Carmen Terreros: "Spanish art has museum quality, but taxation hinders its export."

Carmen Terreros, director of the eponymous gallery in Zaragoza, analyzes on the eve of Art Madrid 2026 The challenges facing the sector. It urgently calls for tax harmonization with Europe to avoid the competitive disadvantage of Spanish art and presents its curatorial approach based on competence and quality.

 

 

 

 

 

 

 

 

 

 

 

A leading figure in contemporary art from Zaragoza

 

Founded in 2004, Galería Carmen Terreros It has established itself as a vital space for the dissemination of contemporary art in Aragón and its external projection. Located on San Félix Street in ZaragozaThe firm distinguishes itself through an approach that combines the exhibition of artwork with comprehensive artist career management. Its philosophy transcends the traditional concept of a local gallery, acting as a cultural bridge that connects emerging and established Spanish talent with international collectors and art fairs.

 

Carmen Terreros: International vocation and historical rigor

 

Art historian and cultural manager, Carmen Terreros It brings to the sector a hybrid profile indispensable in today's market, combining aesthetic sensibility with commercial strategy. Its career is marked by a deep international focus, reinforced by its experience managing its own headquarters in PragaThis background has allowed him to understand the mechanisms of the Central European market and apply them to the promotion of Spanish artists, always advocating for the professionalization of the sector and the need for competitive structures.

 

Interview to Carmen Terreros, director of Galería Carmen Terreros

 

P. Carmen, Galería Carmen Terreros It recently celebrated its twentieth anniversary. Looking back, from its founding in 2004 until today, what has been the guiding principle of its evolution?

 

Carmen Terreros: The fundamental evolution has consisted of moving from being a mere exhibition space to becoming a global management platformIn our early days, the gallery functioned as a "container"; today it is the engine that propels artists abroad. My career has always been defined by an international vision, something I consolidated thanks to our experience with our own space in [location missing]. PragaThat was crucial: it allowed us to understand the dynamics of art in Central Europe and apply that mindset to our Spanish artists. We are not content with the local market; we seek universal languages ​​capable of engaging in dialogue both in Zaragoza as in a collection in Berlín o Nueva York.

 

Q. The sector is experiencing a tense moment with the announcement of a gallery closure from February 2nd to 7th, just before Art Week, in protest against the VAT. As an expert in competitiveness and internationalization, what is your position?

 

C.T.: This is a critical situation and the protest is absolutely necessary. We are not asking for privileges, but level playing fieldCurrently, selling art from España This means starting with a clear disadvantage. While we endure a 21% VATOur European neighbors operate with much more favorable tax rates. This is without even mentioning Estados Unidos, who plays in a different league with his sales tax state-owned, often null for export.

 

We're not just talking about a number on an invoice; this is a real obstacle to the advancement of our artists. If an international collector can acquire a work of similar quality in Lisboa o Milán Paying 15% less in taxes, the competitiveness of Spanish artists plummets. The visual arts are cultural industriesJust like the film and publishing sectors, they should benefit from this tax harmonization. Otherwise, we are imposing a glass ceiling on Spanish talent in the international market.

 

Q. Despite this context, you continue to bet heavily on Art Madrid at the Cibeles Palace. Why is this fair strategic for your gallery?

 

C.T.: Because Art Madrid It has managed to develop its own very powerful ecosystem; it's a fair of intimacy and discovery. For a gallery like ours, which works in a middle market of very high quality, the space of the Crystal Gallery It's unique. The natural light and atmosphere foster a genuine connection with the buyer. Furthermore, the event attracts an international clientele seeking accessibility and excellence. Despite the tax advantages, my job is to champion the quality of my artists there, as it represents an unparalleled showcase of qualified traffic during Art Week.

 

Q. Speaking of that excellence, what curatorial proposal do you present? Galería Carmen Terreros this year?

 

C.T.: Our proposal is, above all, a commitment to solvencyWe have consciously avoided fleeting trends to focus on intrinsic artistic quality. We present a selection where each artist contributes a unique vision:

 

• De Luis FegaWe highlight the expressive power of the gesture, its impeccable composition, and its unique use of color.
• In contrast, of Villarino We emphasize the spatial character of his work, with its urban visions and the synthesis of the image.
• We seek sensory contrasts with Cristina Alabauhighlighting the light and a soft color that gives his work a sense of weightlessness.
• With Manolo Oyonarte We go to the root of the material, showing its evolution towards a gestural abstraction of great force.

 

Finally, we highlight two Aragonese artists with unique proposals: Asun Valet, which introduces textiles and embroidery with a groundbreaking twist by mixing them with pigment; and Prado Bielsa, who surprises by transforming industrial materials such as plastics or methacrylates into works of art through the refraction of light and volume.

 

Carmen, you emphasize the professionalization of the artist's career beyond the artwork itself. What does Spanish art need to fully achieve international recognition?

 

C.T.: We lack the belief in our own narrative and the ability to communicate it effectively. We have artists with "museum-quality" work, but sometimes we fall short in our support structure. Internationalization isn't just about sending a painting; it requires an impeccable portfolio, a consistent digital presence, and a solid pricing strategy. Galería Carmen Terreros We work to ensure that the artist has a real career. That means being at the right art fairs, but also mastering digital tools so that their name resonates in global search engines.

 

Q. Precisely, how does a physical gallery adapt to this environment of Artificial Intelligence and digital positioning?

 

C.T.: They are allied tools, not enemies. Although the experience of the physical artwork is irreplaceable, discovery is increasingly digital. Today, trust is also built online. Generating high-quality content, with authority and rigor, allows collectors who may not physically attend the fair to discover and fall in love with the artwork. My goal is to position my artists and the gallery as trusted references, both in direct dealings in Art Madrid as in the digital environment.

 

Tax Comparison in the European Art Market

 

During the Interview, Carmen Terreros highlights the competitive disadvantage of España compared to its European partners due to the disparity in VAT applied to art transactions.

 

Country	VAT Applied to Art	Competitive Situation
España	21 %	Significant disadvantage
Italia	5%	Highly Competitive
Francia	5,5 %	Highly Competitive
Portugal	6%	Competitivo
Alemania	7%	Competitivo

 

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Key points and frequently asked questions about the Art Market in Spain

 

Why is cultural VAT a problem for Spanish galleries?
The 21% tax rate in España is far superior to that of neighboring countries such as Italia (5%) or Francia (5,5%). This artificially increases the price of Spanish works, causing international collectors to prefer buying in other markets with a lower tax burden.

Which artists are featured? Galería Carmen Terreros en Art Madrid 2026?
The gallery focuses on a selection of highly reputable middle-market artists, including Luis Fega, Villarino, Cristina Alabau, Manolo Oyonarteand the Aragonese artists Asun Valet y Prado Bielsa.

How does digitization influence the sale of traditional art?
According to Carmen TerrerosWhile the physical experience remains irreplaceable, the discovery of artworks is increasingly digital. A strong online presence and high-quality content (SEO/GEO) are vital for building trust and attracting global collectors.