First individual exhibition in Spain of Discoteca Flaming Star, an interdisciplinary group of artists. With Cristina Gómez Barrio and Wolfgang Mayer as its founders and leading members, the group can either expand or shrink, becoming a type of meeting place that shifts and changes according to the way the performances develop.
The UPRISING exhibition aims to express the values of freedom and citizen resistance that inspired the uprisings of 2 May 1808 through works (photographs, videos, paintings and sculptures) belonging to the Contemporary Art Collection of the Regional Government of Madrid.
This exhibition brings together a selection of artists – both national and international – whose works represent a broad spectrum of aesthetic languages and, as a collection of samples, definitively characterise the current evolution of contemporary video art.
Under Cover: Four States of Privacy highlights the unique aspects in the language of 40 authors whose work revolves around a common theme. Regardless of their period or the techniques, the exhibition explores the expressions which, through the medium of graphic art, reveal the dual conceptual dimension of physical and mental space.
This exhibition presents a sentimental journey through the black and white Spain of the Fifties and Sixties, through its clichés and rituals, its majesty and its poverty, accompanied by a silent, discriminating Ramón Masats.
The background on which this exhibition is literally outlined is the work De entre las muertas [From the Dead] (2020) by the artist Diana Larrea, who has traced the margins of History of Art to restore forgotten genealogies of women artists from the Renaissance up to the beginning of the 20th century. These women artists are joined by other ones from younger generations enabling us to think in the present tense.
In museums like ours, experience appeals to the whole body, with its distinctive features, its desires and different possibilities. Performance is the way contemporary art refers to artistic productions that place the body, its articulation of presence and the temporality of its actions, at the heart of its proposal.
The pieces in this exhibition, from the CA2M and Fundación ARCO collections, enable us to trace the history of the use of textiles in contemporary art from the 70s to the present day.
Cecilia Vicuña. Seehearing the Enlightened Failure brings together over a hundred works by poet, visual artist, and activist Cecilia Vicuña. Since the 1960s, the artist has constituted a radical perspective on the relationship between art and politics through her writing and art making.
“At first it seems like a particularly useless act, outlandish and out of the ordinary, but as one discovers that it is a mere manipulation of objects like any other it becomes easy and natural. Looking for barbiturates is like looking for aspirins for a cold and preparing the gas entails the same difficulties as preparing it for a shower.”
In 1967 the Chilean artist Cecilia Vicuña founded Tribu No and penned the No Manifiesto, a text that proposed not-doing as an action. Starting in the month of March, we will organize a workshop-visit to Seehearing the Enlightened Failure, a retrospective exhibition by the visual artist, poet, filmmaker and activist. Aimed at groups of secondary school students, this activity will engage with the work and strategies of the Chilean artist in order to think and to act through her work.
Maximum number of students: 30. Registration from September 18
Aimed at groups of secondary school students, this activity will engage with the work and strategies of the Chilean artist in order to think and to act through her work.
Cecilia Vicuña, Quipu menstrual, 2019. Photo: Witte de With Center for Contemporary Art, Rotterdam, 2019.