It shows the coherent evolution of that which motivated Marisa González, as well as her search for solutions to respond to present-day social problems.
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Between the advent of Atlántica and the emergence of Pontevedra’s School of Fine Arts, Galicia has witnessed the development of the work of a long list of artists of va
The core of any museum is its collection. The collection is a patrimonial symbol of a shared cultural memory.
Parapharsing the title of the exhibit Gravity & Grace. The Changing Condition of Sculpture 1965-1975, held in London in 1993, Gravity & Disgrace Ep. 1 is based on the principle of processual an theorical instability that caracterises contemporaneity to make an observation on the creative moments that represent a world in vertiginious mutation.Thus, the works presented in first episode of an event that later unfolds into other moments of exhibition, publication and consideration, originate from practices that question the contemporary conditions of social construction, contrasting the notion of balance and harmony with the most fruiful questions regarding failure as a process, contextual flow as a critical tool, and the revision of the aporias of modernism as basic elements for a broader understanding of the present.
This exhibition is not put forward as an anthology—it would be impossible to enclose in a single exhibition over forty years of non-stop work.
With an early vocation, Berta Cáccamo (Vigo, 1963) grew up in a universe linked to the creation.
The project CRITICAL EXHIBITIONS.
Bathers comprises an extensive set of anonymous photographs of semi-naked boys, scarcely covered by a swimsuit and pictured in contact with nature.
Place: Contingencies of Use is an approach to the existential meaning of architectural space.
General Confession is a retrospective of Luis Gordillo, curated by Juan Antonio Álvarez Reyes, director of the Centro Andaluz de Arte Contemporáneo in Seville an
Some artists arrive at a theme through research; others do so by inclination. Álvaro Negro clearly belongs to the former.
Eduardo Batarda (Coimbra, 1943) is one of the most recognised artists in Portugal and Mise en abyme is his first solo exhibition in Spain.
Antoni Muntadas (Barcelona, 1942), a figure of reference in international art, is building a transdisciplinary discourse centred on criticism of the media; he places the extensive function of art i
La bandera en la cima is the first full presentation of the project that Rafel G. Bianchi began in 2007: painting in a detailed manner the fourteen highest mountains in the world, the fourteen eight-thousanders. A feat that in the world of mountaineering is brimming with heroism and which in is reiteration as an artistic project betrays the role of the artist involved in a absurd trask. In addition to the fourteen final paintings, La bandera en la cima, drawing a comparison between the documentation of mountaineering and the documental strategies of conceptual art, also collects the traces of its through drawings, photographs. films or posters, many of which have been developed in collaboration with other artists.
Carlos Garaicoa (Havana, 1967) observes cities, architectures and unrealised dreams—some already forgotten and others still within reach.
Once again the celebration of International Museum Day will serve to launch the series, Music and Art.
In 2018, the year the 25th anniversary of the opening of the CGAC building is celebrated, its collection—which started in 1995 as a result of the combination of new purchases and loans f
The close relationship between art and architecture throughout the 20th century has converted the idea of ‘construction’ into an essential key to understanding our relationship with space, landscap
Nicolás Combarro (A Coruña, 1979) fits into a new spectrum of artists who work with photography.