Exhibition

Orden Inconcluso (Unfinished Order) aimed at drawing a conceptual line between the different decades of Carlos Garaicoa’s work. Works that share economy and architec-ture understood as power, control and utopia have been carefully selected. Also, the exhibition offered the opportunity to see a few project-specific works that try to define and to dig into the artist’s intention to find a connection between the political and eco-nomic realities that he has experienced.

This exhibition, conceived as an event, will enhance performativity and the way it works, the way it performs itself. It will include objects, media as well as bodies. It will be “live” at all times, as installations, photography, films, performances, discussions, inhabit the space of the museum.

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.

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.

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.

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.

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. 

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.

Sin motivo aparente (For no apparent reason) is a collective exhibition showcasing the work of over thirty Spanish and International artists with the single objective of reviewing the relationship between art and public within a context, the CA2M venue, Center where the viewer has been CA2M main objective since its opening five years ago.