Upcoming Exhibitions at CGAC
Santiago de Compostela, Spain CGAC
De la generosidad. Helga de Alvear Foundation Collection Curated by Miguel von Hafe Pérez 23
March–17 June 2012
March–17 June 2012
The act of collecting, especially when it stems from a private impulse with a public vocation, is essentially an act of generosity. An act of generosity which entails that the collector understands the work of art as a culturally relevant structure and that it gives way to the creation of discourses that are open to multiple interpretations. Drawn from the Helga de Alvear Foundation collection, De la generosidad begins with a group of works from late modernism that unfold chronologically into two periods: the neo-avant-gardes of the sixties and seventies and contemporary works, specifically those that revise modernity.
Gravity and Disgrace Ep. 1 Curated by Miguel von Hafe Pérez 30
March–1 July 2012
Paraphrasing the title of the exhibit Gravity & Grace: The Changing Condition of Sculpture 1965-1975, held in London in 1993, Gravity and Disgrace Ep. 1 is based on the principle of processual and theoretical instability that characterises contemporaneity to make an observation on the creative moments that represent a world in vertiginous mutation. Thus, the works presented in this first episode of an event that later unfolds into other moments of exhibition, publication, and consideration, originate from practices that question the contemporary conditions of social construction, contrasting the notion of balance and harmony with the most fruitful questions regarding failure as a process, contextual flow as a critical tool, and the revision of the aporias of modernism as basic elements for a broader understanding of the present.
Rafel G. Bianchi. La bandera en la cima Curated by David G. Torres
30 March–24 June 2012
La bandera en la cima is the first full presentation of the project that Rafel G. Bianchi began in 2007: painting in a detailed manner the fourteen highest mountains in the world, the fourteen eight-thousanders. A feat that in the world of mountaineering is brimming with heroism and which, in its reiteration as an artistic project, betrays the role of the artist involved in an absurd task. In addition to the fourteen final paintings, drawing a comparison between the documentation of mountaineering and the documental strategies of conceptual art, La bandera en la cima also collects the traces of its process through drawings, photographs, films or posters, many of which have been developed in collaboration with other artists.
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