Galeria SENDA is pleased to participate in ARCOmadrid 2026 with a presentation bringing together works by Aitor Ortiz, Anna Malagrida, Anselm Reyle, Anthony Goicolea, Aryz, Elena del Rivero, Evru Zush, Glenda León, Gonzalo Guzmán, Irán do Espírito Santo, Jaume Plensa, Jordi Benardó, Peter Halley, Sandra Vásquez de la Horra , Xavi Bou and Yago Hortal

The presentation creates a dialogue between different generations and contexts, connecting practices that explore materiality, space, architecture and the symbolic tensions shaping the contemporary landscape.

Alongside the booth, a dedicated artist project will highlight Miralda on the occasion of the 40th anniversary of Honeymoon Project (1986–1992), a defining work in his career. Bringing together works created during that period, the presentation foregrounds the project’s breadth and affirms its enduring impact on the artist’s practice.

Find us at booth 9B25 from March 4 to 8!

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About the selection

The presentation brings together artists who, through diverse practices, share a close attention to space, materiality, and the way we inhabit the world.

In the works of ’Aitor Ortiz, Jordi Benardó and Irán do Espírito Santo,, architecture and structure become a starting point. Their pieces explore lines, volumes, and perspectives that reshape our perception of the built environment. Along similar lines, Anna Malagrida and Xavi Bou approach landscape and space as transitional zones, capturing what often goes unnoticed: reflections, movement, and subtle shifts.

Color and surface take center stage in the works of Anselm Reyle, Peter Halley, and Gonzalo Guzmán, where painting expands beyond the traditional canvas and moves toward the object. Their pieces stand out for their strong visual impact and their deliberate construction of form.

Meanwhile, artists such as Anthony Goicolea, Sandra Vásquez de la Horra, and Jaume Plensa focus on the human figure. Their works explore identity, memory, and interiority, creating images that resonate on both personal and collective levels. Their works address themes such as identity, memory, and interiority, creating images that resonate with both personal and collective experiences. Within this same symbolic territory, Glenda León works through synthesis and subtlety, articulating pieces in which image, sound, and concept enter into dialogue to reflect on perception, silence, and the ideological tensions of the present.

The imaginative universe of Evru Zush introduces a symbolic and fantastical dimension, where drawing, writing, and image merge into a unique visual language. Finally, Aryz, Yago Hortal and Elena del Rivero incorporate gesture, texture, and the passage of time as essential elements, making process and trace visible in each work.

Together, the selection offers a diverse yet cohesive journey, where painting, photography, and sculpture engage in dialogue to propose different ways of seeing and understanding contemporary space.

Discover more in our ARCO DOSSIER

 

In 2026, Honeymoon Project marks its 40th anniversary—one of the most emblematic works of contemporary art and international public art—conceived by Antoni Miralda as a symbolic wedding between the Statue of Liberty in New York and the Columbus Monument in Barcelona. Developed between 1986 and 1992, the project activated public rituals, participatory actions, collective celebrations, and transnational collaborations to reflect—through love, humor, and food—on history, power, conquest, and cultural exchanges between the Old and the New World. Through proposals such as Love Letters, Miralda humanized both monuments, offering a critical and poetic perspective that remains deeply relevant today.

As part of this anniversary, Sala Apolo will host on February 13, 2026, at 6:30 pm, a performative celebration marking the public presentation of the book Monuments in Love / Love Letters. This free event, with prior reservation, will bring together contemporary art, performance, and music around Miralda’s work. Far from a conventional format, the presentation is conceived as a living, collective act, with the participation of Victoria Cirlot, Elvira Dyangani Ose, and Gabriel Ventura, and will include a loving dialogue with a performative reading of the Love Letters exchanged between Liberty and Columbus—one of the most extensive projects of collaboration and public participation within Honeymoon Project.

