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Visitors to the museum may also see the historical grounds of the former monastery which includes the old chain door, atrium, chapels of Santa
Catalina, San Bruno, Santa Ana, Profundis and la Magdalena, the priory cell, church, the sacristy, cloisters, monks' chapter, refectory, gardens and orchards.
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The Centro
Andaluz de Arte Contemporáneo (CAAC) was created in February 1990 with the aim of giving the local community an institution for the research, conservation and promotion of contemporary art. In 1997 the Cartuja Monastery became the centre's headquarters. The CAAC, an autonomous organisation
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times, was honeycombed with caves made by potters for ovens and to obtain clay, and that after the capture of the city by
Christians in the thirteenth century, an image of the virgin was revealed inside one of the caves, where supposedly it had been hidden. It prompted the construction of a chapel of
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La
Cartuja de Sevilla received numerous awards in international exhibitions: Paris (1856, 1867 and 1878), London (1862), Porto (1865), Vienna (1872), Seville (1858, 1929 and 1949), Barcelona (1888), Bayonne (1864), Philadelphia (1876), and in 1871 was named Provider of the Royal House of Spain by
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The permanent collection includes pieces by Luis
Gordillo, Candida Hofer, Rebecca Horn, Pablo Palazuelo, Joseph Kosuth and Louise Bourgeois. It focuses in particular on the history of contemporary Andalusian creativity and its relationship with other national and international artistic contexts.
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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
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Amadeo I of Savoy who later granted the title of
Marquis of Pickman founder of La Cartuja de Sevilla. Charles Pickman is also distinguished by his admission to the Most Noble Order of the British Garter, which is used as a trademark in some models from the factory.
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dependent on the
Andalusian Government (Junta de AndalucĂa), 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).
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In 1964, the monastery was declared a national monument, and now is owned by the government of
Andalusia, which created a new institution called "Monumental Ensemble of the Monastery of Santa MarĂa de las Cuevas". Restorations were made for the
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Since 1994 the centre has organised a series of themed exhibitions relating to different aspects of the
Monastery in which pieces from its archives address relevant events in contemporary aesthetic creation.
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During the
Napoleonic invasion, the monastery was sacked and used as barracks. After returning in 1812, the monastery was finally vacated with the general closure of monasteries in 1835–36 (
257:' remains were first interred at Valladolid, then at the Monastery of the Cartuja by the will of his son Diego. In 1542 the remains were transferred to Colonial Santo Domingo.
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Santa MarĂa de las Cuevas to house the venerated icon. In the 15th century, the archbishop of Seville, aided by the noble family of Medina, helped found a
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Production continued until 1984. The bottle shaped kilns and tall chimney are the legacy of the ceramics factory.
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Following the confiscation of church property decreed by
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Monastery of Santa MarĂa de las Cuevas The chimney and
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16th-century Roman Catholic church buildings in Spain
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311:National Monument and museum of contemporary art
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