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.
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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. 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…
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.
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.
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.
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.
In 2018, the year the 25th anniversary of the opening of the CGAC building is celebrated, its collection—which started in 1995 as a result of the combination of new purchases and loans from the Xunta de Galicia—is regarded as the powerful backbone of a comprehensive artistic and cultural project for Galicia.
The library is located on the first floor and treasures a collection specialising in contemporary art and culture.
Bleda y Rosa. A Geography of Time is an exhibition of twenty-five years of photographic work by María Bleda (Castellón, 1969) and José María Rosa (Albacete, 1970) focusing on their series Campos de batalla (Battlefields). Started in 1994 and recently finished, their project is exhibited as a whole for the first time.
The work of Julião Sarmento (Lisbon, 1948) is shaped from the borderline.
The construction of the CGAC building was carried out in dialogue with the transformation of the former gardens of the Convent of San Domingos de Bonaval into a park, thanks to the joint effort of Álvaro Siza Vieira and the Galician landscape architect, Isabel Aguirre. To celebrate this urban transformation of Santiago, Javier Riera (Avilés, Asturias, 1964) has devised a brief walk through the Bonaval Park at dusk—at the moment of sunset.
The creative drive of Loreto Martínez Troncoso (Vigo, 1978) emerges from behind language and occurs in the action as a privileged position from where to explore the tight-knit relationships of the performance with its historicity, with its present.
Angela de la Cruz (Corunna, 1965) has been experimenting with the language of painting for over two decades. The artist has tried to redefine the terms and boundaries of the medium since she began, focusing on painting as an object and in terms of what it can represent. As the artist has said, ‘It’s a sculpture using the language of painting and vice versa. In other words, it’s a painting and a sculpture.'
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 circumst
Accompanying the A Nation's Gaze video creation series, which is hosted by the CGAI in A Coruña and the CGAC in Santiago de Compostela, and in exhibition format, the museum will show a selection of pieces that belong to its collection, organised following chronological and thematic criteria, which complement the works included in the sessions.
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. She focuses on the architectural vestiges of the twentieth century and on the possibilities art and cinema offer as instruments of critical emancipation to think and implement renewed utopias.
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.