A exhibition at the Apel·les Fenosa Foundation in El Vendrell recuperates the memory of the Mirador gallery in Paris – a space for Catalan culture in exile in post-war Paris.
The exhibition Freefall at the CaixaForum Barcelona explores the situation of uncertainty, concern and sometimes even panic which many people are suffering during these times of structural crisis.
Joaquim Capdevila has reinvented jewels as a means of artistic expression. The Design Museum of Barcelona is showing a retrospective.
The art of Bill Viola (Nova York, 1951) has got a hypnotic quality so intense that it fascinates and annoys in equal measure: the same is true for the mystical and spiritual substrata of his work.
CaixaForum Barcelona tells us the story of modern Europe through eight operas. This is a high fidelity exhibition that has to be visited using the audio guide.
The exhibition “Realism(s) in Catalonia 1917-1936” explores how some artists opted for a renovation of their artistic language without renouncing figuration.
”la Caixa” exhibits its collection of contemporary paintings.
Prince once said that with all the unpublished material in his mythical musical and visual ‘vault’ he could make an album a year for a century.
This exhibition, which has been organised using the collection of foundation, looks at the aesthetic and creative affinities of Gaudí and Miró as seen through the Joaquim Gomis.
The Espais Volart of the Vila Casas Foundation is showing “Please don’t smile”, by the photographer Frank Horvat who, having worked relentlessly during his professional life, now offers a collection of photographs taken in the field of fashion in the 1950s, 60s and 70s.
The anthological exhibition by Valencian Josep Renau (1907-1982) – poster-maker for the revolution – arrives in Barcelona. Introducing the international avant-gardes to Spain in the 1920s and 30s and a reference for the Catalan left in the 1970s, his criticism of American society is alarmingly modern.
Gino Rubert’s new exhibition at Galería Senda succeeds in transmitting an exceptional sensation of freedom.
You can never really read the work of Salvador Dalí without knowing the literary legacy of Carles Fages de Climent. This is shown by Dalí expert Josep Playà in his book, “Fages Dalí, geniuses and friends”.
“Vallès: manufacturing pasts, manufacturing futures” is a project in which Claudio Zulian uses the memory of the working class of the county of Vallès – an area historically and politically affiliated to the so-called “red belt” of Barcelona.
This show in the Barcelona museum reinterprets the different facets of the artist from the point of view of ten contemporary creators. The political Picasso, the passionate Picasso and the intellectual Picasso, all covered in the story which unfolds under the curatorship of Rosa Martinez.
When you visit the Lluís Hortalà exhibition at Tecla Sala in L’Hospitalet you have to be ready for a double set of rules: those of the eye, subjected to the logical trickery of trompe-l’oeil, and those of the concept, articulated in the solid story about the exhibition by Oriol Fontdevila. But one step at a time.
Learoyd’s photographs are made in a very original way. It is not that he has a camera in his studio but his camera is a room in his studio.
The MNAC, being the national museum that it is, had the job of rescuing the wok of Antoni Fabrés – a versatile and effective artist who moved on from the academic and Orientalist approach of his early works.
Entitled “Cerrar abriendo” (Close by opening), the sixth scene of “La Capella 25 Years After”, an exhibition in instalments which has told the story of this centre dedicated to emerging art since the month of January, through the artists that have exhibited there.
Did you know that the refillable plastic Clipper lighter, which is sold all over the world, was designed by Enric Sardà in the early 1970s? Or that the cuddly Tous teddy bear was created by Rosa Maria Oriol in 1985 with no intention of it becoming a jewellery icon?
The August Sander retrospective at La Virreina is exceptional in its rigorous respect for the original structure of the major project the photographer worked on during the early 1900s: People of the 20th Century.
Anyone who enters the exhibition Cinc anys a les trinxeres (Five years in the trenches) by Jesús Galdón, kind of phylacterical mirror hanging on the wall, is immediately reflected in the doorway of the El Quadern Robat gallery.
Just when the United States once again demonstrate their untamed meddling in the internal affairs of South America and when Pedro Sánchez recognises and legitimates a self-proclaimed president in Venezuela, Macba is opening the necessary and timely exhibition Undefined territories. Perspectives on colonial legacies.
This walk through the magnificent and sadly posthumous exhibition by Jordi Fulla at Can Framis is a silent one. It couldn’t be any other way.