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).
Fernando Sánchez Castillo’s work casts a critical gaze over history, both ancient and recent, while at once examining art’s role in depicting and shaping our view of it. The exhibition title, Más allá or Beyond in English, suggests manifold readings.
Made by Jacobo Castellano between 2004 and 2005, Casa is one of the artist’s first sculptural pieces. Based on his grandparent’s now abandoned house in a village in Jaen
Lanceta defends the importance of weaving techniques and advocates placing weaving on a par with painting and sculpture. She argues that the “peripheral position of fabrics is not just metaphorical, but a reality, because societies that still weave are also peripheral
On view in the museum lobby, The Pudic Relation Between Machine and Plant, 2016, a piece by the New York based Portuguese artist Pedro Neves Marques (Lisbon, 1984), consists of a video made with the King’s College Centre for Robotics Research in which a sensitive plant, a Mimosa Pudica, reacts in contact with a robotic arm, closing every time the cyborg limb touches it.
Y tú, ¿por qué eres negro? (And you, why are you black?) is an open, personal and collective archive of the construction of Blackness as a political force in Spain which can be approached in many ways. It is a dispositif to construct a history of our own but also an educational tool aimed at racialised audiences and an instrument of empowerment placing Afro- at the centre.
Lawrence Abu Hamdan (Amman, Jordan, 1983) is one of the most important artists of his generation on the international scene, nominated this 2019 for the Turner Prize, the most prestigious award in British art.
In postmodernist art, nature is treated as wholly domesticated by culture; the 'natural' can be approached only through its cultural representation. While this does indeed suggest a shift from nature to culture, what it in fact demonstrates is the impossibility of accepting their opposition
El Barro de la Revolución comprises some of the works created by Paloma Polo (Madrid, 1983) after her long stay, or rather her “personal and political immersion” in the Philippines since 2013. It is precisely the last of those works—a film lasting approximately 2 hours 35 minutes—what gives title to the show and functions as its connecting line, while at the same time giving rise to many of the social and political reflections present in other works by Polo during the time she spent in the Philippines.
Exploring Ana Laura Aláez’s work is to venture into an artificial paradise of appearance. A world where canons are turned on their heads, identities are polyhedral and ambiguity is a positive value. Ana Laura Aláez’s work has always wandered between truths and fictions, the body and its representations, objects and how we behave towards them.