Exhibition

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). 

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. The exhibition title, Más allá or Beyond in English, suggests manifold readings.

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.

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

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.

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. 

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.

Little animals, ash trays showcases a number of works that came from this facsimile alongside other prior works which are key to Rometti Costales’ artistic worldview. The project imagines a material and unpredictable choreography that allows materials, gestures, space or time to give shape to the unknown. 

Julia Spínola (Madrid, 1979) develops her practice across the fields of sculpture and drawing. In her works, the continuous references to text and to performance give rise to systems of correspondences that operate as approximations to a single theme based on the relations set in place between figures, objects and movements.