Although it may well be the least known part of its holdings, CA2M Centro de Arte Dos de Mayo possesses a large number of graphic work. In fact, after photography, it accounts for the second biggest portion of the collection. That being said, it has much less visibility in terms of exhibitions, despite the fact that it includes prints and graphic works signed by some of the seminal names in contemporary art.
Miguel Trillo. Doble exposición revisits the artist’s first two solo exhibitions, held at Galería Ovidio (PopPurri. Dos años de música pop en Madrid) in 1982 and at Sala Amadís (Fotocopias. Madrid-London) in 1983. The idea behind the project is to rethink the displays which Trillo used to exhibit his work, removed from the more conventional methods employed to show photography in the few spaces receptive to the discipline back in the early eighties.
Espacio P was founded back in 1981 in a ground floor premises at number 11, Calle Núñez de Arce, in the centre of Madrid, near Plaza Santa Ana. During its first year it was used for rehearsals and workshops in all kinds of practices related with the body, like corporal expression, performance and dance
Since museums first came into existence back in the eighteenth century, there has been a tradition of exhibiting that consists in showing sculptures in central courtyards and lobbies, allowing various fragments from the history of art to coexist in the same space, as part of a stage setting designed to be viewed by a comparative gaze.
A Choreographed Exhibition consists solely of movements. It showcases works choreographed for the exhibition by international artists, choreographers and musicians.
Elements of Vogue. A case study of radical performance is the first exhibition that reviews the history of Afro-American performance in Spain and the first internationally on the history of voguing. The exhibition takes voguing, a popular Afro-Latin and queer dance, as a case study to understand the emergence of the pose as a form of resistance and its ability to articulate new social formations.
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.
tono lengua boca brings together a major part of the moving image production by Wendelien van Oldenborgh (Rotterdam, Netherlands, 1962) for the first international retrospective of her work. In three juxtaposed words the title disassembles the elements that together would configure a voice. The tone, recognisable from afar but yet without semantic content; the tongue, a visceral organ but also a political-linguistic construct, and the mouth the location of embodied enunciation.
The work of Jochen Lempert (Germany, 1958) engages with photography from the optic of research and visuality, very often with the intention of questioning the criteria behind a search for the truth and the models that shape the world.
Archivo F.X by the artist Pedro G. Romero (Huelva, 1964) is a collection of documentation “in construction”, comprising more than one thousand images and files that are, on one hand, an archive of images of anticlerical political iconoclasm in Spain and also, on the other, and cast under the same light, a mirror held up to the radical projects of the modern vanguard from Malevich to Rothko, from Dada to the Situationists.