Latest Events in Madrid(April 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.

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.

The exhibition brings together works by Spanish designers such as Balenciaga, Sybilla, and Jesús del Pozo, reinterpreting 19th-century Romanticism through more than 40 garments, incorporating elements such as puffy skirts, embroidery, and floral patterns. The exhibition hall itself is a 19th-century aristocratic mansion, making the visit feel like stepping into a salon of bygone eras.

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.

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.

The Spanish Grand Prix is a highly anticipated Formula One motorsport event that takes place annually in Spain. It is a part of the FIA Formula One World Championship and is held at the Circuit de Barcelona-Catalunya. This thrilling race consists of 66 laps, covering a distance of 307.104 km. The Spanish Grand Prix has been a part of the F1 calendar since its inception in 1951, making it one of the oldest races in the championship. The race attracts top teams and players from all around the world, including Mercedes, Ferrari, and Red Bull Racing. The current record for the fastest lap at this event is held by Lewis Hamilton, who completed it in just 1:18.441 in 2020. The Circuit de Barcelona-Catalunya is known for its challenging track layout, featuring high-speed corners and long straights. With its rich history and top-notch facilities, the Spanish Grand Prix is a must-attend event for any motorsport fan. Information Source: fixturecalendar.com

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.