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The CGAC opens a new arts education programme for the integration of people with special needs. The Diverse Classroom project, run by the cultural manager and educator Adriana Pazos Ottón, proposes contemporary art as a tool for social inclusion and the museum as a space for learning that welcomes differences. Between January and June 2020, a series of sessions will be held open to groups or people with special needs as well as to the general public, combining guided tours and creative workshops. The aim is to establish integrating actions that create meeting points between groups and different people capable of contributing knowledge and experiences from multiple perspectives and generating a common physical, conceptual and social space.

Online access for all registered participants, through the Zoom platform.Time: Wednesday from 7.00 to 8.30 p.m. The second edition of the Intrahistory of Architecture course will continue to address cross-cutting areas to this discipline. We will discuss topics such as innovation, architect-inventors, education through the construction game, eco-construction, the rich relationships between architecture and design or architecture and art, as well as the relationships between the architect and the client. We will discuss communities and the masters of architecture, without forgetting the pioneers.

The theoretical component of the proposals of the participating artists in this cycle is to reflect on how not to relate to the other or the other? ie as people learn to interact with us and the, above all, with the environment.

This workshop has no title. It’s going to be a workshop based on the artist’s experiences; he won’t discuss theory, but rather the things he has learnt throughout his career.

The term ‘opera’ can evoke an art intended for the bourgeoisie or at the very least, detached from the concerns of the twenty-first century, with its controversial and multi-faceted views of art and the human being.

For every film that comes into being, there are many more that are relegated to the limbo of the unfilmed. The latter are the only perfect films, because they exist only as a potential, as an idea or a dream, and have never clashed with reality. In contrast, the ones that have materialised will always and necessarily be imperfect, a catalogue of promises and resignations and, maybe, of some happy encounters. ‘Anything is possible if it is foolish enough,’ said Orson Welles, but as he would discover himself, such optimism was no more than the stubborn wish of a non-conformist rebel.

Due to the COVID19 crisis, the fifth edition of Fugas e Interfencias will not be held either on site or online. Instead, we are going to focus all our efforts on a compilation of selected articles that will be published as minutes with an ISBN provided by the University of Vigo.

One more time, the CGAC will be part of Cineuropa, the Santiago de Compostela film festival, which celebrates its 27th anniversary.

To celebrate these past twenty years, the CGAC Film Program is kicking off on a nostalgic note, with a celebration—the twentieth anniversary of the fo

2013 is the one hundredth anniversary of Alejandro de la Sota’s birth.

The Centro Torrente Ballester in Ferrol will be hosting two exhibitions with works drawn from the CGAC Permanent Collection: Miradas cinematográficas. Colección CGAC

27 negros is an ensemble artwork consisting of 27 20 x 20 cm black monochrome pieces by 27 different authors.

The photographic technique is the most basic and natural, chemical photography, where the light reflected on the landscape corrodes the elements that make up the film emu