Exhibitions

Here at the CGAC, we’ve sought to make the most of this occasion by revisiting one of the most impressive installations of the space’s trajectory, but also to invite two artists, Almudena Fernández Fariña and Suso Fandiño, who recently participated in the mid-career exhibition programme launched by the museum in 2016, to carry out, respectively, two specific interventions inside and outside the building.

An anniversary is more than a celebration. To remember history is also to take stock, to review and reread the past in order to gain momentum for the future. This review exercise also necessarily implies the recognition of the work of all those people and institutions that, in one way or another, have participated in the planning and execution of a programme and in the construction of an essential public collection.

For the first time in Spain, the exhibition presents an approach to the universe of the filmmaker Asghar Farhadi (Homayoon Shahr, Iran, 1972) on a journey through his facet as a photographer, as well as his stage work with actors, in theatre and film. The filmmaker comes from the world of theatre, hence the many references to the performing arts that we find in his cinematographic narrative.

The exhibition offers a journey through Almudena Fernández Fariña’s work, an artist and lecturer at the Faculty of Fine Arts in Pontevedra, spanning a thirty-year career, repositioning her path, and revealing an unprecedented artist whose versatility is evident in a series of parallel processes that include photographic practices, embroidery, ceramic pieces and book-objects.

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. His activity as a photographer was closely linked to his work as president of the photography association Agrupación Fotográfica Gallega during his most prolific period, promoting competitions and publications, etc.