In anticipation of the Day of the book for Sant Jordi, we asked our “Mirador de les Arts” contributors which three art books they would take with them on a desert island. Their answers are surprising.
…comfortable, resistent, easy to wash. This is how , in the seventies, the new textile fabrics from the Mataró manufacturers were advertised. Mataró was a city specialising in the new textile modes and today exhibits its industrial heritage in the old Can Marfà factory.
Almost twenty-five years on, and Miralda is returning to Oval Room of the National Art Museum of Catalonia with his giant tapestry.
The figure of Joan Obiols Vié (Granollers, 1918 – Cadaqués, 1980) is multifaceted. This recognised psychiatrist and academic, art collector and cultural activist in times of Francoist restrictions… has not had a complete exhibition dedicated to him until now.
A group exhibition on time brings together philosophy and contemporary art at Can Felipa. With nine artists and a Heideggerian title that says “Waste time and buy a watch to do so!”
“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.”
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.
Austrian artist Oliver Ressler presents his first solo exhibition at the gallery àngels barcelona.
The Umbral project in the Barcelona metro: thirteen suburban artistic works on migration and its political, social and symbolic contradictions.
Concha Martínez Barreto is interested in showing the mechanisms of the construction of memory.
An exhibition in the Art Museum of Girona brings us the visual and written work of this Polish artist who made her mark on Girona at the beginning of the twentieth century.
Lee Miller was no “femme fatale”, she was a “femme différente”.
It is not easy to gain access to kinetic art from the world of screens and digital media. Accustomed to the paradigm of constant and liquid movement, kinetic art pieces and their commitment to the study of movement have something of an old-fashioned method, a mechanical process and a touch of magic. It is almost as if we are talking of another age.