luke fowler

A central figure in Glasgow’s vibrant art scene, Luke Fowler creates cinematic collages that break down conventional approaches to biographical and documentary film-making.

Fowler’s films have often been linked to British Free Cinema of the 1950s, whose distinctive aesthetic came out of a conscious decision to engage with the reality of British society. Fowler uses similarly impressionistic sound and editing, and avoids didactic voice-over commentaries and narrative continuity. However, the artist moves beyond simply referencing the work of his predecessors. He intuitively applies the logic, aesthetics and politics of his subjects to the films he constructs about them.
The results are atmospheric, sampled histories that reverberate with the vitality of the people he studies.

jilly sutton

Cedrus deodara, the Himalayan cedar or sacred Indian fir, derives its botanical name from the Sanskrit word devdar signifying 'tree of the gods'. Trees and tree imagery are fundamental to primitive belief systems - from the tree of knowledge of good and evil in Genesis to Odin's ash and Druid oaks - and their interaction with humankind is a constant feature of civilisation. The human head as the seat of the brain and thought processes, together with the expressiveness of physiognomy, make it the perfect subject for treatment in wood. However, since the long-term durability of wood can never be guaranteed, Fallen Deodar has also been cast in bronze.

juan munoz : a narrator sculptor

From his early architectural works - staircases, balconies and banisters - located in impossible settings, by way of his optical floors that dissolve the limits of space and time, to his dramatic, theatrical installations involving groups of human figures that evoke the solitude of the individual in society, Muñoz’s works play with the spectator, enticing him into relating to them, even awaking feelings of unease and isolation. Muñoz described himself as “a narrator”, and his ability to propose new forms of contemplation and thought, to create tension between the illusory and the real, made him one of the few artists capable of renewing contemporary sculpture.

antony gormley

Gormley describes his work as "an attempt to materialise the place at the other side of appearance where we all live." Many of his works are based on moulds taken from his own body, or "the closest experience of matter that I will ever have and the only part of the material world that I live inside." His work attempts to treat the body not as a thing but a place and in making works that enclose the space of a particular body to identify a condition common to all human beings. The work is not symbolic but indexical - a trace of a real event of a real body in time.

louise bourgeios

In 1986 the Andalusia Government started to reform and rebuilt the Monastery with the idea to reserve all essential activities from the past. In this context they installed at the plot of the Monastery an Investigation and Cultural Centre, back in 1989.

Additional works were later on be done for the World Expo 1992 in Seville, to change finally into the Andalusia Centre of Contemporary Art (CAAC) in 1997. The Centre was created with the aim of giving the local community an institution for the research, conservation and promotion of contemporary art. Later the centre began to acquire the first works in its permanent collection of contemporary art.

The CAAC, an autonomous organisation dependent on the Andalusian Government (Junta de Andalucía), took over the collections of the former Conjunto Monumental de la Cartuja (Cartuja Monument Centre) and the Museo de Arte Contemporáneo de Sevilla (Contemporary Art Museum of Seville).

From the outset, one of the main aims of the centre has been to develop a programme of activities attempting to promote the study of contemporary international artistic creation in all its facets. Temporary exhibitions, seminars, workshops, concerts, meetings, recitals, film cycles and lectures have been the communication tools used to fulfil this aim.

The centre's programme of cultural activities is complemented by a visit to the monastery itself, which houses an important part of our artistic and archaeological heritage, a product of our long history.