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The show WORK (always) IN PROGRESS proposes a sequential exploration of the key themes of Pedro Cabrita Reis’s work (Lisbon, 1956), encompassing representative series such as Compounds, Favorite places, True gardens or Floresta, a body of work spanning three decades.
In this exhibition, Christian Villamide (Lugo, 1966), addresses the distance we people usually put between us and the territory we live in, focusing the spotlight on the force and violence we subject nature to.
Jesús Madriñán (Santiago de Compostela, 1984) has one of the sharpest eyes for photography of the current panorama. His work has focused primarily on a reinterpretation of the portrait understood as an intermediate link between the psychological genre and the archive of typologies.
Manfred Gnädinger (Radolfzell, 1936 - Camariñas, 2002) better known as Man de Camelle, was portrayed for decades by the press as an extravagant character, preventing us from looking beyond and acknowledging the true artistic dimension of his life and work. Man was a multi-faceted creator who carried out all his work in Camelle (Camariñas), completely isolated from the mainstream art world. Throughout his life he devoted his time to integrating objects the sea supplied him with into the backdrop that was his garden, forming sculptures and artwork ensembles in constant evolution that shaped his museum.
Chaosmos is a journey through the trajectory of the Galician artist Antón Patiño (Monforte de Lemos, Lugo, Spain, 1954), focusing on an anthology of pieces that covers different stages of his work in the field of visual arts, since his participation in the foundation of Atlántica (a central reference point for Galician art in recent decades) to the present, but also in the fields of literature and thought, as the author of several books on artistic essays and picture theory.
Crebas is a term that belongs to the Costa da Morte lexicon. It is used to refer to objects that the tide washes up on shore, as a result of a shipwreck or other circumstances. Under this title, the exhibition shows a selection of pieces dated from 1976 to 2019 that synthesise the essence of Torres’s work. It is a fresh opportunity to reconsider his work from other perspectives, to observe the connections between the various phases of his career as an artist, which explores historic, philosophical, political, and anthropological aspects, expressed through different types of media such as installation, photography, drawing, and sculpture. A series of unpublished pieces that are directly related to Galicia have been included here. They tie back to his first conceptual pieces of the seventies, articulated in perfect dialogue with posterior work, in particular with multimedia installation, created as a mechanism for complex narration, so often the product of an exhaustive research process.
User Guide is an exhibition by La Ribot (Madrid, 1962) documenting a journey through her work over the last twenty years. The works integrating the exhibition are, like all her work, closely connected to the relationship between dance and visual arts. For an artist who moves between both worlds, between theatres, auditoriums, exhibition halls, museums and even art fairs, many of her creations have been conceived in these opportunities she has to approach different works in which one of the main constraints is temporality. This is a matter that will be addressed in this CGAC project in which we can watch Pièce distinguée nº 45(Distinguished Pieces) live, in addition to some of her works in video, installation and photographic format.
Coinciding with the 30th anniversary of the opening of the Fine Arts Faculty of Pontevedra (1990-2020), the exhibition project Nurturing Uncertainties. Reformulating Spaces / Provoking Perspectives aims to display a important selection of art works created by the students who have passed through its classrooms during its more than a quarter of a century of activity.
The Galician Centre of Contemporary Art announces the second editio
The title Wonder Women alludes to a work by the North American artist Dara Birnbaum represented in the collection. In turn, said work is inspired by a superhero originally conceived for comics, who, in the seventies, starred in a highly successful TV series.
The Galician Centre for Contemporary Art announces the third edition o
The Human Stain thus intends to make visible the paradigm shift in the understanding of subjectivity and departs from a selection of major works from early Concept Art out of the funds of the collections of CGAC.
Many painters, along with Granell, have enjoyed a close relatesationship with celluloid, particularly in the experimental field, to the extent that the majority of the innovators of the avant-garde movements of the past, almost all of whom were Dadaists and Surrealists, came originally from the world of painting: Man Ray, Viking Eggeling, Walter Ruttmann, Marcel Duchamp, Fernand Léger or Jean Cocteau, amongst others.
Project structured on the dawning of diffe rentrepresentations of desire and of the several subjectivities, which confront convention and the patriarchal and heterosexist power.
“I invite students to develop ideas and to carry them out before it is too late”. Miguel Palma Among the Portuguese artists from his generation, Miguel Palma is the one who has achieved the most international fame.
The CGAC continues to develop the project Without Leaving the Sofa (from an original idea by Arquitectives), a series of workshops on architecture that aim to enlighten participants regarding different cities, with the aid of other colleagues from Spain who, like them, will be participating in the project.
Romo’s artistic practice is distinguished by its ability to generate long-term processes of research and production that reveal his interest in combining a range of disciplines, supports and constructive methods
30 April The documentary reflects the work undertaken by the Danish group Efterklang in Piramida, near the North Pole, for the creation of their latest record. The director, Andreas Koefoed, followed the group members on their expedition to capture the sounds of the ghost town Piramida, an old mining settlement that became deserted at the end of the nineteen-nineties. Efterklang’s creative process intertwines with the experiences of Alexander, a one-time inhabitant of Piramida, capable of reconstructing the collective memory of the town through memories and images. The film received an award at Amsterdam’s IDFA festival.