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Fernando García.Cañaveral [Reed bed], 2015. Photo: courtesy MARCO/Enrique Touriño
Fernando García.Cañaveral [Reed bed], 2015. Photo: courtesy MARCO/Enrique Touriño
Fernando García.Cañaveral [Reed bed], 2015. Photo: courtesy MARCO/Enrique Touriño
Fernando García.Cañaveral [Reed bed], 2015. Photo: courtesy MARCO/Enrique Touriño
Fernando García.Cañaveral [Reed bed], 2015. Photo: courtesy MARCO/Enrique Touriño
Fernando García.Cañaveral [Reed bed], 2015. Photo: courtesy MARCO/Enrique Touriño
Fernando García.Cañaveral [Reed bed], 2015. Photo: courtesy MARCO/Enrique Touriño
Fernando García.Cañaveral [Reed bed], 2015. Photo: courtesy MARCO/Enrique Touriño
Fernando García.Cañaveral [Reed bed], 2015. Photo: courtesy MARCO/Enrique Touriño
Fernando García.Cañaveral [Reed bed], 2015. Photo: courtesy MARCO/Enrique Touriño
Fernando García.Cañaveral [Reed bed], 2015. Photo: courtesy Miguel Calvo
Fernando García.Cañaveral [Reed bed], 2015. Photo: courtesy Miguel Calvo

FERNANDO GARCÍA. Cañaveral [Reed bed]


13 November 2015 - 24 January 2016
Anexo (main entrance)
Mondays to Saturdays (including bank holidays) from 11am to 2:30pm and from 5pm to 9pm / Sundays from 11am to 2:30pm
MARCO, Museo de Arte Contemporánea de Vigo
Ángel Calvo Ulloa


Programming and calendar

Starting January 2015, the space formerly occupied by the bookstore and gift shop on the main entrance of MARCO became a project room, in the spirit of the Espazo Anexo located on the pedestrian square at the back of the building from 2004 to 2011. Faithful to the MARCO trademark programming style, this new line highlights MARCO's self-produced projects, both regarding site-specific works and cycles of exhibitions in which a single curator organises a year long programme of exhibitions.

Intertextual takes a selection of artists belonging to the same generation who represent the artistic reality of recent years, both on the national and the international scale, and that discover an ideal field of work in these interconnected influences. The proposal emerges out of the need to create spaces in which younger artists can shape their projects and where their work can be evaluated starting from the recreation and consolidation of a space like the Annex, which provides a perfect location for making the works as visible as possible, both because of its size and characteristics, and the constant flow of visitors walking by it.

Intertextual programme opened on the 16th of January with the installation 249 litros by Carlos Maciá, followed by Mauro Cerqueira’s Cismadores, and Juan López's exhibition. The programme will continue with other specific projects by Fernando García (Madrid, 1975) and June Crespo (Bilbao, 1982).

5 February – 17 April, 2016

On the opening day, Friday 13 November at 7:30pm, an open meet-and-greet with the audience will be led by the artist, Fernando García, and the curator, Ángel Calvo Ulloa, at the conference room.

Information and guided tours

The gallery staff welcomes queries from visitors regarding the exhibition and offers the usual guided tours:

  • Daily tours at 6:00pm
  • À la carte group tours, by appointment only. For bookings, call +34 986 113900


[Reed bed] is the proposal by Fernando García for Intertextual. García starts with 249 Litros, the installation which opened the space back in January, and takes a look at some of the most characteristic features of Carlos Maciá’s intervention. The almost complete occupation of the space, the dominating horizontality, the power of colour, the matt finish and texture of the huge volume which closed off the Anexo gallery space are now features García uses in order to set up a dialogue in this penultimate proposal for the Intertextual series.

Fernando García’s proposal arose during his artistic residency in Canada from January to June 2015 where he began collecting dollar coins without any specific intention. Once returning from the trip the coins became foreign items brought from abroad, i.e. evidence of García’s journey and of the collection process itself. The coins are now inserted into the slits carved into bamboo reeds he came across during a trip to El Puerto de Santa María. The bamboo has become a key element in the present installation. At the same time García establishes a relationship between the interior and exterior of the Anexo through a series of photographs taken in Galicia during his visit to MARCO in November 2014 and which are mounted in frames made from granite.

