It is evident that modernity is a popular mountain for analysis and reflection of a largely controversial nature. Numerous theories have also been written about the beginning as well as the end of modernity. The aim of Modernologies is to achieve an account of the state of artistic research and to discuss selected contributions to the subject matter that appears central after two to three decades of an ever intensely blazing conflict over the legacy of modernity and modernism.

For the first time in Publication, a Retrospective of the Acclaimed Catalan Artist. Francesc Torres [born in Barcelona, 1948] produces most of his work between Spain and the United States. Torres explores the relationships between artistic practice and political analysis in recent history and the present. This is a groundbreaking collection of socially and politically charged art.

The exhibition Invocable Reality explores possible perspectives on reality from art practices through a selection of works by eleven artists from different backgrounds and generations. The works in Invocable Reality approach reality in a subtle way. They start from the 'here and now' of the reality that the artists intend to 'investigate and conquer': incorporating fragments in the exhibition space (Roman Ondak), turning the gallery into a real space (Antonio Ortega), filming it (Lutz Mommartz, Jeremy Deller and Mireia Sallares), trying to direct it (John Smith), looking for connections in space and time (Enric Farres-Duran), influencing it (Nuria Guell), showing the devastating effects of a mediated reality (Phil Collins), demonstrating the impossibility of its representation (Rafel G. Bianchi) or showing how we have turned death into something unreal (Jill Magid). The catalogue reproduces a series of photographs of the exhibition installation, whose selection of works is discussed in the text by Montse Badia, curator of the exhibition, as well as the essay 'On "The Real"' by the French philosopher Clement Rosset.

Art & Language Uncompleted. The Philippe Meaille Collection provides a detailed and revealing view of one of the most complex aesthetic identities of the second half of the twentieth century. The overwhelming literary and writerly personality of Art & Language, evident in the huge number of yellowed documents and papers which form a significant part of The Philippe Meaille Collection, challenges the power of the institution to deal with artistic research. What we discover is something as discursive and various as the artistic life of a collaboration which has evolved relentlessly since the sixties.

Asier Mendizabal (b. Ordizia, Guipuzkoa, 1973) is a new generation Basque artist who pays special attention to the relations between form, discourse and ideology. His oeuvre could be described as a critique of ideology, based on the mise en scne of the structures that shape it. Through art, rock music, cinema, politics and theory, his view on social structures leads him to sketch out a map of the totality of production relationships. Asier Mendizabal's transversal, multidisciplinary approach focuses sharply on the difficulties of representation inherent in the political, as well as on the gaps between artistic activity and the "political unconscious" in cultural production and mass movements.