Wastelands, construction materials, layers from abandoned cities within their proper development process or whatever is underneath, are just some of the subjects introduced in Almarcegui’s work and presented herein as a retrospective contextualization of the art work specially created for CA2M entitled Madrid Underneath.
Collection V focuses on the experience of the viewer within the exhibition space through a selection of works from the CA2M collection which, inherited from the minimalist and conceptual trends from the sixties, addresses a concern for the phenomenological relation with the viewer and the space that hosts them.
Pop Politics: Activism at 33 Revolutions exhibition raises a claim of specific politics forms produced in Pop music through contemporary art practices. A way of addressing the current cultural production from a specific ideological way through personal empowerment practices, shared spaces, viewer´s emancipated gaze, mass media and an approach and reconnection of diverse information.
The CA2M Collection VI revolves this time around the idea of art as a means to get closer to reality, as a space to critically gaze the past to finally understand the present as well as to imagine the future. The selected artworks bring us closer to stories, wether real or not, which encourage us to reflect on these premises.
Querer parecer noche brings together different forms of artistic production in Madrid. Its creations are split between a longer tradition of historical nostalgia and the current histrionic moment, with their different sensibilities and ways of living, where the 'local' is built on the fine line between those who live there and those who are passing through.
Autoeclipse is an exhibition designed to be a sort of retrospective of recent works, one that nonetheless allows us to take a critical look at Armando Andrade Tudela's work to date. The pieces on display work through the tensions they create with their predecessors, with Armando's own biography, and with the political and social development of the places where the artist has lived, reflecting an artistic endeavour in the public and social space as well as in the more intimate, private one.
Todos los conciertos, todas las noches, todo vacío brings some of Ana Laura Aláez's latest works into dialogue with other works from the beginning of her career. The exhibition is cast as a return to the source, going back to the beginning and working in the cracks of the themes that have been a part of her work over the last twenty years.
Through interdisciplinary practices, the artists offer alternatives to conventional narratives about socio-political minorities, including discussions about the role of contemporary artistic production.
Francesc Ruiz's first major exhibition at a state museum in Spain is a retrospective and an exhibition of new works.
Trémula is an exhibition by the artist Javi Cruz (Madrid, 1985). It is also the story of a populus tremula—the scientific name for the tree commonly called trembling aspen– which was planted in the 1980s beside the building where he grew up and still lives today in the district of San Blas and was chopped down last year because of a disease. The night when it was felled, Javier took around 500 kg of it up to his apartment and a few days later, with the help of his friends Jacobo and Lorenzo, he loaded the biggest truck he was able to drive with more.