SEVILLA - Centro Andaluz de Arte Contemporaneo



Monasterio de Santa Maria de las Cuevas - Monastère de chartreux fondé au XVe s, - d'où Christophe Colomb prépara son second voyage aux Amériques -, usine de céramique créée par l'Anglais Charles Pickman en 1841 et Centre Andalou d'art contemporain depuis 1998... Ici, l'ancien et le moderne se marient à merveille et offrent de surprenantes visions : tours d'usine dressées aux côtés d'un clocher ancien, sculptures contemporaines sur fond de cloître, mariage de vieilles pierres et d'un très beau béton. Expositions d'art contemporain.


The Isla de la Cartuja had rich clay deposits that the potters from the Triana district used for their pots and tiles. Tradition has it that in one of the caves resulting from clay extraction on image of the Virgin was found that must have been hidden there centuries before to prevent profanation by non-Christians. A shine was soon raised at the spot of devotion for the image grew together with the belief in its miraculous powers.
A community of Franciscan tertiaries became established in the vicinity for the spiritual succour of the devout and other pilgrims, but when Archbishop Gonzalo de Mena founded the Monasterio de la Cartuja in the 1440 they were forced to move. 
When some monasteries were sold in mid-19th century. Charles Pickman, an English businessman, purchased the Cartuja and converted it into an internationally renowned pottery factory.
When Seville was chosen to hold the Universal Exhibition of 1992, the Monastery was restored for use as cultural centre. 
Lagunas, Maura Sheehan -
The architect Ambrosio de Figueroa (18th century) was involved in the reconstruction of several parts of the building, including the entrance designed as a triumphal arch, and the simple lines of the chapel's sing the volume with its outstanding dome. This chapel and the adjoining spaces were intended for people from outside, for the monks were not neglectful of the needy coming to them. Alicia, Cristina Lucas -
Como un monumento al artista, Curro Gonzales -
Non Sine Sole Iris, Maria José Gallardo - Non Sine Sole Iris (No Rainbow without Sun) is an exhibition project halfway between the possible interpretation of a Baroque altarpiece from a modern perspective and a contemporary "cabinet of curiosities".
Patio del Ave Maria - Ventanas iluminadas, MP&MP Rosado.
Atrium and Church - The Atrium communicates the Prior's cell to the left, the Procuration area to the right and, opposite, the façade of the church, with its 16th century tiled rose window. The 15th century church is in the Gothic style, as denoted by its ribbed vaults, of which the apse is particularly interesting. During the 19th and 20th centuries, the church was used as a pottery warehouse. Today it has a double function as an exhibition hall for contemporary art and also as a space for the celebration of all types of cultural events. A magnificent clock made by Brother Manuel Navarro and installed in 1817 can still be seen in the presbytery (altar zone).
 Capilla de Santa Ana - Built in the 16th century, this chapel was originally located on the outside, but the façade of the church was later moved forward to enclose it. The body of Christopher Columbus laid in the crypt from 1509 to 1536, and so it is also known as Capilla de Colon. A hundred years later, the masterpiece of Martinez Montanes, the Christ of Clemency, now in Seville Cathedral, presided over it. 
Sacrity - The baroque plasterwork that can still be seen once framed one of Francisco de Zurbaran's best series of paintings (17th century), now in the Museo de Bellas Artes. In the early 19th century during the French occupation, this unique space served as the garrison's butchery. Entrance is via the De profundis chapel, where the monks stood vigil over the dead.
Claustrillo - This is one of the best examples in Seville of Mudéjar architecture, which is a combination of Christian and Muslim styles. Its purpose is to communicate the adjoining spaces already extant when it was built in the second half of the 15th century. Despite its small size, the proportions manage to create an elegant composition of unique beauty. The materials used in its construction are equally interesting, including roof tiles, glazed tiling in the galleries, red brick and the white marble columns with bell-shaped capitals showing the influence of the Nasrids, the dynasty that built the Alhambra in Granada.


