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Suite Rivolta. Una propuesta estética para la acción, 2011. Photo: courtesy the artists
Off Escena: Si yo fuera..., 2010-11. Photo: courtesy the artists
Un beso, 1996. Colección Fundación ARCO. Centro de Arte Dos de Mayo, Móstoles. Photo: courtesy the artists
After Apocalypse Now: Martin Sheen (The Soldier), 2007. Photo: courtesy the artists
Alguna parte, 2000. Photo: courtesy the artists
Bailar El género en disputa #2 (México), 2014. Photo: courtesy the artists
Bollos, 1996. Photo: courtesy the artists
Archivo: Drag modelos, 2007-en proceso. Museo Patio Herreriano, Valladolid. Photo: courtesy the artists
Archivo: Drag modelos, 2007-en proceso. Photo: courtesy the artists
El Estado de la Cuestión_un ensayo performativo, 2015.Colección Centro de Arte Dos de Mayo, Móstoles. Photo: courtesy the artist
El Estado de la Cuestión_un ensayo performativo, 2015.Colección Centro de Arte Dos de Mayo, Móstoles. Photo: courtesy the artist
Casting: James Dean (Rebelde sin causa), 2004. Photo: courtesy the artists

Draft for an Untitled Exhibition. CABELLO/CARCELLER


27 May 2016 - 8 January 2017
First-floor galleries
Tuesdays to Saturdays (including bank holidays): 11am to 2.30pm and 5pm to 9pm / Sundays: 11am to 2.30pm
MARCO, Museo de Arte Contemporánea de Vigo / CA2M Centro de Arte Dos de Mayo, Móstoles
Manuel Segade

Bibliographical and Documentary Exhibition

During the following months, the Library and Documentation Centre of the MARCO will feature a bibliographical and documentary exhibition with a selection of catalogues and publications of Cabello/Carceller. The document dossier, which is available in the Library-News section of the MARCO's website, offers links to interviews, articles, videos, etc., of the artists, together with a selection of catalogues and publications on art and gender/feminism.

Information & guided tours

The exhibition staff is available for any questions or information, as well as regular guided tours:

  • Daily at 6pm
  • ‘A la carte’ group tours, please call +34 986 113900 to book


Starting May 27, the first floor of the MARCO will feature the project by CABELLO/CARCELLER Borrador para una exposición sin título (Draft for an Untitled Exhibition), produced jointly with the CA2M Centro de Arte Dos de Mayo of Móstoles, Spain, and curated by Manuel Segade. This exhibition is a retrospective reviewing the works of artists for over two decades.

Since 1992, Cabello/Carceller (Paris, 1963/Madrid, 1964) have developed a common artistic project focused on the criticism of hegemonic visual culture. As tools of feminist theory, and queer de-colonial theory, they have made use of visual and cultural studies in order to produce over the years a body of work which questions the neoliberal model of social production. Through interdisciplinary practices, they offer alternatives to conventional stories about minority politics, including the debate on the role of contemporary artistic production among them. A methodology based on mutual collaboration and on the incorporation of external actors and agents has allowed them to represent displacements and disarrangements which reveal resistances and divergences against established values.

Following their participation at the Spanish Pavilion at the last edition of the Venice Biennale, the retrospective exhibition here allows us to revisit their career, and to place the latest proposals within a context starting with the late 80’s Culture Wars during their formative period until the latest social revolts against the return of neoliberal order.

According to Cabello/Carceller’s working logic, the exhibition is conceived as an infiltration that contaminates the institution, using a form of discourse which normally remains hidden. Exhibition spaces overlap different moments in their career in order to restore a temporal complexity beyond the idea of lineal progression. Works speak to one another in a chrono-political way in which the earliest works can be read as comments or references to build the meaning of the latest ones.

As a kind of interplay all throughout the exhibition, older and shorter works act to a certain extent as prompts or footnotes for other works, but mainly as a way to shorten distances and to go deeper into the concept of the retrospective not as an evolution or progress, but as a continued and intermittent process.