In Fernando García there is a defining interest in working with materials, in the process and in the encounter between all of the different parts which constitute the work of art. Cañaveral brings together the need to actively participate in each of the steps which conforms the work, and the expectation with regard to how each of the selected materials behaves as part of a whole and separately. In this sense, the care taken while cutting into the bamboo reeds is united with the insertion of the coins and the doubt which is prolonged until the union takes place. The same thing occurs between the photographs and the granite, which in this case speak about the immediate surroundings, the museum’s architecture, and about what is behind the museum walls. The union implies in both cases not only the joining of two materials, the relationship between which is for Fernando Garcia unknown, but also the role of time operating in each action throughout the entire process. 

An encounter is then produced between the initial horizontality and the verticality of the bamboo reeds, the intense color used by Carlos Maciá as opposed to the coldness in Garcia’s proposal, the matt finish opposed to the shiny finish of the coins or the bamboo itself which takes as a reference the space which was occupied before, generating and inserting a spatial memory inside those limits.

Just as he has done in previous work, Fernando García pays special attention to what has occurred before in the space where he is working, he pays special attention to travel and to the conditions in which each art work is made. In this case the trip to Galicia does not go unnoticed, nor does the material which composes the structure of the museum, or any of the materials which he has used over the last few months.


Spanish artist Fernando García (Madrid, 1975) has a degree in Fine Arts from the Universidad Complutense de Madrid and he was Assistant Head of Painting at the Departament of Alberto Datas, University of Madrid, from 2002 to 2004.

In 2009, he was selected by the Pépinières Européennes Pour Jeunes Artistes for an artist residency at the Jyvälskylä Printmaking Centre in Finland, in 2014 he received a grant from the Pollock-Krasner Foundation in New York, and in 2015 he was in Montreal with a production grant and resindency program from the Canada Council for the Arts.

He lives and works in Barcelona and he is represented by the Heinrich Ehrhardt Gallery in Madrid, Spain.


Ángel Calvo Ulloa

Ángel Calvo Ulloa
(Lalín, Pontevedra, 1984) lives and works in Madrid and Santiago de Compostela.

As a curator he has developed the public actions project entitled  Un disparo de advertencia (Lalín, Pontevedra, 2011); the show Natureza! Estás soa? by Álvaro Negro (PALEXCO, Corunna, 2011); the group show Welcome to my loft (Centro Torrente Ballester, Ferrol, 2012); Wily Forza Ingobernable (FAC, Santiago de Compostela, 2013); Sssh! del silencio un lenguaje (Galería Nuble, Santander, 2013); and the project Diálogos Improbables (Espazo NonLugar, Lalín, 2012-13). In 2014 and 2015 he curated Crise de Identidade (Fundación Granell, Santiago de Compostela); En el coche de San Fernando (SALÓN, Madrid); Sobre el muro (Galería L21, Madrid) within the programme entitled Jugada a 3 Bandas; Ende der party (Tokonoma Apartment, Kasel); C O M E R C U L E B R A (1er Escalón, Murcia); Fugir para lado algum within the programme Expediçao (Maus Hábitos, Oporto) and Del rombo al hexágono hay dos líneas, together with Tania Pardo (Galería Rosa Santos, Valencia). He is currently developing INTERTEXTUAL, an exhibition programme for the MARCO (Vigo) and together with Alfredo Aracil, he is working on Tener que sentir, with Los Bragales collection, for Antiguo Instituto Jovellanos (Gijón). Calvo has been granted within the Inéditos Program 2014, for organising the exhibition Aprender a caer in La Casa Encendida, Madrid, and also within the visual arts call Can Felipa, Barcelona, to develop the proposal Incluso un paisaje tranquilo… He has taken part in virtual projects like They've left us alone for The Naked, The Hague (2014) or Numismática con río Miño al fondo with Fermín Jiménez Landa for Curatorial Clube (2014). Ángel Calvo Ulloa is a member of the OsTres group currently working on the exhibition programme of Espacio Miramemira in Santiago de Compostela.