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MUSIC AND ART. SOUND CORRESPONDENCES
CARLOS GARAICOA: EL PALACIO DE LAS TRES HISTORIAS
Carlos Garaicoa (Havana, 1967) observes cities, architectures and unrealised dreams—some already forgotten and others still within reach. He interprets their story lines, their grievances and indelible memories and then, with a tireless creativity, he outlines different perspectives, grafting past and present. He draws new vanishing points, seeking out commonplace things and crowds as subjects of an incessant process of transformation into something else.
Exhibition brochure
Video presentation (Carlos Garaicoa, Claudia Gioia, Santiago Olmo)
ZigZagDiario (11/04/2018 )
STRATEGIES OF DISPLACEMENT
Antoni Muntadas (Barcelona, 1942), a figure of reference in international art, is building a transdisciplinary discourse centred on criticism of the media; he places the extensive function of art in interaction with social sciences, the mass media and the new information technologies to reveal the linguistic mechanisms of power. In the seventies he created the term media landscape to give a name to this new landscape, which has been, since then, the main goal of his investigation.
Video presentation (Antoni Muntadas, Alicia Chillida, Santiago Olmo)
EDUARDO BATARDA. MYSE EN ABYME
Eduardo Batarda (Coimbra, 1943) is one of the most recognised artists in Portugal and Mise en abyme is his first solo exhibition in Spain. Known for his paintings and watercolours, his work was first influenced by English pop art, comics and illustration, halfway between figuration and abstraction. This exhibition is curated by the renowned Portuguese artist Julião Sarmento, who offers his particular eye, complicit to Batarda's work, and at the same time a companion in exhibitions, admirer and collector of his work and, in this case, curator.
Exhibition brochure
Lecture Audio Recording Batarda/Sarmento/Santiago Olmo
<< Y >> ÁLVARO NEGRO
Some artists arrive at a theme through research; others do so by inclination. Álvaro Negro clearly belongs to the former. An attentive look at his career discovers many reinterpretations, the result of acting unhurriedly and of a continuous dialogue with painting and with a series of elective affinities, in many cases, artists, but also writers, poets, architects… The exhibition prepared for the CGAC is a retrospective look at his work that stresses a fundamental question: the gradual discovery of a personal and recognisable language already inherent in his early series and which in the last decade is consolidated and maximised in a single atmosphere.
