Previous Exhibitions

The pieces in this exhibition, from the CA2M and Fundación ARCO collections, enable us to trace the history of the use of textiles in contemporary art from the 70s to the present day.

In museums like ours, experience appeals to the whole body, with its distinctive features, its desires and different possibilities. Performance is the way contemporary art refers to artistic productions that place the body, its articulation of presence and the temporality of its actions, at the heart of its proposal.

Francesc Ruiz's first major exhibition at a state museum in Spain is a retrospective and an exhibition of new works.

Absurd Humour defines a new constellation of absurd humoristic practices in Spain. Starting out from Goya’s Disparates (The Follies), we take a look at the 20th and 21st centuries through the optic of Ramón Gómez de la Serna in order to espy different artists and humoristic ideas produced in Spain up until the current moment in time. 

Though he is largely known for his photographs, Wolfgang Tillmans –one of the most important artists of his generation– has also been working with video since 1993. The first he exhibited was Lights (Body) in 2002, a piece that shows the automated movements of the lighting systems in two different clubs. 

Todos los conciertos, todas las noches, todo vacío reúne algunos de los últimos trabajos de Ana Laura Aláez en diálogo con otros del inicio de su trayectoria. La exposición se propone como un giro al origen, ir al punto de partida para trabajar entre las fisuras de los temas que han acompañado su trabajo en los últimos veinte años.

Exploring Ana Laura Aláez’s work is to venture into an artificial paradise of appearance. A world where canons are turned on their heads, identities are polyhedral and ambiguity is a positive value. Ana Laura Aláez’s work has always wandered between truths and fictions, the body and its representations, objects and how we behave towards them. 

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.