Exhibitions

Paths III continues the journey that began with Paths I and along which progress was made with Paths II. Walking as a personal act of socio-political activism; as collective responsibility in the face of environmental crises, owing to its correspondence with the immediate, the observable, and the perceptible.

In the work of film director, video artist, musician and writer, Claudio Zulian (Campodarsego, Padua, Italy, 1960) as a whole, we can distinguish one type of production which is characteristically cinematographic, intended for the circuit of cinemas, platforms and festivals, and another, more specifically artistic one, comprising videos and video installations, which are the result of research projects and dialogue with social realities.

During the nineteen-fifties and sixties, Raniero Fernández (Vigo, 1909 - 1999) produced impressive photographic work that, over time, has become very relevant.

The Museum as a Stage advocates the role of artistic exhibition architectures as spaces for experimentation and in which to able to position oneself between the immediacy of performance, the immersive capacity of events on stage, the installations, the happening and avant-garde sonority.

Nalgures (Someplace) situates us in an indeterminacy that is yet to be defined, within certain fragmentary geographies: places, vestiges, modes of occupation.

The project takes its title from the manuscript, ‘Primera Crónica y Buen Gobierno,’ written in Peru in Spanish around 1616 by the Amerindian chronicler, Felipe Guamán Poma de Ayala.

After its passage through the Museum of the Sea in Vigo and the Marcos Valcárcel Cultural Centre in Ourense, this exhibition is presented as the culmination of a project which, in its initial proposals, afforded an approach to the museum’s collection in other exhibition spaces, thus increasing its impact within our territory.

In this exhibition, Suso Fandiño proposes a series of unusual routes and links, drawing a museum space in which the works are inter-connected, creating piercing relationships. It is, above all, a matter of activating in the spectator the need to search for hidden meanings. From this position, he proposes a space for play and reflection on the death of the author, the futility of the hegemonic discourse in artistic historiography, the role of…

Néboas de luz is the second exhibition from the project A Look at Galicia, which invites us to explore our most recent art history through the work of artists whose pieces have been incorporated into the CGAC Collection over the last two decades.