Capilla de la Magdalena -This is the original nucleus of the Monastery. The flat cloister vaults covering it and their irregular sizes make it special in the context of Mudéjar buildings in Seville. The construction of the Refectory made it smaller and a square chapel was added to it, where the mortal remains of the Monastery's founder, Archbishop Gonzalo de Mena, were finally laid.
Refectory - This is where the Carthusian monks had their main meals. It was enlarged and redecorated in 1588, although both the entrance to the Claustrillo and the surroundings of the pulpit were maintained. The latter was designed for a monk to read the Holy Scriptures while his companions are their meal. 
Sala Capitular - This room, designed for the monk's more important meetings, was built at the same time as the Claustrillo. The figurative decoration of the vault predominates in the first part of this space. This is a significant testimony of the first Gothic sculpture in Seville. The room was ceded as a burial place for the Ribera family, patrons of the Monasterio de la Cartuja. The vertical wall tombs of Pedro Enriquez and Catalina de Ribera, made in the 16th century in Genoa by Aprile de Carona and Pace Gazini respectively, are remarquable for the profusion of their iconography and ornament. During the factory period the tumbs were relocated in the Iglesia de la Anunciacion and the Sala Capitular was used for carpentry. The tombs were replaced here after the rehabilitation work prior to the Universal Exhibition of 1992.
Ancien four à céramique & Claustron - The arrangement of the large cloisters is due to the monks individual cells. Remains of the original building are only conserved in the eastern sector. Important modifications were carried out during the French invasion and the time of the factory (19th 20th century), when the cloister practically disappeared. However, it was rebuilt for use as exhibition halls during the recovery of the Cartuja for cultural purposes prior to the Universal Exhibition of 1992. The British-style cone-shaped kilns were installed in the first decade of the 20th century. With time, they have become an emblematic icon of this place. 
All the revolutions have already been done - "The 80s in the CAAC Collection" would be an apt subtitle for this exhibition, which aims to investigate and narrate this museum's history of collecting works by the generation of artists who came of age in that decade, as well as pieces by previous generations which, in those years of the return to painting and figuration, were influenced by the prevailing international trends. 
Alfonso Albacete : Internal Affairs - Internal Affairs is the title that Alfonso Albacete (Antequera, 1950) has chosen for this exhibition featuring over 150 works on paper, culled from among the countless pieces stored in folders, drawers and notebooks in his studio to evoke a shifting map, a possible index of the themes, motifs and models of an oeuvre developed over the course of more than three decades. 
Quien tiene miedo del rojo, del amarillo y de ti ? Libia Castro & Olafur Olafsson - 
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Memorial del Agua - The history of the Monasterio de la Cartuja is conditioned by the almost annual floods. In tribute to the history of the monastery ans its relation with the river, architect José Ramon Sierra created this intervention in 1992, consisting in the definitive submerging of architectural fragments from the building itself such as shafts, bases or capitals, thus giving poetic expression to the link between the place and the river. 
What is real ? Priscilla Monge -
From Figura - A possible reading of the 80s. In this exhibition project, the journal Figura (1983-1986) is a springboard for exploring the construction of the artistic image of the 1980s, a complex decade which is sometimes reduced to a few aesthetic and political stereotypes based on the dominant trends of that era, but which also ventured into a number of fringe areas.
Rafael Agredano · José María Baez · Juan Navarro Baldeweg · Miquel Barceló · Georg Baselitz · Basquiat · Evaristo Bellotti · José María Bermejo · Joseph Beuys · Luis Buñuel · Patricio Cabrera · Ricardo Cadenas · John Cage · Alonso Cerrato · Vicky Civera · Chema Cobo · Tony Cragg · Enzo Cucchi · Richard Deacon · Pepe Espaliú · Patricia Gadea · Gloria García · Ferran García Sevilla · María Gómez · Curro González · Rafael González Zapatero · Luis Gordillo · Federico Guzmán · Cristina Iglesias · Anish Kapoor · Menchu Lamas · Francisco Leiro · Francesca Llopis · Sigfrido Martín Begué · Moisés Moreno · Juan Muñoz · Antón Patiño · Pablo Pérez-Mínguez · Guillermo Pérez Villalta · Sigmar Polke · Simeón Saiz · Julian Schanbel · José María Sicilia · Antonio Sosa · Pablo Sycet · Juan Uslé.

Being Necessitates Faith In Paper - Jessica Diamond -
The Carmen Laffon Trust - These two galleries contain three works on long-term loan to the CAAC from the artist Carmen Laffón (Seville, 1934) from her series La Viña (The Vineyard), created for a 2007 solo show at the Abbey of Santo Domingo de Silos organized by the Museo Nacional Centro de Arte Reina Sofía.
Is that All There Is ? Jessica Diamond -
(c) Chavanitas