CA2M: Centro de Arte Dos de Mayo, Madrid

24.02.19 – 15.09.19


The walls are fabric, they are part of the fabric. The walls are a fabrication. They are surfaces for projections, trees of life. Temporary structures to transform a space for enhanced perception. They disappear to reveal light. They become a Millefleur or a town hall decor. They are not necessarily pure white. Real constructions that support illusion and imagination, alternative realities. Art is staged within, with and without them.

Walls constitute a cube. They create a context. Brian O’Doherty, New York-based Irish artist and critic, famously wrote about the artificiality of that most common art environment in his series of essays compiled into Inside The White Cube (1976-1981). Walls are also stairwells that wind their way in an experiential animalistic trajectory through architecture. They have roles to play as in a theatrical mise-en-scène. A visit to the Prado. They come to life. Still Life in the White Cube. Nature and artifice intertwine. Strategies of display are at work. Urges are too… to the beat of abstracted bodily actions.

A backdrop painted by Leonor Fini in 1956, Sol LeWitt’s 1989 Untitled gouache and Elmgreen & Dragset’s 2005 series of German Museums – three seemingly unrelated artworks in the collection of Arco and of the Community of Madrid, both in the care of CA2M have been selected by Charlotte Moth in an associative process which also responds to the materiality of this building and exhibition space.

Caroline Hancock, curator




Infinite Sculpture

The exhibition ‘Infinite Sculpture’ opens in December in Paris and will be on display at the Main Gallery of the Calouste Gulbenkian Museum in Lisbon from April 2020.
The exhibition Infinite Sculpture: From the Antique Cast to the 3D Scanis a co-production by the Calouste Gulbenkian Museum and the École Nationale Supérieure des Beaux-Arts de Paris (ENSBAP), where it will first be presented between 3 December 2019 and 16 February 2020. In Lisbon, the exhibition takes place from 24 April to 7 September 2020.

If the exhibition in Paris is based on plasters from the ENSBAP and the Louvre, the Gulbenkian Museum features a selection from the Faculty of Fine Arts of Lisbon, aiming, on the one hand, to celebrate historical collections of plaster replicas of sculptures conserved in art schools and, on the other, to question the relevance of the mould/modelling technique in contemporary artistic practices.

The exhibition presents these historical collections alongside a set of works by 16 national and international contemporary artists: David Bestué, Christine Borland, Steven Claydon, Michael Dean, Asta Gröting, Simon Fujiwara, Oliver Laric, Juamana Manna, Jean-Luc Moulène, Charlotte Moth, Francisco Tropa, Xavier Veilhan, Marion Verboom, Daphne Wright, Heimo Zobernig and Aleksandra Domanović. Through dialogue and confrontation, a contemporary perspective is offered on the pedagogical function and contribution of these European plaster collections to visual culture and to concepts such as reproduction, variation, seriality, scale and matter.

This exhibition makes available to the public historical collections that have aroused growing interest among museums, researchers, universities and contemporary artists.

Head curator: Penelope Curtis
Curatorial team: Penelope Curtis, Rita Fabiana, Thierry Leviez, Armelle Pradalier
Exhibition organised and co-produced by the Calouste Gulbenkian Foundation and the École Nationale Supérieure des Beaux-Arts de Paris, in collaboration with the Faculty of Fine Arts of the University of Lisbon.