As a result of the age of its own invention, the motor car cannot have been a theme in art much before the turn of the twentieth century.
The Miró Foundation presents an exhibition of drawing by the Italian-Brazilian Lina Bo Bardi, one of the most important architects of the twentieth century, following the storm which has blown up over the dismissals and the losses of the institution.
“I have been making video installations for some time. They allow me to continue making films in different ways. Because in cinema films there are some things that cannot be done. Either because of the format, or the context, or the audiences, which have become very conservative.”
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An exhibition at the Fundació Tharrats d’Art Gràfic commemorates the centenary of the birth of this artist from Girona and explores his multiple creative sides.
CosmoCaixa invites us to an exhibition that links Hergé’s comic “Mission to the Moon” (1950) with the Apollo 11 mission (1969).
The AES+F group doesn’t care whether they are labelled as frivolous or kitsch. Their aesthetic is generally considered to be on the verge of bad taste.
One of the most famous paintings by Titian is “Venus and Adonis”, and it enjoyed so much success at the time that many replicas were made of it, with minimal variations. In the work, the artist does not focus on the myth portrayed by Ovid, but is a free version and one which, to this day, we cannot be sure whether it is of his own invention.
When Barcelona had no share in the computer games industry, it suddenly often appeared as the setting for one. Now that it has become the unarguable capital of said industry, the computer games no longer appear. Does anyone know what is going on?
The painter Ramon Casas was the great columnist for one of the most brilliant and convulsive periods of the history of Catalonia. The Gothsland Gallery has put on a magnificent exhibition of his work, which accompanies the presentation of the first volume of the Complete Catalogue of the artist.
The density of techniques, materials and content which can come together in a single work of Josep Guinovart is almost infinite.
Jordi Mitjà, Jon Uriarte and Ingrid Guardiola have taken the fourth episode from Terra-lab.cat –the visual laboratory of the region– to the Museum of the Empordà in Figueres and the Museum of Exile in La Jonquera.
In this world there is a city almost as unreal as The Invisible Cities as described by Italo Calvino. This city is called Angoulême and the streets are Rue Hergé and Rue Goscinny.
The SÂLMON Festival, which is in its seventh year with an extended programme, is always a stimulating event for measuring the pulse of new tendencies in dance, performance arts and contemporary live art.
The walls of the chapel of the Ancient Hospital of Barcelona, La Capella, are oozing with history. Health history, religious history and artistic history.
More unpublished declarations of Anna Maria Dalí about the prolonged conflict that the artist had with his father.
An excerpt from the unpublished diaries of Rafael Santos Torroella reveals, through Anna Maria Dalí, what Salvador Dalí’s reconciliation with his father was like, having been expelled by the family for his relationship with Gala and the surrealist ‘sect’.
To the now classic dilemma of “who do you like best, Mummy or Daddy?” the people of Barcelona have added “which do you prefer, culture or health?”.
Now that the Facebook robot censors have put into practice the implacable and efficient, white and starched, orders of Silicon Valley puritanism, it brings to mind an interesting and strange controversy which took place in Barcelona at the height of the Primo de Rivera dictatorship.
Austrian artist Oliver Ressler presents his first solo exhibition at the gallery àngels barcelona.
The artistic and hereditary fabric of Catalonia is extensive…and thinly spread, too thinly spread. Are the recent staff dismissals at the Joan Miró Foundation and the “strategic change” at the Antoni Tàpies Foundation, warnings of future suspensions?
After the exhibition last year at the Macba “Not here or anywhere”, Domènec returns to show the tensions between utopia and reality in modern architecture.
Philip IV of Spain contracted Diego de Velázquez when the painter was twenty-four years old. He had just arrived in a Madrid that was at the height of Gold Fever.
Dalí rocks! He invented soft watches, the paranoiac-critic method, the museum as a theatre of experience and, even after his death, the exhibition in two acts.