Exhibitions

Crebas is a term that belongs to the Costa da Morte lexicon. It is used to refer to objects that the tide washes up on shore, as a result of a shipwreck or other circumstances. Under this title, the exhibition shows a selection of pieces dated from 1976 to 2019 that synthesise the essence of Torres’s work. It is a fresh opportunity to reconsider his work from other perspectives, to observe the connections between the various phases of his…

Jesús Madriñán (Santiago de Compostela, 1984) has one of the sharpest eyes for photography of the current panorama. His work has focused primarily on a reinterpretation of the portrait understood as an intermediate link between the psychological genre and the archive of typologies.

The show WORK (always) IN PROGRESS proposes a sequential exploration of the key themes of Pedro Cabrita Reis’s work (Lisbon, 1956), encompassing representative series such as Compounds, Favorite places, True gardens or Floresta, a body of work spanning three decades.

In this exhibition, Christian Villamide (Lugo, 1966), addresses the distance we people usually put between us and the territory we live in, focusing the spotlight on the force and violence we subject nature to.

Since the very beginnings of her research and artistic practice, Ângela Ferreira has always focused her work on the colonial legacy of Africa and, broadly speaking, on the relations between Europe and Africa.On the one hand, she focuses on the architectural vestiges of the twentieth century, so closely linked to modernism, and, on the other, on the possibilities art and cinema offer as instruments of critical emancipation to think and…

Although in recent years television news and journalism have catapulted the flow of refugees as a problem to the front page, the history of the 20th century is riddled with dramatic conflicts and millions of people displaced, exiled, expatriated and living as refugees.

The project 20 Red Lights is a political essay that unveils the implications of the economy’s digital financialisation and how it relates to the radicalisation of the neoliberal agenda—an issue of utmost importance in the context of our global culture, which deserves to be closely examined from the perspective of art.

The Collective Exhibition of a Collective is the result of the On the Railings project, an educational and creative programme whose goal is to encourage meetings, dialogue and outreach between the museum and the local residents of Santiago de Compostela. The local people thus become key players in the cultural processes of their own environment by creating contents that are already part of the CGAC programming.

The work of René Heyvaert (Ghent, 1929 - Scheldewindeke, 1984) is sober, simple and at the same time, extraordinarily complex, linked both to the historical avant-garde and to his own life circumstances.