Working with Spanish visual artist Carlos Aires, MACAM
Working with Spanish visual artist Carlos Aires, MACAM
Topic:
Work
Year:
21 March 2024
Between 2023 and 2024, ADVERSA worked with Spanish visual artist Carlos Aires around “Trinity”, his site-specific installation for MACAM, Museu de Arte Contemporânea Armando Martins
The collaboration took place during a wider period in which ADVERSA developed some of the museum's first visual material before its public opening. Working in response to Trinity, ADVERSA documented the creation and installation process, as well as creating three-dimensional digital artworks for the MACAM Digital Archive.
Trinity occupies the museum's restored former Chapel of Nossa Senhora do Carmo. Its placement gives the work a direct relationship with the building's religious history and with the transformation of the site into a contemporary art museum.
ADVERSA's response focused on the symbolic and tragic qualities of Aires' work, along with the contrast between small details and the scale of the installation as a whole. One of the resulting images also created a visual parallel between artistic creation and the hands of Armando Martins, whose collection forms the basis of the museum.
Born in Ronda in 1974 and based in Madrid, Carlos Aires works across several media. Familiar objects and attractive forms often lead towards harder political and social subjects. His work has been presented at institutions and spaces including MACBA Barcelona, Haus der Kulturen der Welt in Berlin, WhiteBox New York and Galeria Municipal do Porto. It is also held in collections including MACBA, ARTIUM, MAK and CAAC.
Trinity also became one of ADVERSA's earliest extended relationships with MACAM, at a time when the museum itself was moving towards its public opening.
Other articles
S.1
Working with Spanish visual artist Carlos Aires, MACAM
Working with Spanish visual artist Carlos Aires, MACAM
Topic:
Work
Year:
21 March 2024
Between 2023 and 2024, ADVERSA worked with Spanish visual artist Carlos Aires around “Trinity”, his site-specific installation for MACAM, Museu de Arte Contemporânea Armando Martins
The collaboration took place during a wider period in which ADVERSA developed some of the museum's first visual material before its public opening. Working in response to Trinity, ADVERSA documented the creation and installation process, as well as creating three-dimensional digital artworks for the MACAM Digital Archive.
Trinity occupies the museum's restored former Chapel of Nossa Senhora do Carmo. Its placement gives the work a direct relationship with the building's religious history and with the transformation of the site into a contemporary art museum.
ADVERSA's response focused on the symbolic and tragic qualities of Aires' work, along with the contrast between small details and the scale of the installation as a whole. One of the resulting images also created a visual parallel between artistic creation and the hands of Armando Martins, whose collection forms the basis of the museum.
Born in Ronda in 1974 and based in Madrid, Carlos Aires works across several media. Familiar objects and attractive forms often lead towards harder political and social subjects. His work has been presented at institutions and spaces including MACBA Barcelona, Haus der Kulturen der Welt in Berlin, WhiteBox New York and Galeria Municipal do Porto. It is also held in collections including MACBA, ARTIUM, MAK and CAAC.
Trinity also became one of ADVERSA's earliest extended relationships with MACAM, at a time when the museum itself was moving towards its public opening.
Other articles
S.1
Working with Spanish visual artist Carlos Aires, MACAM
Working with Spanish visual artist Carlos Aires, MACAM
Topic:
Work
Year:
21 March 2024
Between 2023 and 2024, ADVERSA worked with Spanish visual artist Carlos Aires around “Trinity”, his site-specific installation for MACAM, Museu de Arte Contemporânea Armando Martins
The collaboration took place during a wider period in which ADVERSA developed some of the museum's first visual material before its public opening. Working in response to Trinity, ADVERSA documented the creation and installation process, as well as creating three-dimensional digital artworks for the MACAM Digital Archive.
Trinity occupies the museum's restored former Chapel of Nossa Senhora do Carmo. Its placement gives the work a direct relationship with the building's religious history and with the transformation of the site into a contemporary art museum.
ADVERSA's response focused on the symbolic and tragic qualities of Aires' work, along with the contrast between small details and the scale of the installation as a whole. One of the resulting images also created a visual parallel between artistic creation and the hands of Armando Martins, whose collection forms the basis of the museum.
Born in Ronda in 1974 and based in Madrid, Carlos Aires works across several media. Familiar objects and attractive forms often lead towards harder political and social subjects. His work has been presented at institutions and spaces including MACBA Barcelona, Haus der Kulturen der Welt in Berlin, WhiteBox New York and Galeria Municipal do Porto. It is also held in collections including MACBA, ARTIUM, MAK and CAAC.
Trinity also became one of ADVERSA's earliest extended relationships with MACAM, at a time when the museum itself was moving towards its public opening.
Other articles
S.1