Fernando Sánchez Castillo’s work casts a critical gaze over history, both ancient and recent, while at once examining art’s role in depicting and shaping our view of it. As part of this quest, the exhibition recreates the living room in the artist’s home: a place dotted with dozens of preliminary forms for sculptures, impromptu or meditated reflections, that have been with him throughout his life and which could direct our gaze towards some of his future projects. The same room also includes some new output.

During the process of over a year of collaborative work, Werker magazine has set in motion, through workshops, a variety of methodologies of self-representation, as well as different processes of generation of images of work with associations and collectives from Móstoles. The exhibition pretends to be a space which can contain diverse processes developed by Werker in Móstoles, but where new self-representation and reflection strategies based on the image can also be activated.

More than ever before, today images - no longer only photographic, but those produced digitally, as well as video - are erected and deploy all their power as a kind of machines of self-production, where subjectivity and objectivity cross paths. Therefore, this is about photography, and about all the techniques (digital photography, slides, installations) which exceed it, put to work to produce nothing else but a kind of vanishing point outlook on the world.

Can art be a shared and fun experience? Sacrilege is a work by British artist Jeremy Deller, a full-scale replica of the Stonehenge megalithic monument, reproduced as an "inflatable castle", which the audience is invited to jump on. This is one of the largest inflatable structures in the world, with a surface of over one thousand square meters. The work is a reflection on the monument, which, ever since its creation 4000 years ago, has had a public use as a work of art, reformulated over and over throughout History.

The works from the ARCO Foundation Collection allow us to trace out an itinerary through the art from the decade of the 1960's to nowadays, this time with a focus on two ideas that have also been an important part of the exhibition programming of the CA2M in recent years. On the one hand, the very notion of art, and its potential to generate meaning through minimal gestures. The other theme that plays a role in this presentation is personal and collective memory, as well as our capacity to reread our past in order to understand the present and imagine the future.

Nominal Nature is an exhibition conceived as an interweaving of three pieces located at three points in the vertical axis of the museum building: the entrance area, the elevators, and the rooftop terrace, complemented by a performative talk titled Pabellón in the ground floor auditorium. The pieces gathered in this project combine different media, practices and processes, which bear similitude with the activities upon which the knowledge of Nature was built during Modernity, for the purpose of which they articulate methodologies that come from the field of science transposed to other realms..

“PUNK. Sus rastros en el arte contemporáneo” busca hacerse eco de la importante presencia de lo Punk como actitud y como referencia entre muchos creadores. Tanto que quizás esa referencia es el único punto en común entre artistas y obras muy distantes; o tanto como para rastrear el arte contemporáneo como un espacio de disidencia en el que congregar una actitud Punk. Esta es una exposición llena de ruido, explícito pero también en la suma de imágenes y en una voluntad desjerarquizadora de la producción artística contemporánea: mezclando grandes instalaciones, rastros documentales, piezas únicas, múltiples, fotografías, vídeos, pintura.

The exhibition The Infinitely Variable Ideal of the Popular attempts to review the work of Jeremy Deller by incorporating early as well as recent work, bearing in mind that this is the first exhibition of its kind presented in a Spanish-speaking country. The selected pieces make evident the manner in which Deller departs from object production in order to give way to collective actions, which arise from within the art sphere, only to later desert it.