Latest Events in Madrid(September Updated)

History Doesn't Repeat Itself, but It Does Rhyme is a new programme at the Museo Reina Sofía that aims to establish a dialogue between Pablo Picasso's Guernica (1937) and other significant works of art that present certain parallels in their modes of representation or thematic concerns, but which come from different historical and cultural contexts. In this first instalment of the series, curated by Tamar Garb, Picasso's emblematic work can be seen for the first time alongside African Guernica (1967) by Dumile Feni (Worcester, South Africa, 1942 – New York, 1991), one of the key artists of African modernity.Dumile Feni's work, which is markedly biographical in nature, emerged in the context of state violence and institutionalised racial oppression under South African apartheid. Created during the 1960s, African Guernica invokes Picasso's work, not only in its title but also in its synergies with the Spanish artist's visual vocabulary. In this way, Dumile Feni's large charcoal drawing also draws on the simplification and expressive distortion of figures, monochromatic tone and dramatic lighting, abstraction and dislocation of space, and even the conjunctions between animals and humans. But it is not only formal elements that resonate in the Spanish and African versions of Guernica; the shared use of a monumental scale is also crucial in highlighting the violence inherent in all situations of war, discrimination and oppression throughout history.Although it has been exhibited frequently in South Africa, African Guernica has never travelled abroad. Displayed in close dialogue with Picasso's work for the first time, this presentation invites visitors to the exhibition to speculate on the similarities and differences between the two works, created in different historical and geographical contexts, as well as to discover other works by the South African artist that are also part of the presentation. The confrontation between Picasso's anti-war cry of anguish in the context of the Spanish Civil War and the South African drawing created thirty years later in the context of the brutal violence of South African apartheid invites critical reflection on the different issues raised by the exhibition.History Doesn't Repeat Itself, but It Does Rhyme is a series of interventions within the Reina Sofía's Collection, that consist of juxtaposing an equivalent to Guernica from another time or geopolitical sphere, contextualised by an academic work of art history as an interpretative framework. The title of the series is a phrase traditionally attributed to the writer Mark Twain, but apocryphal, never written by the author.

Spanish National Day is a day when the Spanish people remember the country's history, recognize and appreciate achievements, and reaffirm their commitment to the country's future. It is a day that celebrates unity and fraternity and also showcases Spain's ties with the international community. National Day is celebrated in many ways by the public and civil society. Celebrations traditionally include parades of the Spanish Armed Forces (military) and State Security Forces (law enforcement), usually held in Madrid, with the attendance of high-level institutions and political representatives. The parade expresses the commitment of the Armed Forces and the State Security Forces to society and their contribution to the international community. The parade takes place in a large square in the capital and in recent editions the Paseo de la Castellana has been designated as the parade route. The Armed Forces Parade is one of the most attended events in Spain, with thousands of citizens gathering along the parade route and on the parade stand to express their love for the Royal Family, the Armed Forces and the State Security Forces. [26]The parade was held in a large square in the capital. In recent parades, the parade has been designated asCastellanaserves as the parade route.The Armed Forces Parade is one of the most attended events in Spain, with thousands of citizens gathering along the parade route and on the parade stand to express their love for the Royal Family, the Armed Forces and the National Security Forces.

This exhibition will showcase approximately eighty works, encompassing oil paintings, pastels, charcoal drawings, and sculptures (the latter created from the mid-1990s to the present), categorized by theme. Each section focuses on one of the most common classical art forms in her work—figures, still lifes, and landscapes—as well as Carmen Laffont's own iconic imagery, such as baskets, cabinets, grapevines, limestone or limescale, and salt mines.

