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Magazine

28 November 2012
Vista desde el Hotel Praktik Metropol Madrid
ROOM ART FAIR # 2

Rosa Naharro

Room Art Fair celebrated its second edition this weekend in Madrid, in the hotel Praktik Metropol, at number 47 Montera street. Gallerists absorbed in their portables, people coming out of the shower or others who have recently got up. This is what comes with celebrating an art fair in a hotel and the participants, gallerists, curators and bloggers staying overnight in the same place as where they are exhibiting. Paintings, drawings (a lot of drawing), sculptures, and the odd video, on top of beds, in wardrobes, on top of toilets in the bathrooms, attached to the mirrors. But it’s all really cool.

ARCO, Just Madrid, Art Madrid, Feria De Arte, FLECHA and now, Room Art Fair. Was another art fair in Madrid really necessary? The aim of the Room Art Fair seems to be to offer collectors up and coming art, at reasonable prices, a niche in the market that led to the emergence of the fair Just Madrid. It’s good that new artists are promoted, new curators and even new galleries that attract another type of collector, but when there is talk of inventing new models, what are we referring to? An art fair is a fair, that is to say, an event where products are offered and in the best of cases an economic transaction occurs. The current problem with fairs is maybe not the exhibition spaces, that can be in a hotel, an industrial fair complex, or even in a garage or on the Internet, but their excessive proliferation, which implies a fight for visibility (though in this case the shift in date, away from the agglomeration in February, helps). It is not by chance that the # has been used to announce this second edition of the fair, as every insipid event that has occurred in the hotel has been retransmitted via twitter, in search of this visibility. The problem, once again, is the excess.

Rosa Naharro endeavours to think about the present, considering its distinct contexts, through culture and contemporary art. Looking at exhibitions, writing, reading, film, music and even conversations with friends serve as her tools. Understanding and interpreting “something” of what we call the world becomes a self-obligation, as well as taking a certain stance, that doesn´t distance her from it. She combines writing for A*Desk with writing her doctoral thesis at the UCM and working with cultural management projects.

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"A desk is a dangerous place from which to watch the world" (John Le Carré)