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.

The new prescriptions of mobility, speed and immediacy imposed by the forms of contemporary life and the new technologies have profoundly modified our perception and experience of time.

Ed Ruscha | Foto-Photo. Joaquín Cortés

Photography and the moving image, working sometimes as a document, sometimes as a concept, or sometimes occupying the spaces between them, have become a territory that is favourable for exploring reflexively both our way of being in the world and the new semi-autonomous status of the photographic medium.

Sobre Papel | On Paper

Maybe it is the idiosyncrasies of Helga’s way of seeing things, special and passionate, that makes her collection on paper so forceful. Because paperis somewhat fragile, on the point of slipping away. There is something of a love letter, those that are blown away and reach their recipients like the kisses, as mentioned by Kafka in Letters to Milena, that are drunk by the ghosts of dawn.

Juegos de lenguaje. Foto. Joaquín Cortés

In the era of the global image, each artist builds the criteria of signification of his or her works, constructing a language game whose content must be unravelled in order to interpret its purpose and meaning.

Planta | Floor 0: Susana Solano; Eva Lootz; Mitsuo Miura; José María Sicilia

Approaches I is the first of a new series of exhibitions which aim to explore the Helga de Alvear Foundation Collection’s commitment and engagement with Spanish contemporary art from a variety of different perspectives.

Ad Reinhardt; Morris Louis; Jack Pierson; Allan McCollum

Helga de Alvear Collection in the CGAC of Santiago de Compostela

Planta | Floor 0: Imi Knoebel; Juan Uslé; Wolfgang Tillmans.

The body of works on display in the exhibition presented here have been chosen because they illustrate, in a wide-ranging and approximate way, some of the concepts related to silence, and to the trail of changes these ideas have had on the attitudes of artists since the sixties last century.