On 2 July 1970, on a public stage in Frankfurt the artist VALIE EXPORT tattooed herself with a garter, a radical transgression of gender stereotypes—given that at the time tattoos were seen as the exclusive purview of men, especially convicts and sailors—but also a case of taking the use of her own body to the extreme, as the artistic action that became a permanent part of her body that would last her whole life long.
There is a signature feature to Hannah Collins’s photos of urban horizons: the sky is always tinted with a strange colour. Like the images over the credits of an imaginary film, this photo captures the feeling that a particular place—whether through premeditated cultural references or a subjective impression—produced in the artist at a certain point in time.
This fountain is made through a twofold transformation of materials sourced from nature. Firstly, marble—the material par excellence of classical sculpture—is a previously cut piece which was perhaps originally destined for industrial use.
Malicious Mischief is the result of exhaustive research into the artist’s life’s work with a view to expanding its narrative and recognition among European audiences, spanning from his early creations on the East coast to his work in the late-90s before he died from AIDS-related illness.
Myriad Reflector is an exhibition exercise into the nocturnality. Conceived as a multilayered score unfolding through time, the contributions of artists —composed by light, sonic, rhythmic, smell, haptic, and choreographic elements— intermingle in a kaleidoscopic display defined by disorientation, refractive perspectives, and sensual textures.
An Wei Lu Li has created a specific pictorial installation for the cafeteria at the Centro de Arte Dos de Mayo Museum, with the sponsorship of Cervezas Alhambra
Al cuidado de las pequeñas sombras (In the care of the small shadows) is a site-specific installation created by Elena Alonso for the terrace of the Centro de Arte Dos de Mayo Museum, consisting of four sculptures conceived as a bat shelter.
For the first time, more than 400 works by 250 artists are coming together in an exhibition that showcases the CA2M collections and takes up the entire museum space. It is a celebration of what the museum represents and has represented from the beginning. This journey begins with the historical avant-garde - all the artists who accompanied Picasso at the Pavilion of the Spanish Republic - and continues through history up to the present day. It is not only an international exhibition, as are all the CA2M and the ARCO Foundation collections, but also a story that is told from inside this institution, from the collections it holds, and ultimately, from Móstoles.
By supposing that logic makes chaos natural and order artificial, we are positing a physical and conceptual experiment of what an exhibition space is. Syntactic Tactic . Diego Bianchi is an exercise in disassembling. A white cube, a neutral space, windowless, consisting of white walls and a source of light shining from top to bottom, becomes the raw material for a plausible disassembling. Based on an absence of pre-defined moulds and behavioural guidelines, this project highlights a number of exhibition practices.
Espejo y Reino / Ornamento y Estado is an installation by artist Álvaro Perdices and curated by María Virginia Jaua. The project – designed specifically for the spaces of the CA2M Centro de Arte Dos de Mayo – puts forward the concept of confronting the idea of the archive with the deconstruction of the notions of State and institution framed within the personal and the historical.