Exhibitions

This exhibit takes a look at the artistic career of Chelo Matesanz (Reinosa, Cantabria, Spain, 1964), beginning with her works from the end of the eighties until the most recent ones.

To celebrate its 20th anniversary, the CGAC presents 93, an exhibition designed to take us back to the early nineties, when the museum opened its doors to the public for the first time.

For Víctor Grippo (Junín, 1936 – Buenos Aires, 2002) the artist’s work consists of deciphering the hidden meanings found under primary objects. Since he started his career as an artist in the oppressive Argentinian political climate of the nineteen-sixties, this qualified chemist had a constant interest in the relationships between art, science and everyday life.

Graham Gussin (London, 1960) uses a wide range of media, including texts, drawings, film, video, sound, photography and installation, to explore our perception of time, space and scale. His works frequently appropriate and manipulate images and literary narratives taken from art history, popular culture and, above all, cinema.

Ricardo Basbaum (São Paulo, 1961) is a cultural agent who is very active, not only in the artistic sense, but also as a professor, researcher and curator. Diagramas is his first retrospective exhibition in Spain.

The Mind on Fire is the first institutional exhibition in Spain by American artist James Welling (Hartford, Connecticut, 1951). Comprising a hundred and fifty works, the exhibition recreates some of the artist’s seminal photographic shows from New York in the early to mid nineteen-eighties, charting the development of his abstract and experimental photographic language. Presented in partnership with MK Gallery, Milton Keynes, and Contemporary…

Miguel Palma (Lisbon, 1964) takes over the forms and the narrative flow of a modernity that is in continuous interpretive mutation in order to work with concepts such as degeneration, failure or progress.

In an exercise of institutional transparency, this exhibition presents a selection of the works recently acquired for the permanent collection of the CGAC or added to the centres archives through the deposit of the ARCO Foundation Collection.

In the same way as cinema or the press, pop and rock music could not escape the censoring action of the Franco regime. But in contrast to the first, the repression became harsher with regards to the latter just when the regime was starting to cautiously open up. The authorities were aware of the role that music had played in the international revolts of the sixties and tried to limit its influence in a Spain that was becoming more and more…