Latest Events in Madrid(March Updated)

The BTS WORLD TOUR IN MADRID 2026 stands as a highly anticipated chapter in the global journey of the South Korean sensation, BTS. Set to take place at the Riyadh Air Metropolitano on June 26 and 27, 2026, this event is part of the band’s fourth concert tour, marking a significant return to live performances following their mandatory military service. Beginning in Goyang, South Korea, on April 9, 2026, and concluding in Manila, The Philippines, on March 14, 2027, the tour spans an impressive 79 dates across 34 cities in 23 countries. This extensive itinerary covers continents including Asia, North America, South America, Australia, and Europe, underscoring BTS’s enduring global influence. Notably, the BTS WORLD TOUR IN MADRID 2026 represents the group’s first headline performances since their 2021–22 Permission to Dance on Stage tour, signaling a fresh era for the K-pop septet. With meticulous planning and a calm yet commanding presence, this tour promises to deliver an unforgettable experience, solidifying BTS’s place at the forefront of contemporary music and live entertainment. The Madrid dates, in particular, are expected to draw significant attention, reflecting the city’s vibrant cultural scene and the band’s widespread appeal.

Bruno Mars The Romantic Tour In Madrid 2026 marks a highly anticipated chapter in the celebrated artist’s career, spotlighting his first major tour since the Bruno Mars Live tour (2022–2024) and following his Park MGM residency in 2025. This fifth headlining concert tour, supporting his fourth studio album *The Romantic*—set for release on February 27, 2026—promises an unforgettable evening at Madrid’s Riyadh Air Metropolitano on July 10, 2026. Kicking off on April 10, 2026, in Las Vegas and wrapping up in Vancouver on October 14, 2026, the tour features a stellar lineup of opening acts, including Anderson .Paak (performing as DJ Pee .Wee), Leon Thomas, Victoria Monét, and Raye. The announcement of *The Romantic* album and its lead single, “I Just Might,“ stirred excitement across social platforms early in January 2026, setting the stage for this all-stadium tour across North America and Europe. With its blend of soulful melodies and dynamic performances, Bruno Mars The Romantic Tour In Madrid 2026 stands as a testament to the artist’s enduring appeal and musical evolution, promising an evening that resonates long after the final note fades.

This exhibition will allow contemporary artists, art historians, and the Spanish public to gain a closer look at Hammershøi's work, which has previously received limited exposure. The exhibition's subtitle, "The Listening Eye," refers to the metaphorical connection between the tranquility and serenity found in Hammershøi's paintings and the artist's profound interest in music. The exhibition explores numerous themes throughout his work, such as the role of his wife, Ida Hilstead, in his creative process; his meticulous attention to interior spaces and their similarities to his architectural and landscape paintings; and his self-portrait as a painter in his later years.

The 2026 Formula 1 Spanish Grand Prix will take place from September 11 to September 13 at Madring, Madrid. This event marks Round 16 of the 24-race 2026 FIA Formula One World Championship season. The 2026 F1 calendar features a record-breaking 24 Grands Prix across Europe, the Middle East, Asia, and the Americas, running from the season-opening race in March through the finale in December, making it the longest and most extensive season in Formula 1 history. For the full 2026 F1 schedule, circuit maps, and ticket release dates, Trip.com will provide ongoing updates to help fans conveniently plan their race experience.

Comisariada por María Dolores Jiménez-Blanco, profesora de Historia del Arte en la Universidad Complutense de Madrid, la exposición se estructura en catorce secciones que trazan un completo itinerario por el arte español del siglo XX. En ella el visitante podrá disfrutar de un centenar de obras de artistas como:Pablo Picasso, María Blanchard, Juan Gris, Joan Miró, Salvador Dalí, Luis Fernández, Antonio López, Carmen Laffón, Antoni Tàpies, Manolo Millares, Eduardo Chillida, Esteban Vicente, Juan Genovés, Eusebio Sempere, Soledad Sevilla, Pablo Palazuelo, Cristina Iglesias, Juan MuñozoMiquel Barceló, entre otros.

The Museo Nacional del Prado houses the world's largest and most important collection of Rubens' works. Thanks to a generous gift from the Carlos de Ambreres Foundation, the Museo Nacional del Prado will exhibit Rubens's late masterpiece, The Martyrdom of St. Andrew, from now until 2026. The work, along with its original frame, is on display in Room 16B of the Villanueva Building. Rubens created this work during the same period as his decorative scheme for the "Plaza degli Torre."

“Boats on the Mountain” is a major retrospective celebrating over four decades of artistic career by Juan Uslé (born in Santander in 1954), one of Spain’s most internationally acclaimed artists. This exhibition comes twenty years after his first solo exhibition, “Open Rooms,” at the Reina Sofia National Art Center Museum. The exhibition’s concept originates from the exhibition space on the first floor of the Nouvel Tower, aiming to explore the permeability and temporal extension often found in the artist’s compositions. The eleven galleries are presented in a non-linear narrative, like a short story constructed through back-and-forth travel, looking ahead, and looking back, subtly hinting at the connections between his paintings and other media. For example, the exhibition’s “Notes,” or “Picture Travel Notes,” exemplify this; these color test works have been categorized for years under the theme “Notes on SQR (I dreamt you were developing),” in addition to his textual and photographic works. Regardless of their form, these notebooks have become a recurring mode of expression in Juan Usley's artistic practice, a means for him to record and experience his daily life: his travels, leisure time, studio work, and family life. Therefore, the significance of the images and stories contained in Usley's paintings, regardless of their form, lies not in their mutual influence, but in the subconscious connections they establish with the visible world, and the possibility of imagining other scenes where abstract language is linked to the representation of images that are thought, imagined, seen, or dreamed. Usley's artistic career began in his native Cantabria in the late 1970s, with early works characterized by dark tones and visual tranquility. He studied at the Valencia Academy of Fine Arts, developing a strong interest in abstract landscape painting and photography. Upon returning to Santander, he created some expressionist works, exhibiting them for the first time at the ARCO Art Fair in 1984. After moving to New York in 1987, his paintings began to explore more personal abstract expressions: brighter tones, grid-like backgrounds, and echoes of the powerful brushstrokes in de Kooning's later works. Usley's paintings gradually shifted towards a more lyrical and tranquil abstract style: abandoning sharp expression; expressiveness was simplified into rhythmic, meandering geometric lines, like the beating of a pulse. Compared to his earlier works, his creative process became more mechanized and procedural. The canvas was completely soaked in paint, down to the edges, with colors consisting of variations of a single hue; the paint was like a layer of skin covering everything, and the canvas was an eternal threshold leading to a place full of infinite possibilities, containing both dark areas and fleeting moments of brilliance.

Following the exploration of the decisive role played by women from Europe’s royal houses in the 16th and 17th centuries, the third edition ofThe Female Perspectiveturns to the 18th century to examine the legacy of one of the most influential artistic patrons in the formation of the Museo del Prado’s collections: Queen Isabella Farnese(1692–1766). A pivotal figure in both politics and collecting, Isabella Farnese profoundly shaped the cultural landscape of 18th-century Europe.

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.