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The project Critical [Ex]positions. Critical Discourses in Spanish Art, 1975-1995, directed by Santiago Olmo and curated by Armando Montesinos and Mariano Navarro, aims to highlight the existence of critical criteria and interpretations that have shaped different theoretical lines and discourses, sometimes with shared elements and other times with clearly opposing ones, thus contradicting the cliché that critical thinking has never been part of the Spanish art world.
General Confession is a retrospective of Luis Gordillo, curated by Juan Antonio Álvarez Reyes, director of the Centro Andaluz de Arte Contemporáneo in Seville and Santiago Olmo, director of the CGAC.
Place: Contingencies of Use is an approach to the existential meaning of architectural space. The project shows site-specific works by the artists Patricia Esquivias, Luciana Lamothe and Sofía Táboas, produced for different locations within the building designed by Álvaro Siza.
In the current context in which society is concerned about the proper functioning and use of public funds and services, and responding to the legal obligations imposed by the various public adminis
Bathers comprises an extensive set of anonymous photographs of semi-naked boys, scarcely covered by a swimsuit and pictured in contact with nature. Boys who appear outdoors: by beaches, swimming pools, in the countryside, beside lakes or rivers, recreating the traditional iconography of bathers that has enjoyed a high profile throughout the history of art.
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.
Paraphrasing the title of perhaps the most experimental novel by Julio Cortázar, 62 / A Model Kit, the collection is conceived as a model kit, as an essential
Some artists arrive at a theme through research; others do so by inclination. Álvaro Negro clearly belongs to the former.
With the classic text of Gustave Flaubert as its starting point, this multi-channel installation by Mieke Bal and Michelle Williams Gamaker is a revisionist take on the 19th century novel was filmed in Åland, Finland in summer 2012 and Paris, France in winter 2013.
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. Strategies of Displacement is an exhibition that reviews Muntadas’ work through specific projects and incorporates his recent shift towards landscape. The author marks a route that steers towards an unstable territory, one that raises questions, in a selection of projects that converge around three ideas: losing (yourself), disappearing, going (away).
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.
The close relationship between art and architecture throughout the 20th century has converted the idea of ‘construction’ into an essential key to understanding our relationship with space, landscape and the home, but above all with the practical experience of the artistic object.The actual creative act arises from what we can define as a constructive impulse. The idea of construction is linked to architecture, but also closely to sculpture, painting and drawing, as well as to a certain conception of the object as a design, and in particular to installation.
Nicolás Combarro (A Coruña, 1979) fits into a new spectrum of artists who work with photography. His work focuses on architecture and the concept of construction in coexistence with and feeding into the practice of documentation and intervention, the latter being understood as taking action on space and the landscape.