Previous Exhibitions
In his work, Xabier Salaberria explores the forms in which certain structures behave in specific spaces, perverting their apparent neutrality and questioning the categories in which they are conventionally inscribed.
Fantasy, high heels, pink, interlude, prosthesis, accessibility, the norm perverting the norm: this is the world of Costa Badía (Madrid, 1981) which will take over the ground floor of Museo CA2M from 26 January.
The first one-man show to be held in an institutional art centre since the year 2003. Many of the sculptures materially specify some of those possibilities in a series of gestures in the body of the building, in the form of in situ documentation exercises.
Malicious Mischief is the result of exhaustive research into the artist’s life’s work with a view to expanding its narrative and recognition among European audiences, spanning from his early creations on the East coast to his work in the late-90s before he died from AIDS-related illness.
This fountain is made through a twofold transformation of materials sourced from nature. Firstly, marble—the material par excellence of classical sculpture—is a previously cut piece which was perhaps originally destined for industrial use.
Mitsuo Miura arrived to Barcelona from Japan in 1966 with a suitcase in either hand and just a bare few words of Spanish. Armed with his oriental tempo, he sat down on a bench in Plaza de Cataluña to watch how this city by the sea passed by. Ever since, the young Japanese artist never stopped observing each and every one of the landscapes in which his personal life experiences have been played out. And so we could view his exhibitions as invitations to contemplation and displacement, almost always related with wellbeing, memory and pleasure.
Alexander Apóstol’s projects build a critical analysis of the aesthetic processes of political construction in his native Venezuela. Like other artists from his generation, who started to exhibit their work in the early-nineties, Apóstol (Barquisimeto, 1969) used the tools of photography and video as key elements in a critique of representation, in which the visual culture produced by power and the mass media—with their stereotypes, clichés, concealments and propagandas—is co-opted as the raw material of the work of contemporary art.
On 2 July 1970, on a public stage in Frankfurt the artist VALIE EXPORT tattooed herself with a garter, a radical transgression of gender stereotypes—given that at the time tattoos were seen as the exclusive purview of men, especially convicts and sailors—but also a case of taking the use of her own body to the extreme, as the artistic action that became a permanent part of her body that would last her whole life long.
Can moving arms, legs, hair be inspiring for a movement, a coming uprising for more joyful and equal ways of living together? Engaged with the precarious moment of taking the stage—a moment which allows for one’s visibility while at the same time disclosing one’s fragility—Portrait of a Movement addresses questions of pleasure, power, and radical difference. Two large film installations form the core of the exhibition: while engaging with dance movements and artistic collaborations, they explore abstraction’s potential for resistance in the face of reactionary politics.