The highly anticipated 2030 FIFA World Cup is set to take place in multiple cities across South America, marking the first time the event will be held on the continent since 2014. The tournament will feature 32 of the top national teams from around the world, including powerhouse teams such as Brazil, Argentina, Germany, and Spain. With star players like Lionel Messi, Neymar Jr, and Cristiano Ronaldo expected to take the field, fans can expect an intense and exciting competition. The final match will be held at the iconic Maracanã Stadium in Rio de Janeiro, Brazil, which has a capacity of over 80,000 spectators. This will surely be an unforgettable event for both players and fans alike, as the world comes together to celebrate the beautiful game of football. Information Source: fixturecalendar.com

The work of Andrea Canepa (Lima, 1980) lies in a space of dialogue between art, sociology, history, and anthropology. From this territory, Canepa explores how systems of visual, spatial, and symbolic organization mold the ways of seeing and understanding the world. Through a multidisciplinary practice, she approaches these systems as case studies which, remote as they may seem in space or time, invite to reflect on the way we live in today's world. Andrea Canepa's proposal for the second intervention on the tarpaulin temporarily covering the Palacio de Cristal while it undergoes restoration is centered on the textile bundles of the pre-Columbian culture of Paracas and the ancestral ritual of enwrapping the dead. The act of covering up, together with the many meanings contained in these bundles, has fascinated Canepa since childhood. Those bodies carefully wrapped in numerous layers of exquisitely woven cloths, where each pattern is laden with symbolism, left a deep imprint on her imagination. The artist moreover stresses the importance of the process, with time, gesture, and the ritual of covering presented as a fundamental episode that gives it more weight than its apparently provisional character. The tarpaulin now covering the Palacio thus ceases to be a merely temporary surface to become an element full of sense, a veil that transforms waiting into a time of significance. The tarpaulin shows images of bound and superimposed cloths. These are photographic reproductions enlarged on the basis of previously executed oil paintings. The capture of an instant through photography is thus combined with the reiterated gesture of painting, with its attentive observation and translation of what is perceived. Painting reality requires contemplating matter without questioning it, and this relaxed and almost meditative rhythm opens up a link to ritual. With this superimposition of temporalities and material media, Bundle generates a subtle sense of alienation. Beyond the immediate gaze, it reminds that reality is denser and more multifarious than the simple appearance people prefer to take refuge in. Canepa transfers these ideas to the context of the Palacio de Cristal, a 19th-century building representing a modernity for which transparency was a supreme value. Designed to be seen and to display, the building is now undergoing a phase of transformation that demands it be covered up and hidden from view. By wrapping it symbolically in layers of cloth, the artist undermines this logic of absolute visibility and invites us to retrieve what modernity banished: the mysterious, the sacred, the sensuality of material, and the right to opacity. Canepa's intervention also links the iron and glass architecture of the Palacio de Cristal with another of the great technical advances of its time: the optical artifacts precursory to the cinema. The building turns into a contemporary praxinoscope which transforms its glass panels into sequences covering and discovering textiles, generating a narrative cycle that is completed only by the movement of the visitor. In this back-and-forth motion between veiling and revealing, time ceases to be linear to become an experience: it stretches and folds over on itself, oscillating between presence and absence, between what is shown and what is held back.

As part of its program dedicated to the Blanca and Borja Thyssen-Bornemisza Collection, the museum presents an exhibition of Kenny Scharf (Los Angeles, 1958), a prominent member of the East Village art movement in New York in the 1980s and a pioneer of contemporary urban art, alongside Jean-Michel Basquiat, Keith Hering, and his mentor, Andy Warhol.His work features constant references to popular culture and surrealism combined with fantastical anthropomorphic figures. His ecstatic compositions and dazzling color palette produce an immersive experience that is both intimate and innovative.Scharf's work in painting, sculpture, installations, murals, performance, and fashion reflects a commitment to creating dynamic art forms that question and deconstruct established artistic hierarchies, in line with the philosophy of Pop artists. However, his artistic relevance transcends this movement: he himself coined the term "Pop Surrealism" to describe his unique style.Scharf's participation in the 1985 Whitney Biennial marked the beginning of his international projection, a reputation that continues to grow to this day, with his work being part of the collections of prominent museums in the United States, Brazil, Germany, the Netherlands and Japan, among others.

From October 2nd to 12th, Madrid hosted the sixth annual Hispanic Culture Festival (Hispanidad 2026), an event that establishes the city as a significant landmark for celebrating the Spanish language and diverse Spanish cultures. With over 600 million speakers worldwide, the Hispanidad Festival aims to promote this language and its rich cultural diversity. More than 150 cultural events were held in the capital and the Madrid Autonomous Community, encompassing music, literature, film, folklore, art, cultural heritage, and cuisine, along with the traditional Hispanidad parade.