Art Institute of Chicago

The Art Institute of Chicago, the second largest museum in the US, chooses the Barcelona studio to transform its extensive campus

The Institute of Art of Chicago of the 21st century wants to bear the seal of the Barcelona architecture firm Barozzi Veiga. The board of directors of this museum institution – the second largest in the United States, after the New York Metropolitan Museum – announced yesterday that it had hired Barozzi Veiga to design its new campus plan and undertake a profound transformation.

The works, which can last more than a decade and involve an investment not yet specified, but of many hundreds of millions of dollars, must include the functional redefinition of the campus – which occupies a super block, equivalent to four blocks from the central area of Chicago–, the demolition of some of its current buildings, the construction of other or new plant extensions, a new program of uses of existing volumes, a renewed organization of collections and a closer relationship with the city, parks Surrounding and Lake Michigan.
As much for the dimension of the works that must be carried out as for the global relevance of the Art Institute of Chicago, this is, by far, the main assignment received by a Barcelona study abroad in a long time. And the best news from abroad for Catalan architecture since the Pritzker Prize was awarded to Olot RCR’s studio in 2017.

The venerable North American museum, whose collections fed by private donations gather 300,000 pieces from all corners of the world, some 5,000 years old, others contemporary, receive nearly two million annual visitors. Its two most characteristic architectural elements are perhaps the first and last to date: a Beaux Arts style building, designed by Shepley, Rutan and Coolidge, opened in 1893, with a facade on Michigan Avenue, and an extension, the Modern Wing , signed by the Italian Renzo Piano in 2009, which stands in the Northeast corner of the enclosure, with entrance through Monroe Street. For a century and a quarter, in successive extensions, the Art Institute has been adding buildings and facilities, to add a useful area of ​​about 300,000 square meters, on a large plot divided in two by the city’s railway track.
Barozzi Veiga were invited by the Art Institute to participate in a restricted contest, with the request to contribute ideas for the reorganization of the campus and the optimization of its potential. They received this invitation together with some of the world’s leading architectural firms, being, after three years of discreet work, the chosen ones. It is therefore a clear commitment to an emerging firm of the museum’s steering committee, whose president, James Rondeau, argued yesterday to announce that choosing Barcelona has been a brave decision, but also inevitable after knowing his previous work.
The proposal of Barozzi Veiga, now in a phase of intentions and on which no images have been distributed – the basic project will not be disseminated before a year and a half – is synthesized in four concepts: city, train, gardens and lake. Part of a thorough analysis of the Art Institute in its current configuration, after which Barozzi Veiga formulated its action strategy, based on the four concepts cited.

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The works, with a multi-million dollar cost, will last no less than ten years

His first observation was that the museum was introverted and had a lot of room for improvement in its relationship with the city, and therefore had to reactivate and permeabilize its urban façade, mainly that of Michigan Avenue. The second was that the museum had always tried to turn its back on the railway line (Illinois Central Railrod), which cuts it in two, and that in the future it would be good to reverse this trend and consider the trains, after all a feature of Chicago identity, more like an integrable advantage than a problem to hide.

The third and fourth observations of Barozzi Veiga were that the museum despite being surrounded by several gardens and parks had little relationship with them, and that this should be corrected by a new connectivity system that redefined pedestrian circulation flows and facilitated contact with these green spaces, and even with neighboring Lake Michigan, a few blocks away in an eastbound direction. Barcelona architects believe that this strategy is the most appropriate to breathe personality and new life into a very heterogeneous set of buildings.

Chicago, cradle of skyscrapers, is one of the great American architectural squares, marked by professional buildings such as William Le Baron, Louis Sullivan, Daniel Burnham, Frank Lloyd Wright or Mies Van der Rohe. The presence of Spanish authors architecture there is limited, with the exception of Ricardo Bofill, author of a 50-storey tower erected along the Chicago River in 1992. Rafael Moneo, author of extensive international experience, and with works Like the Cathedral of Our Lady of Los Angeles, it is difficult to find an order from an American institution to a Spanish firm comparable to the one Barozzi Veiga just received.

