The work of Rosendo Cid (Ourense, Spain, 1974) is based on key aspects ranging from a Dadaist spirit, as he often uses unaltered objects or images, to the somewhat seri
Search
This exhibit explores and structures some of the most recent series by the painter Carlos León (Ceuta, Spain, 1948).
In Como tizón quemado, Christian García Bello (A Coruña, 1986) streamlines his creative process towards the contained convincing nature of the gesture and the uncompromising severity of
On the basis of the experience and recognition of four publishing houses from Galicia and Portugal, (Dispara, Fabulatorio, Ghost and Pierre von Kleist), this exhibition
De la generosidad falls within a series of exhibits that, over the past years, have been organised based on the Helga de Alvear Foundation Collection. On this occasion, the CGAC hosts a selection of works from this unique collection under the curatorship of its director, Miguel von Hafe Pérez.
Tectónica is not just another Manuel Vilariño exhibition.
The work of José Val del Omar (Granada, 1904- Madrid, 1982) displays his facets as inventor, visual poet and cinemist.
The Shadow and the Photographer shows Arissa's evolution since pictorialism to the avant-garde New Vision movement, through a careful selection of over one hun
The exhibition Theory and Practice of the Desert is a journey through the processes that are present in the work of Antoni Socias.
It shows the coherent evolution of that which motivated Marisa González, as well as her search for solutions to respond to present-day social problems.
Between the advent of Atlántica and the emergence of Pontevedra’s School of Fine Arts, Galicia has witnessed the development of the work of a long list of artists of va
The core of any museum is its collection. The collection is a patrimonial symbol of a shared cultural memory.
Parapharsing the title of the exhibit Gravity & Grace. The Changing Condition of Sculpture 1965-1975, held in London in 1993, Gravity & Disgrace Ep. 1 is based on the principle of processual an theorical instability that caracterises contemporaneity to make an observation on the creative moments that represent a world in vertiginious mutation.Thus, the works presented in first episode of an event that later unfolds into other moments of exhibition, publication and consideration, originate from practices that question the contemporary conditions of social construction, contrasting the notion of balance and harmony with the most fruiful questions regarding failure as a process, contextual flow as a critical tool, and the revision of the aporias of modernism as basic elements for a broader understanding of the present.
This exhibition is not put forward as an anthology—it would be impossible to enclose in a single exhibition over forty years of non-stop work.
With an early vocation, Berta Cáccamo (Vigo, 1963) grew up in a universe linked to the creation.
The project CRITICAL EXHIBITIONS.
Bathers comprises an extensive set of anonymous photographs of semi-naked boys, scarcely covered by a swimsuit and pictured in contact with nature.
Place: Contingencies of Use is an approach to the existential meaning of architectural space.