Centro de Artes Visuales Fundación Helga de Alvear

29 April 2016 to 5 November 2017

Idiosyncrasy: Anchovies Dream of an Olive Mausoleum

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Haegue Yang | Foto.Photo. Carlos Criado

Miroslaw Balka – Kazuo Katase | Foto-Photo. Carlos Criado

Markus Oehlen – Asier Mendizabal – Hanne Darboven | Foto-Photo. Carlos Criado

Dominique Gonzalez-Foerster – Jota Castro | Foto-Photo. Carlos Criado

Rivane Neuenschwander – Federico Guzmán – Franz Erhard Walther | Foto-Photo. Carlos Criado

Alexander Calder – Mimmo Paladino | Foto-Photo. Carlos Criado

Ángel Bados – Kenneth Noland | Foto-Photo. Carlos Criado

Atelier van Lieshout – Asger Jorn – Gusmao & Paiva – Dan Flavin – Willie Doherty | Foto-Photo. Carlos Criado

Alberto Peral – Willie Doherty | Foto-Photo. Carlos Criado

Etel Adnan – Jorge Galindo – Jiri Georg Dpkoupil – Atelier van Lieshout | Foto-Photo. Carlos Criado

Jorge Galindo | Foto-Photo. Carlos Criado

The exhibition I have designed based on the Helga de Alvear Collection is something like the invocation of the possibility of something that could be called a supergroup. Imagine, for example, that the presentation of a collection like this, in a specific community such as Caceres, is a unique opportunity to introduce into a homogenous group, conditioned by multiple cultural and economic affections and disaffections, another group: the works selected from the collection.

The function of this supergroup is to introduce an image of life beyond the norms and parameters that condition our view of the world. Without much attention to historiographical readings or to models of formal and interpretive relationships among the works, this exhibition simply states the importance of constantly cultivating coexistence with the monumental diversity staged by each of these artworks.

The term supergroup is chosen because, like an aphorism, it has a playful and productive absurdity, a wish to live in common, while it distances itself from a single feeling or thought about what culture must be in the future. This future depends on a feeling that can come about not so much by really assimilating what art wants, what the institution expresses through it, but through the greatness of having understood the importance of this constant exercise of generating differences within a tradition carried out by artists.


52 obras en exposición


Marina Abramovic | Etel Adnan | Karel Appel | Nobuyoshi Araki | Art & Language | Atelier van Lieshout | Ángel Bados | Miroslaw Balka | George Condo | Martin Creed | Salomé Cuesta | Hanne Darboven | Rineke Dijkstra | Willie Doherty | Jiri Georg Dokoupil | Jean Dubuffet | Hans-Peter Feldmann | Dan Flavin | Jorge Galindo | Dominique Gonzalez-Foerster | Gusmão & Paiva | Federico Guzmán | Jörg Immendorff | Asger Jorn | Kazuo Katase | Asier Mendizabal | Rivane Neuenschwander | Louise Nevelson | Kenneth Noland | Markus Oehlen | Mimmo Paladino | Blinky Palermo | Alberto Peral | Anri Sala | Tejal Shah | Ania Soliman | Franz Erhard Walther | William Wegman | Franz West | Haegue Yang

Comisario: Chus Martínez

A Coruña, Spain, 1972

Chus Martínez has a background in philosophy and art history. She has been the Chief Curator at El Museo Del Barrio, New York. She was dOCUMENTA (13) Head of Department, and Member of Core Agent Group. Previously she was Chief Curator at MACBA, Barcelona (2008 to 2011), Director of the Frankfurter Kunstverein (2005–08) and Artistic Director of Sala Rekalde, Bilbao (2002–05). For the 56th Biennale di Venezia (2015), Martínez curated the National Pavilion of Catalonia, with a solo project of filmmaker Albert Serra, and for the 51st edition the Cyprus National Pavilion (2005). In 2014/15 she served as curatorial „alliance“ for the current edition of the Istambul Biennial (2015); in 2008 served as a Curatorial Advisor for the Carnegie International and in 2010 for the 29th Bienal de São Paulo.

During her tenure as Director of the Frankfurter Kunstverein she curated solo exhibitions of Wilhelm Sasnal among others; and a series of group exhibitions including Pensée Sauvage and The Great Game To Come. She was also the founder of the Deutsche Börse Residency Program for international artists, art writers and curators. While at MACBA Martínez curated the Thomas Bayrle retrospective, an Otolith Group monographic show, and an exhibition devoted to television, Are you ready for TV? In 2008 Martínez was the curator of the Deimantas Narkevicius retrospective exhibition, The Unanimous Life at the Museo de Arte Reina Sofia, Madrid, which traveled to major European museums. Martínez lectures and writes regularly including numerous catalogue texts and critical essays, and is a regular contributor to Artforum among other international journals.

Currently Chus Martínez is the Head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland. There she is preparing a series of exhibitions at Der TANK, the newly opened exhibition space on Campus on the idea of the Metabolic Age. Under this same title – The Metabolic Age- she cuarted an exhibition currently on view at MALBA (Museum of Contemporary Art in Buenos Aires) that it just closed in February 2016.