Previous Exhibitions
Belén Uriel (Madrid, 1974) develops an artistic practice that revolves around everyday objects and ordinary architectural elements which she transforms into sculptures by a series of different methods, questioning how certain social and cultural values are inscribed in our material culture.
tono lengua boca brings together a major part of the moving image production by Wendelien van Oldenborgh (Rotterdam, Netherlands, 1962) for the first international retrospective of her work. In three juxtaposed words the title disassembles the elements that together would configure a voice. The tone, recognisable from afar but yet without semantic content; the tongue, a visceral organ but also a political-linguistic construct, and the mouth the location of embodied enunciation.
El Barro de la Revolución comprises some of the works created by Paloma Polo (Madrid, 1983) after her long stay, or rather her “personal and political immersion” in the Philippines since 2013. It is precisely the last of those works—a film lasting approximately 2 hours 35 minutes—what gives title to the show and functions as its connecting line, while at the same time giving rise to many of the social and political reflections present in other works by Polo during the time she spent in the Philippines.
El Barro de la Revolución comprende algunos de los trabajos realizados por Paloma Polo a partir de su prolongada estancia, o más bien de su «inmersión vital y política», en Filipinas desde el año 2013. Es precisamente el último de estos trabajos, una película de aproximadamente 2 h y 35 min de duración, el que da título y sirve de eje central para la exposición.
Lawrence Abu Hamdan (Amman, Jordan, 1983) is one of the most important artists of his generation on the international scene, nominated this 2019 for the Turner Prize, the most prestigious award in British art.
Y tú, ¿por qué eres negro? (And you, why are you black?) is an open, personal and collective archive of the construction of Blackness as a political force in Spain which can be approached in many ways. It is a dispositif to construct a history of our own but also an educational tool aimed at racialised audiences and an instrument of empowerment placing Afro- at the centre.
In postmodernist art, nature is treated as wholly domesticated by culture; the 'natural' can be approached only through its cultural representation. While this does indeed suggest a shift from nature to culture, what it in fact demonstrates is the impossibility of accepting their opposition
The Woolworths Choir of 1979 es un celebrado trabajo de vídeo que se compone de tres partes que aglutinan cuerpos de material de archivo en una composición aparentemente disonante: fotografías de coros de iglesia del gótico británico, fragmentos de vídeos tomados de internet que muestran coristas de actuaciones de música pop y metraje de las noticias televisivas de un incendio en el departamento de muebles de los grandes almacenes Woolworths en Manchester en 1979, en el que perdieron la vida diez empleados.
Putting together an exhibition with Armando Andrade Tudela is like undertaking a trepanation. It’s making a hole in the artist’s head and inserting our fingers. Opening up his work to take the pressure off. Cutting a doorway into an artist’s system and sending him off down new roads to adventure.