The evening will be rounded out with a HoneyMousse and a toast created in collaboration with Tiberi Club, a musical performance by Akajú—Francesca Frigeri and Luiz Murakami in quintet formation together with Carola Ortiz, Anatol Eremciuc Bahici, and Miguel Guerra Guerrero—and the video projection Colón era una mujer by Hidrogenesse, the project by Carlos Ballesteros and Genís Segarra. The event also coincides with the removal of Liberty Crown Brocheta, a work originally created in 1985 for El Internacional Tapas Bar & Restaurant in New York and reinterpreted by Miralda to preside over the lobby of Sala Apolo as part of the Art Meets Apolo program. In this piece, the rays of the Statue of Liberty’s crown are transformed into luminous skewers of fruits and vegetables—tomatoes, peppers, corn, potatoes, and pineapples—foods linked to the Columbian Exchange, activating a critical reflection on the relationship between food, power, history, and monument.

The presentation is part of Art Meets Apolo (A.M.A.), an exhibition project developed together with LAB36 and Galeria Senda that explores the intersection of contemporary art and club culture, activating Sala Apolo as a hybrid space for collective experience, celebration, and critical thinking. This anniversary marks the beginning of a year-long celebration around Honeymoon Project, a work that anticipated relational, participatory, and transnational practices that are now central to contemporary art.

Event: A.M.A presents – 40 Years of Honeymoon Project by Miralda
Date: February 13, 2026
Time: 6:30 pm
Venue: Sala Apolo, Barcelona
Admission: Free with prior reservation
👉 Registration: https://link.dice.fm/P4185a739a21

Galeria SENDA presents Fluctus, a new project by Xavi Bou that condenses, in suspended images, the first seconds of a bird’s flight. Recorded in super slow motion from a top-down perspective, the works reveal the singularity of each gesture, the inner structure of movement, and the morphological and chromatic diversity of each species.

Unlike his renowned Ornithographies, where the focus lay on collective flight and interaction between individuals, Fluctus shifts attention toward the singular body. By isolating the bird against a white or black background, Bou highlights the richness of its forms and colors, which tend to dissolve in group flight. The body thus becomes a living trace: a figure in transition between impulse and direction, between الأرض and air.

The title, from the Latin fluctus (wave), refers to the temporal expansion of the gesture. Each image functions as a suspended wave that condenses past, present, and future, activating a slowed-down gaze that invites us to observe what usually goes unnoticed. Rather than freezing an instant, Bou constructs a fluid temporality: a way of seeing time as natural choreography.

Created in collaboration with ornithologists and wildlife recovery centers, the project guarantees an ethical and respectful approach: the birds are recorded at the moment of their release, under controlled and safe conditions. Fluctus is conceived as a growing collection, in which each image is presented printed at real scale, evoking the ancient cabinets of curiosities.

In dialogue with the tradition of these cabinets—not as accumulations of rarities, but as devices of visual interrogation—Bou proposes an experience that dissolves the boundaries between art, science, and technology. His images do not document; they reveal: invisible choreographies, trajectories that escape ordinary vision, patterns that remind us that the natural world is not an object of control, but a sensitive territory where everything is in relation.

In a time marked by ecological crisis and technological acceleration, Fluctus is a call for perceptual empathy. An invitation to look with other eyes, to think of animals not as symbols or exotic creatures, but as companions in existence with whom we share a planet and a common destiny.

ZⓈONAMACO México Arte Contemporáneo consolidates its position as the most influential art fair in Latin America, a meeting point where some of the most relevant proposals from the international art scene come into dialogue. From February 4 to 8, 2026, Mexico City will once again become the epicenter of contemporary art in a 22nd edition articulated across various sections. Galeria SENDA takes part in the Main Section, presenting a curatorial proposal that invites visitors to move through, pause, and resonate.

For this edition, SENDA presents a booth conceived as a space of transition and experience: a journey where sculpture, painting, drawing, photography, and installation coexist, and where the body, identity, memory, the spiritual, and the political intertwine through a critical and poetic lens. A place to inhabit the fair with time, sensitivity, and attention.

