Latest Events in Madrid(June 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.

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 Museo Nacional Thyssen-Bornemisza and the Mauritshuis in The Hague are simultaneously exchanging twenty-five outstanding works from their permanent collections thanks to a collaboration agreement between the two institutions. In Madrid, an exceptional collection of 17th century Dutch masterpieces is on display, including Johannes Vermeer's View of Delft (ca. 1660-1661), brought together in the classical rooms, a new exhibition space in the museum, close to the rooms dedicated to this same school, thus offering a more complete view of that extraordinary and fruitful century.The Thyssen-Bornemisza family's ties to the Netherlands date back to the early 20th century, when Heinrich (1875–1947) settled in The Hague after the Hungarian Revolution of 1919. It was in this city that Hans Heinrich was born and spent his childhood. In addition to the financial ties and business platform created there, he developed a passion for Dutch painting, one of the most brilliant chapters in his collecting career, which was started by Heinrich and continued by his son Hans Heinrich, who focused his early acquisitions in the 1950s on the Dutch masters of the 17th century. It was precisely Rotterdam that was chosen in 1959 as the city to launch the international tour to present his collection, and today the collection of 17th century Dutch paintings is one of the museum's greatest assets, completing the Spanish museum scene in an extraordinary way.The works from the Mauritshuis that form part of the exhibition in Madrid cover a period from around 1615 to 1705, and belong to artists such as Ambrosius Bosschaert I, Frans Hals, Hendrick Avercamp, Pieter Claesz, Rembrandt van Rijn, Gerard ter Borch, Jan Steen, Jacob Ruisdael, Pieter de Hooch and Nicolaes Maes, among others. The paintings are displayed thematically: the first room is dedicated to still lifes and genre painting; the second to landscapes and compositions with figures; and the third displays, on its own, one of the greatest landscape works of all time: Vermeer's View of Delft.In addition, three paintings from the museum's collections have been selected to be exhibited alongside three others from the Mauritshuis. The Garden of Eden by Jan Brueghel the Elder is displayed alongside The Garden of Paradise by Jan Brueghel the Elder and Rubens; The happy Violinist is paired with The Violinist, both by Gerard van Honthorst, and The West Façade of the Church of Saint Mary in Utrecht by Pieter Jansz. Saenredam complements the exterior view of the church depicted in the panel by the same artist belonging to the Mauritshuis.

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."

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.

Alberto Greco (Buenos Aires, 1931 – Barcelona, ​​1965) was a key figure in experimental avant-garde art. His artistic trajectory was winding and circuitous, less a meticulously planned aesthetic path and more a journey of wandering, straying, and disorientation. As an informalist painter, organizer of raffles and "moving exhibitions," poet, occasional actor, queer wanderer, and founder of "arte vivo," Greco publicly displayed his life, transforming it into an aesthetic creative space that oscillated between theatrical performances, media events, and street anecdotes. The exhibition “Viva el arte vivo” reviews Greco’s short but brilliant life and artistic journey. His actions were inextricably linked to his emigration journey that began in 1950: from Buenos Aires to the Atacama Plateau and Humawaca, from Paris to Rio de Janeiro and São Paulo, from Genoa and Rome to Madrid and Piedraves, from New York to Ibiza and Barcelona. Therefore, the works in this exhibition span from 1949 to 1965, from his early textual and informal paintings—in which he explored the possibilities of matter, shaking it with tension and overflow—to his performance art and living sculptures; his drawings in Madrid; collages he called “self-promotion”; and finally, the novel *Besos brujos* (The Enchanting Kiss), written shortly before his suicide.