A través de sus vídeos, fotografías, pinturas y esculturas, Halil Altındere analiza la realidad de su país, Turquía, al subrayar las tensiones que generan los binomios de tradición / modernidad, nación / identidad y sociedad / gobierno. Al mismo tiempo, presta atención a las nociones de comunidad y control indagando en la naturaleza del poder. La exposición del CA2M repasó su trabajo siguiendo tres líneas básicas: su posicionamiento ante la evolución de la sociedad turca contemporánea, la actitud del artista ante un mundo del arte globalizado y el importante papel de Halil Altındere en la escena artística turca.
This exhibition, entitled Javier Utray. An Anamorphic Portrait, curated by Mariano Navarro and Andrés Mengs, aspires to serve as a homage and memorial to this multifaceted artist. It also aims to highlight the significance and uniqueness of Utray’s creative personality.
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.
High-Rise es una respuesta plástica a la nueva arquitectura del museo como ejercicio radical de ocupación, planteada específicamente para los dos puntos transformados durante la primera fase de Acupuntura. La arquitectura del CA2M en transición: el zaguán de entrada y el nuevo espacio expositivo de tres plantas de altura abierto en el corazón del Centro.
Otto Karvonen built nest boxes as part of his project, Alien Palace Birdhouse Collection, a series of birdhouses that he has gradually installed in various places all over Europe. His objective: to offer birds a safe and comfortable haven in which to raise their chicks, enjoying their presence. Two of his «palaces» are exhibited on the CA2M terrace, inspired by the Metsälä Centre, in Helsinki, and that of Aluche, in Madrid. His intervention has been meticulously considered, yet is voluntarily modest.
Cuatrocientos setenta y tres millones trescientos cincuenta y tres mil ochocientos noventa segundos was the title of the exhibition, as well as the precise amount of time that Los Torreznos had been working together at that point. In a certain way, it made it seem to us as though during during those fifteen years, Los Torreznos had created only a single piece of work, one that consisted of counting from 1 to 473,353,890, like they had started counting in February 1999 and had continued non-stop, day and night, in a fifteen-year-long performance.
The catalogue was designed to be a 'mediated artistic space' created through the written word and the absence of images, which represent the axis around which the work revolved. Designed by Susi Bilbao, it contains texts by some thirty authors, among which you can find Isidoro Valcárcel Medina, Alberto Ruiz de Samaniego, Kurt Johannessen and Los Torreznos.
Teresa Margolles’ (Culiacán, Mexico, 1963) work shows her great interest in the way reality affects and directly determines the lives of individuals. Her pieces prove the impermanence of things, beings and relationship, and at the same time they suggest the urge and the need to develop specific solidarity actions. For CA2M, Margolles features a series of pieces resulting from a thorough and meticulous research process that she began years ago in Ciudad Juárez, North of Mexico.
It’s Possible Because It’s Possible brings together a series of pieces by Raqs Media Collective, a group of artists created in 1992 by Jeebesh Bagchi (1966), Monica Narula (1969) and Shuddhabrata Sengupta (1968). Located in New Dehli, Raqs Media Collective, is a thinking laboratory that uses the aesthetic as a starting point for social and political reflection. It’s Possible Because It’s Possible is an irrefutable statement against a defeatist determinism. This title becomes an appeal or a sort of manifest.