If you are in Mexico City, we look forward to welcoming you to discover a proposal that articulates different ways of inhabiting contemporaneity through the symbolic, the affective, and the political.

📍 Booth B112 · 📆 ZⓈONAMACO 2026

Artists and works

ARYZ
His painting proposes suspended scenes, fragmented bodies, and echoes of art history that dialogue with the urban imaginary. Dense, eroded surfaces construct vestigial images, poised between the monumental and the unfinished, activating questions around memory and representation.

Iran do Espírito Santo
Through an extreme formal reduction, he transforms industrial materials into silent presences. Steel, stone, and granite become exercises in perception and balance, where the everyday is stripped of function to reveal a restrained poetics.

Anthony Goicolea
Paintings and drawings in which the intimate, the political, and the symbolic converge. Androgynous figures and suspended landscapes explore identity, belonging, and desire through the notion of queer time, connecting autobiography, myth, and religious iconography.

Gonzalo Guzmán

Stainless steel sculptures that emerge between dream and wakefulness. Forms that evoke menhirs and archaic artifacts reflect and distort their surroundings, inviting sculpture to be understood as ritual and projection of the subconscious.

Glenda León
Minimal gestures and subtle associations transform the everyday into a poetic device. Her work explores the visible and the invisible, the sonic and the material, activating an attentive contemplation in which the extraordinary irrupts into the ordinary.

Robert Mapplethorpe
Black-and-white photography of radical precision. Body, desire, and identity are articulated through an aesthetic in which the classical and the transgressive coexist in tension. The selection pays tribute to the formal and conceptual power of his legacy.

Jaume Plensa
Silent figures that engage in dialogue with language and space. His sculptures act as containers of memory and spirituality, proposing an introspective pause within the pulse of the fair.

Teresa Serrano
A practice with a strong political and autobiographical dimension. Sculpture, installation, and video address gender violence, power, and language, linking the personal with Mexican and international social contexts through resistance and active memory.

It all begins with Karin Kneffel: an unmade duvet, an old television where cowboys without a destiny ride across the screen, and, on the floor, a broken vase. The scene has something like a prologue, as if we’ve arriving late to the story. The important events have already taken place, but their echoes remain: in the folds, the strokes and the fragments.

The sounds of Glenda León, transformed into blue sculptures, are whispers from another time: a horse’s neigh, birds that fly, the breeze. As if the film on the television had escaped into space and become matter. These forms pulse gently, reminding us that the invisible also leaves a trace.

The leporellos and the wax-covered figures where the artist Sandra Vásquez de la Horra’s it suggest us an intimate narrative, almost secret. Aymarás, The bañista, and El tango feroz appear as vignettes of a story within a story: characters proceeding between paper houses, ritual shadows, physical gestures and memory.

Elena del Rivero’s feathers, suspended like flying letters, can be read as fragile messages in transit. Flying Letter #24 seems written for someone who will never even read it, but its movement keeps the attempt at communication alive. Adjacent, a stainless-steel menhir emerges like a lucid dream: a vertical presence, a mirror, a threshold. Gonzalo Guzmán’s work suggests an impossible gleaming stone, that remind us that every story needs a place to pause to reflect.

Close by, Jaume Plensa’s iron distills the weight of the human into abstraction. His CAP III evokes both head and silence, mass and thought. A piece that doesn’t explain literally, but holds something within: as if is keeping the secret of a narrative we’ve yet have to learn how to read. On the floor, Susana Solano’s structure conjures spaces we’ve passed through, while Evru/Zush’s bell holds within it the resonance of every sound that has been and those that are still waiting to be heard.

Thus, among brushstrokes and fragments, the mezzanine becomes a stage. The painting is a prologue; the sculptures, chapters; the sounds, background whispers. We move through the space as one moves through an open-ended story: a tale of action and consequence, of gestures and traces, visible and invisible.

Everything is in motion, in tension. Like a dream breaking apart upon waking.