The Barcelona Design Museum shows a large retrospective centred on the designer, theorist and activist Victor Papanek (1923-1998).
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 Marès Museum in Barcelona has organised a literary walk through the “sentimental museum” – a route through its collections via the Catalan literature of the late nineteenth and early twentieth centuries.
Did you know that Frederic Marès is the sculptor with the greatest presence in the public space in Barcelona? Plaça Catalunya, Diagonal and even inside Santa Maria del Mar and the Palace of the Catalan Government, for example.
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.
On 27 June Soler y Llach will put up for auction some incredible posters from the Josep Torné collection. These are masterpieces in the world of postermaking by artists as big as Josep Renau, Ricard Opisso, Capiello, Cassandre, A. de Riquer, Ramon Casas and Segrelles.
Gino Rubert’s new exhibition at Galería Senda succeeds in transmitting an exceptional sensation of freedom.
When we talk of culture some people think that we are treading the terrain of the utopian or, even worse, the luxurious and dispensable. Opposing ideologies resign culture, in an opposing but similar way, to private initiative.
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.
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?
Clichés about the affinity between Italy and Spain aside, it is true that cultural and artistic exchanges between the two countries are less intense than one might expect. In Barcelona, an exhibition, an urban installation, workshops and other initiative are an attempt to redress this lack of reciprocal recognition.
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.
Global cities, futuristic dystopias and universal figures of the literary and linguistic imaginary all come together in La Capella in a group show with ten heterogeneous proposals around the idea of layers or of accumulated time.
He’s an international photographer with an impeccable reputation, and I’ve asked him a favour, as a friend: to accompany me to the World Press Photo Exhibition (WPPh). I’m interested in his personal vision of the tragedy. Because the WPPh is one big tragedy: in the photos almost no one is smiling.