Madrid,
For Miluca Sanz, A calendar is like a path, it is a way of making sense of the world; to go through life just as the road is a way to cross the landscape. This artist from Segovia, residing in Madrid, is currently preparing her doctoral thesis under the title Diaries, dates and calendars and exhibits at CentroCentro, under the curatorship of Estrella de Diego, “Stratos. The immortality of the ephemeral.”
Sanz understands that calendars are not only a practical tool to organize time, but also the symbolic representation of that fleeting life whose traces remain in gestures and objects and, only partially and very subjectively, in our memory.
Due to this elusive nature, time obsesses him, and he works to capture it by fixing in images what would otherwise disappear: he captures places in Madrid (which, in reality, could belong to other cities) and associates them with pages torn from a calendar, as a reminder of his presence at a specific time and place.
Time and space are linked, but perhaps only to suggest that this link implies cancellation: Sanz gives an account of how unnoticed it survives over the years, of an unexpected archeology of Madrid lacking hierarchies, like Andy Warhol’s time capsules, with their leaks, remains of pizza and dried bread.
This artist shares an exhibition space, on the 3rd floor of CentroCentro, with Luis Pérez Calvo and his “Artist Cards”. This author grew up among the very traditional neighborhoods of Embajadores and Lavapiés collecting trading cards, comics, vinyl records and illustrated encyclopedias: material for learning and enjoyment of those born in the sixties and seventies.
His gaze has always been directed towards the everyday and not ordinary (television programs, shop signs, movie posters, the circus or festivals), enriching these references with his study of art history and his visits to the Prado.
His images, between humor and nostalgia, the deep and the superficial, give off imagination, but not an abstract one, but one derived from the establishment of personal, and to a certain extent secret, relationships between things.
His works now exhibited in Cibeles, under the curator of Carlos Delgado Mayordomo, correspond to a selection of the hundreds of small paintings on which he has worked in the last decade, based on exhibitions visited inside and outside Madrid. Pérez Calvo did not want to document what was contemplated, but rather to recreate it from his point of view, that is, from free associations, sound and semantic games, allusions to his own environment…
Ultimately, each of the works that are part of these stickers is an invitation to share your enthusiasm for these exhibitions, and for the possibility of delving into their discourses creatively without stripping away your own: through dialogue and reinterpretation.
Why call them trading cards? Faced with digital images, infinite and always available, those were sought, expected, randomly found, even physically attractive, and linked to the notions of desire and exchange.
Deep down, Pérez Calvo treasured them as he treasures his sensations from those exhibitions today: from enthusiasm, curiosity and a clear link with daily life, which takes place in the small and not in the large format.
These prints make up, in the exhibition, two murals that give rise to a possible map – not exhaustive but affective – of Madrid: literary, apocalyptic and populated by museums, recently created galleries, ultra-technological buildings, concrete mixers, neon signs, elevated highways and enormous screens.
Miluca Sanz. “Strata. The immortality of the ephemeral”
Luis Pérez Calvo. “Artist cards”
CENTERCENTER. CYBELES PALACE
Plaza de Cibeles, 1
Madrid
From October 23, 2025 to April 26, 2026
