New appointments for the series of guided tours led by experts from the field of art and culture for the exhibits Miguel Palma. Modern Discomfort and Collection: Acquisitions and Recent Additions and James Welling: The Mind on Fire.
The series focuses on the relationship between theatre and cinema through five different proposals. El dibuixant and El peix Sebastianoaddress the creative process and the private universe of the artist Marcel·lí Antúnez, a prominent figure in the electronic art scene and stage experimentation, as well as the co-founder of La Fura dels Baus, an internationally renowned theatre company.
On Thursday 20 June at 8 pm, the CGAC in collaboration with the USC to round off the leisure and learning series Nerd Nites in Santiago de Compostela. The event will take place at Kuinart SCQ, the CGAC´s cafeteria. Then, weather permitting, the public may visit the CGAC´s rooftop to watch the night sky through telescopes.
In 2012, Santiago de Compostela saw the revival of the Contemporary Music Sessions whose aim is to promote and disseminate the latest trends and innovations in contemporary music. The second edition continues with the same line of work and institutional collaboration that it started off with, which was the result of the initiative, coordination and promotion undertaken by the University of Santiago, the Centro Galego de Arte Contemporanea and the City Hall of Santiago de Compostela.
Friday, at the exhibit hall, a public reading will be held to present the results of the work carried out by the participants of the workshop Collective Conversations that was held during the week with the artist Ricardo Basbaum
14th , 28th Setember and 5th de October This course is set forth as a space for thought within the context of contemporary music; a timeless journey where the musicologist Emilio Lede proposes creative itineraries through the history of music with the purpose of unravelling some of the key concepts that constitute musical creation through the ages.
The portrait of an essential moment in time—the last breath of moral and sexual freedom brought about by the sixties, just prior to the crisis represented by the outbreak of AIDS.
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.
NO VACANCIES LEFT
To complement the exhibition 93 with which the CGAC celebrates its twentieth anniversary, the centre is organising a series of encounters with the exhibiting artists. Through them, it aims to offer an overview of the early nineteen-nineties art scene.
The nine films of which the first 2014 CGAC cinema series is composed delve into twentieth century Italy.
In more than one sense, interpreting contemporary art is ‘making’ contemporary art. Becoming a part of the intention or of the discourse of each piece is a way of rounding off its identity.
Remarkably, one of the most famous gags in the history of American and international comedy —perhaps the best punchline ever written— was
The workshop we propose does not aim to address sexual issues but rather the categories in which society and sexuality have found places to take hold as likenesses in perpetuity. Reconstructing or reinterpreting McLuhan’s quote, we could say that sexuality would be the message.
The fifth edition of Music and art: Sound Correspondences begins in May, coinciding with the celebration of International Museum Day and with the support of the University of Santiago de Compostela. The starting point of this concert series programme, which promotes dialogue between the music and art of our time, are the exhibitions by Diego Santomé, Rosângela Rennó and Carlos León that the CGAC will host in the second half of 2014.
The Iron Lady, emerging from the most unabashed reactionarism, is one of the most obscene acts of antipolitical cinema that we can recall. The hagiography of Margaret Thatcher, in its crude non-criticism which cannot be stressed enough, artfully transcends an entire generation of filmmakers who used the screen like a shield or a parapet from which to practice the self-defense of all those who felt violated by the conservative counterrevolution carried out by the shopkeeper´s daughter.
The work of Dora García clearly stresses communication between artist and audience: Art represents the world no more, it becomes a producer of realities, often on the verge of fiction.
Guided tours led by experts from the fields of art and culture.