Cabello/Carceller is an artists team formed in 1992 by Helena Cabello and Ana Carceller (París, 1963 / Madrid, 1964). They live and work in Madrid (Spain), and currently teach at Cuenca Faculty of Fine Arts, UCLM University in Cuenca (Spain.

Starting their collaboration around the beginning of the nineties, Cabello/ Carceller have developed an interdisciplinary work that uses different media – installation, performance, video, writing, drawing – to examine the hegemonic means of representation in visual practices, suggesting critical alternatives to them. From a conceptual, politically engaged approach, they use strategies as appropriation or performance and fiction to question the modernist narratives that avoid minority politics while recurrently quoting them.

Searching to unveil these contradictions, they invite mainly amateur but sometimes also professional collaborators who are to be confronted with unfamiliar or twisted – what we could call queer – situations or texts. Isolated and out of context, these protagonists experience an imbalance created among them, the narration, and the narrative structures on which they rely, frequently contributing to activate or expand their established meaning.

Cabello/Carceller have been recently included in Art and Queer Culture, a major historical survey published by Phaidon Press and written by Catherine Lord and Richard Meyer. Their work is also featured in The Queer Art of Failure, written by Judith Halberstam and published by Duke University Press, as well as on the prologue to the Spanish edition of Female Masculinity (Masculinidad femenina) by the same author.

A selection of collective shows include: 56ª Venice Biennale, Spanish Pavillion (Italy), Global Feminisms, Brooklyn Museum, New York and Davis Museum, Wellesley College, Massachusetts, USA - Fiction and Reality, MMOMA, Moscow Museum of Modern Art, Moscow - BB4 Bucharest Biennale: On Producing Possibilities, Bucharest, Romania – Bienal Latinoamericana de Artes Visuales, Curitiba, Brasil – re.act feminism. A Performing Archive, Akademie der Künste, Berlin, and other European venues - Nuevas Historias. A New View of Spanish Photography and Video, Stenersen Museum, Oslo, Norway / Kuntsi Museum of Modern Art, Vaasa, Finland / Kulturhuset, Stockholm, Sweden / Royal Library, Denmark – Genealogías Feministas, MUSAC, León (Spain) – The Screen Eye or The New Image, Casino Luxembourg, Luxembourg – Cooling Out, Lewis Glucksman Gallery, Cork, Ireland, En todas partes, CGAC, Santiago de Compostela (Spain) –  Rencontres Internationales Paris/Berlin/Madrid, Centre Pompidou, Paris (France).

Selected solo shows: MicroPolíticas, MicroPoéticas, Sala La Patriótica/CCEBA Buenos Aires, Argentina - Off Escena; Si yo fuera..., Abierto X Obras, Matadero Madrid, Spain - Archivo: Drag Modelos, Joan Prats Gallery, Barcelona and CAAM, Las Palmas de Gran Canaria, Spain - Suite Rivolta, Elba Benítez Gallery, Madrid, Spain or A/O (Caso Céspedes) CAAC Sevilla, Spain - Rapear Filosofía: Foucault, Sontag, Butler, Mbembe. Galería Elba Benítez, Madrid, Spain.

Curatorial text

As a first statement regarding the works of Cabello/Carceller, the entry hall is conceived as a reading room, including documents, bibliographic references, and a subjective and militant timeline regarding gender theories and movements on a global scale.

This first step of the exhibition, reminiscent of all main retrospectives, must be understood as a declaration of intent. On the one hand, it underlines that the spectator needs to become an active reader, ready to “waste time” at the museum, and knowing that any and all readings are wrong readings, since they establish a significant difference with regards to the intent of the authors; a deviation that is fostered and increased by the other contents of the exhibition.

And, on the other hand, the timeline highlights events of the past with regards to the present, juxtaposes the “milestones” of a trajectory with the day-to-day conquests and disappointments of gender policies and its cultural expressions, a chrono-political view clashing with the evolutionary progress, with the unstoppable productive order of late capitalism, and strengthening the idea of the timeline as a spiral where the future affects the past in order to build the present.

