North African territories inhabited by the Amazigh or Berber people, source and deposit of musical, artistic, artisanal and intellectual traditions. After two years of exchange with musicians and artisans from the Moroccan Atlas region and other nearby areas, the artist presents a space of poetic hospitality - composed around the majlis, a place that welcomes, receives and resonates, while generating a multiplicity of affinities and experiences.In At-Triq, music is the protagonist and becomes itself an act of hospitality. Through intertwined textures and materials, this sound installation invites visitors to inhabit the thresholds between the traditional and the contemporary, the familiar and the unknown, revealing the nomadic inclinations present in these affinities.

The majlis is the traditional hospitality space in Arab and North African houses, the place where guests and travelers are welcomed, offering them shelter and cohabitation. Hospitality is also the central proposal of the exhibition that Lebanese artist and composer Tarek Atoui (Beirut, 1980) presents at the Thyssen-Bornemisza National Museum, in collaboration with TBA21 Thyssen-Bornemisza Art Contemporary. It is called At-Triq, which means "the one who comes from the night" or "the star of the morning," and is part of a long-term research project on the rural musical traditions of the Arab world on sub-Saharan pilgrimage and trade routes.Atoui shows in the museum the first chapter of his proposal, with which he approaches the Tamazgha, the North African territories inhabited by the Amazigh or Berber people, source and deposit of musical, artistic, artisanal and intellectual traditions. After two years of exchange with musicians and artisans from the Moroccan Atlas region and other nearby areas, the artist presents a space of poetic hospitality - composed around the majlis, a place that welcomes, receives and resonates, while generating a multiplicity of affinities and experiences.In At-Triq, music is the protagonist and becomes itself an act of hospitality. Through intertwined textures and materials, this sound installation invites visitors to inhabit the thresholds between the traditional and the contemporary, the familiar and the unknown, revealing the nomadic inclinations present in these affinities.

Hello Everyone is configured as a large-scale installation which gathers the works made by Laia Estruch (Barcelona, 1981) from 2011 to the present. These works incorporate formal variations and make up a type of fragmentary and reverberating archive which includes sculptures, sounds, moving images, graphic work and visual scores. As a whole, it can be considered at once a retrospective exhibition and a navigable warehouse.