Featuring the photographs of 10 national and international artists, this exhibition focuses on the periphery as the constantly changing area that surrounds cities and pushes the rural world – what remains of nature – out to a few reserves destined in time to disappear almost completely.

The Imagining_Writing History exhibition is designed to complement and reinforce the issues that will be addressed during the international seminar. It also provides an opportunity to present a dialogue between a selection of works by the artists participating in the lectures, pieces from the CA2M Collection and historic works from the collection owned by the Regional Government of Madrid.

Critical Fetishes. Residues of general economy is the first instalment in a series of projects by El Espectro Rojo, a Mexico City-based collective which explores the intersection between artistic and theoretical practices from a political, post-colonial and poetic perspective. Fetiches críticos aims to transcend the miserabilist description of the effects of the crisis of capitalism and demonstrate how art documents moments of anti-production, defuses the myths of development and launches the artwork as an object of desire and subversion.

In the spring of 2010 the CA2M will present a new selection of its works as part of a programme of temporary exhibitions to show the public the contents of the Contemporary Art Collection owned by the Regional Government of Madrid.

One of CA2M objective is working with its entire art collection: preserving, studying, exhibiting and bringing it closer to the public through educational activities. Collection  IV entails reflection on the perspective of the architectonic, real and fictitious spaces.

Walead Beshty: A Diagram of Forces features an overview of the work of this artist through a selection of his works from the past ten years. Using the intersections between the three overlapping grid systems present in the floor plan of the CA2M, Beshty will design an exhibition that has both a physical and conceptual experience of “in-betweenness” evidenced in the sharp angles, abrupt turns, and off-kilter placements of the walls.

In Dead End, Gregor Schneider’s project for CA2M, the artist has situated himself in a theoretical no man’s land at the point of contact between the vestiges of the traditional house that once occupied the site of the museum in Mostoles and the present building itself. Visitors wend their way through a vast, enclosed labyrinth of pipes that extend throughout the centre.

The first and third floor of the Centre, as well as other common spaces, are allocated to this exhibition. It is an heterogeneous compilation of techniques and topics. Amongst the pieces of the show, we can identify paintings, sculptures, engravings, photographs and installations as well as a wide range of video works.