PLACE: CONTINGENCIES OF USE
Bathers comprises an extensive set of anonymous photographs of semi-naked boys, scarcely covered by a swimsuit and pictured in contact with nature. Boys who appear outdoors: by beaches, swimming pools, in the countryside, beside lakes or rivers, recreating the traditional iconography of bathers that has enjoyed a high profile throughout the history of art.
This exhibition project is framed within the line of work widely developed internationally (but practically unknown in Spain), in which the abovementioned democratic, anonymous, neglected, poor and vulgar photographic material, by virtue of the taste, knowledge and aesthetic reason of creators and collectors becomes a cultural artefact, an artistic production, an editorial project. This is precisely what Bathers aims to be.
The work of Stefan Brüggemann (México City, 1975) has opened up a different way of addressing the sociological and cultural aspects of language. His work deals with those linguistic contradictions that make up the paradoxes of living and coexisting with each other, questioning the rigidity of political correctness, precisely because it is false. His exhibition at the CGAC is built on spatial interventions that question the order of concepts, the logic of rules and, particularly, the conventions of the art system.Exhibition brochure
The core of any museum is its collection. The collection is a patrimonial symbol of a shared cultural memory. A territory and a culture build their identity through memory. In order to keep the memory active and not just nostalgic, it needs to be critical and self-critical, willing to continually revise itself. The function of a museum is to create one such memory and to keep it alive through countless re-readings, interpretations and research that question and that do not shy away from difficult perspectives. The temporary displays are intimately connected and linked to the collection, being as they are, another aspect of the museum's memory, a way to enrich the collection and also to accompany the artists that remain closer, those that contribute to the symbolic enrichment of the culture.
Within this project of contextualization and revision of CGAC’s collection, four expositive proposals are displayed, in which different themes are developed and which embody a counter-dialogue with other collections, public and private, linked with the CGAC and Galicia: Galician public and private collections, museum collections with which the CGAC shares temporary displays (CAAC of Sevilla and MUN of Pamplona) or collections that have maintained a special link with the CGAC, like the ARCO Collection and its current venue in CA2M of Móstoles.
The exhibition Theory and Practice of the Desert is a journey through the processes that are present in the work of Antoni Socias. Photography and painting, objects, installations and videos are linked through friction. His works reveal a preference for paradox and also for the absurd that subtly turn into latent social and political criticism from the point of view of lesser things, underlining the importance of attitudes in everyday routines.
The discursive strategies that provide the foundation for the work of Diego Santome? (Vigo, Spain, 1966) are directly linked to the concepts of utopia and failure, equilibrium and instability. In both the selection of the materials and the work process, Santome? bases his approach on subjects related to the circumstances of everyday life and their transformation, showing the possibility/impossibility of a new order leading to a balanced society.Press Release
27 negros is an ensemble artwork consisting of 27 20 x 20 cm black monochrome pieces by 27 different authors. The result is a sort of commissioned anthology as well as a collective exercise in style.Exhibition brochure
The photographic technique is the most basic and natural, chemical photography, where the light reflected on the landscape corrodes the elements that make up the film emulsion, thus capturing part of the very essence of the moment. Large formats using plates or film and the use of a camera with an optical bench make it possible to approach each image as if it were a complex composition, full of decisions.
To celebrate these past twenty years, the CGAC Film Program is kicking off on a nostalgic note, with a celebration—the twentieth anniversary of the founding of Centro Galego de Arte Contemporánea and the twentieth anniversary of Fellini’s death. This forum will provide the opportunity to showcase a series of contemporary Italian cinema pieces, from an unreleased film by Nanni Moretti to the world premiere of titles such as Romanzo di una strage (Piazza Fontana: The Italian Conspiracy), by Marco Tullio Giordana.
All screenings will be held at 8:30 p.m. in the auditorium. Free entry until filled to capacity.
One more time, the CGAC will be part of Cineuropa, the Santiago de Compostela film festival, which celebrates its 27th anniversary. The film screenings will be shown in the centre’s auditorium between 8th and 29th November.
You can find all the information about screening hours and titles on the festival website.