Exhibitions

Olga Mesa (Avilés, Asturias, 1962) is a key figure of the new Spanish contemporary dance of the late eighties, but, above all, she has been a trailblazer in researching the relationships between the audiovisual and the corporeal, real times and submerged times, and experiments with the analogical and digital worlds of Retrofuturism.

The Guerrilla Girls emerged in New York in 1985 as an anonymous artists’ collective dedicated to feminist activism. Their first action was a demonstration in front of the MoMA in New York, which was then hosting An International Survey of Recent Painting and Sculpture, a major exhibition of 169 artists that only included 13 women and hardly any people of colour.

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.