Perrotin London has opened Mamarrachos: Quinceañera, Iván Argote's first solo exhibition in the city and his ninth with the gallery. On view from 6 October to 19 December 2026 at the gallery's Claridge's space on Brook's Mews, the show marks fifteen years of the Mamarrachos — the paintings and sculptures that grew from digital scribbles — and fifteen years of Argote's collaboration with Perrotin. The series traces back to 2008 and Retouch, a twelve-second video in which the young artist appeared to spray-paint two Mondrian canvases at the Centre Pompidou. The act was later revealed as a frame-by-frame digital fabrication, but the split-second scribble became his generative gesture: marks dashed off on a phone screen in seconds, enlarged a thousand times onto canvas, with MDF extensions that refuse the rectangle and push the works past painting's edge. For London, Argote has kept the exhibition deliberately small — a single room, an unusual intimacy for an artist known for large-scale installations. Visitors are invited to take part rather than just look: an early work, Circles, hangs a spray can on a chain only long enough to reach the wall, letting the audience paint until the can runs dry, while a printed carpet reproducing the gallery's ceiling, walls and artworks lies underfoot, made to be walked on. The title borrows the quinceañera, the Latin American fifteenth-birthday rite, to stage a coming-of-age for the series itself — less a change of direction than a recommitment to the contradictions that have always driven it: constraint against freedom, fugitivity against stability. Born in Bogotá and based in Paris, Argote's work is held by the Guggenheim, the Centre Pompidou and MACBA, among others.