Informal conversation with Plàcid Garcia-Planas, curator of the exhibition “The Endless War. Antoni Campañà (1906-1989)”.
The contemporary art of the Suñol Foundation meets the permanent collections of the National Art Museum of Catalonia (MNAC) in a risky experiment entitled “Intrusive Dialogues”.
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.
Almost twenty-five years on, and Miralda is returning to Oval Room of the National Art Museum of Catalonia with his giant tapestry.
I’m in the grip of a simian rage, and I hope this is obvious from the tone in which this article is written.
Most of these last four decades of democracy have been spent creating a fake culture, using as a marketing ploy a country which urgently needed to demonstrate that it could hit the spot in terms of European culture.
Bartolomé Bermejo left an Andalusia that had been conquered by the Castilian troops, to travel to Aragon, where it would seem that the ills blown by the winds were not so bad.
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.
The MNAC has just opened two new halls dedicated to Catalan art from 1940 to 1980.
In Catalonia, at the height of Francoism, one group of artists was in a hurry to turn the rules upside down and work across disciplines.
Blai Matons (Barcelona, 1934) worked as a chauffeur. From 1969 to 1977 he drove Salvador Dalí and his wife Gala in his Class E Mercedes.