From there on, the exhibition shows the works as a display device: A dramatized space based on repetition, sameness and double play, the core of its militant aesthetics, where works and times are juxtaposed to put the emphasis on the permanent current state of events of its critical apparatus.

The idea of transience can be found in the projection The End (después y antes) (“The End (After and Before)”), as well as in the Archivo Drag Models (“Drag Model File”), unfolding on the walls of the front-side rooms, both working as two practically reflected sides, as mirror spaces, highlighting the idea of doubles on which the artists have been working constantly. The corridor-rooms interconnecting them feature older works that are essential to understand the genealogy of their growth as artists, and the front-side rooms put into context everything related to their conception of drag policies.

At the perimeter corridor, opened as a way of transit between the front-side rooms and the back-side spaces, the video Libre producción de sentido (“Free Production of Sense”) shows the performance of Cabello/Carceller destroying at the Bucharest Biennale the photographs belonging to the Archivo Drag Models, warning us about eventual surprises and emphasizing the sense of construction/destruction/reconstruction of the works and of the spectator's own views.

The area of the gallery, where the series of photographs of empty pools Sin título (Utopía) (“Untitled (Utopia)”) is shown, expands towards the back room, refurbished as a bright space completing the exhibition with several works of particular relevance: At the front side, the Suite Rivolta installation, an aesthetic proposal for action with white-on-white graffiti, a reference to González-Torres and a video choreography; and, at the back side, the projection Off escena: si yo fuera… (“Off-scene: If I were…”), the project created with the interns of Matadero Madrid that puts the spotlight on jail as a place for memory. This projection is accompanied by an updated version of Come y calla (“Shut up and eat”), presented at the Círculo de Bellas Artes, Madrid, in 1993 and showing through small Polaroid photographs a portrait of the MARCO's cleaning staff, completely consisting of women, highlighting the idea of infiltration. These works operate as the closure/beginning of the exhibition, folding times and brilliantly intertwining the lines of history.

This epidemic of queer significance in the space of the MARCO goes beyond its conventional exhibition rooms and infiltrates its subsidiary spaces and its library. Like corrugated cardboard, where two thin cardboard sheets gain singular strength thanks to a third zig-zagging sheet inserted between them, the exhibition unfolds its narrative through its interstitial and structural voids, reading between the lines, and allowing the appearance of discursivities that are normally kept hidden. That's the space for joy and surprise, and hence its provisory and indefinite title: The exhibition as a space where any point of reference becomes a new centre from where the whole requires to be articulated anew, once and again, where queerness is not given for granted but happens as an indication of an utopian becoming.

Manuel Segade


Manuel Segade

Manuel Segade (A Coruña, Spain, 1977) has a BI in History of Art from the University of Santiago de Compostela. His dissertation was a review on theatricality and allegorical linguistic structures in the sculpture from the 1980s through the work of Juan Muñoz. Since 1998 he works in fragments of a cultural history of aesthetical practices of the end of the XIXth Century, around the production of a somatic and sexualized subjectivity, about what he published the essay "Narciso Fin de Siglo" (Melusina, 2008).

In 2005 and 2006 he served as content coordinator for the Metrònom Fundació Rafael Tous d'Art Contemporani in Barcelona. From 2007 to 2009 he was a curator of the Centro Galego de Arte Contemporánea in Santiago de Compostela. In 2009 he resumed his freelance activity as a researcher and independent curator producing and curating projects for Fundació Joan Miró, La Casa Encendida, ARCO, MUSAC, Centre d'Art La Panera, Pavillon Vendôme (France), Kadist Foundation (France), Bienal de Cuenca (Ecuador), ArteBA (Buenos Aires) TENT, (Róterdam) o el CA2M Centro de Arte Dos de Mayo, Móstoles (Madrid). He has been teacher of curatorial practices in post-graduate programmes such as Honnours in Curatorship of Michaelis University in Cape Town (South Africa) or the MACBA Independent Studies Programme. He is tutor of the École du Magasin, Grenoble (France). His last projects are focused on new approaches to curatorial practices. He currently lives in Madrid (Spain) where he is the director of CA2M Centro de Arte Dos de Mayo.