Winners in Europe and the USA, unpublished in their city

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Antoni Fabrés at the MNAC

The Museu Nacional d’Art de Catalunya recovers with this exhibition the work of the Catalan painter and sculptor Antoni Fabrés (Gràcia, Barcelona, ​​1854 – Rome, 1938).

The exhibition gathers 147 paintings, sculptures and different documentary material that allows to discover a great
a portraitist and an artist who, beyond Orientalism, presents a critical view of society. Fabrés
he achieved in life a great international success that the inexorable passage of time, and with it the different historiographical generations, have been forgetting.
The research and restoration work that the National Museum has carried out for this exhibition has
allowed to discover interesting unpublished aspects and that we can enjoy his work in all its dimension.
Fabrés developed a large-scale pictorial work that he carried out in the different cities in the
who lived: in Rome, where he arrived in 1875, as a follower of Fortuny in terms of the Orientalist theme, then in his hometown, Barcelona, ​​later in Paris and in Mexico City, where he was the teacher of many
From May 31 to September 29,
2019
Organizes and produces: Museu Nacional d’Art de
Catalunya
Curator: Aitor Quiney, doctor in History of Art
With the sponsorship of
Antoni Fabrés. The crazy one, towards 1910. Donation of the artist, 1925.
Museu Nacional d’Art de Catalunya
4
of the Mexican painters who revolutionized national art in the twentieth century as Diego Rivera, Saturnino
Herrán or José Clemente Orozco. In 1907 he returned to Rome where he settled until 1838, the year he died.
In 1926 the artist himself made a large donation of his work to the Board of Museums of Catalonia, which is currently preserved in the National Museum, as well as in the former Casa del Comú, in Les Corts.

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MNAC & Picasso

The exhibition can be visited until next February 26

pablo-picasso_buste_dhomme

The Museu Nacional de Arte de Catalunya (MNAC) leads Pablo Picasso to the Middle Ages in the Picasso-Romanesque exhibition, which illustrates the influence of Romanesque art and its affinities from 40 oils, drawings, ceramics, sculptures and reliefs. In the work of the Malaga artist.

All the works exhibited amidst the Romanesque sculptures and apses of the MNAC, which houses the most complete collection of Romanesque art, come from the Picasso Museum in Paris, as well as a selection of unpublished documents from the Picasso archives belonging to the Parisian museum and which reveal their interest in the art of this period.

The exhibition, which will be open to the public from Thursday to February 26, focuses on two dates that mark the relationship of the artist with medieval art: 1906 and 1934. As explained on wednesday by the curators of the exhibition , Emilia Philippot and Juan José Lahuerta, “in 1906, in a decisive moment of transformation of his style, Picasso settled for a few months in the Pyrenean town of Gósol, almost coinciding with the campaigns of discovery and safeguard of the Catalan Romanesque promoted by the Board of Museums of Barcelona “.

Almost thirty years later, on September 5, 1934, Picasso visited the collections of Romanesque art at the inauguration of the then Catalan Art Museum, now part of the MNAC, and on that visit, accompanied by the local press, the artist from Malaga Stated: “Romanesque art is an invaluable lesson for the moderns.” Although the next day he left for Paris and never returned to Spain, “throughout his life Picasso was treasuring the evidence of that relationship,” recalls Philippot.

The exhibition shows a documentary collection, until now unpublished, that preserves the archives of the Picasso Museum in Paris, full of Romanesque images, postcards of the museum with Romanesque motifs sent by his friends, among them Miró, correspondence and various books and magazines on the theme. The documentary set begins in 1922 with a postcard of Joan Miró and ends in 1964 with another of his friend Joan Vidal Ventosa, passing through a letter from the Picassian anthologist Christian Zervos of 1936.

The exhibition does not attempt to establish a mechanical relationship between Romanesque works and the works of Picasso, nor does it raise the search for a direct influence, since, as Lahuerta has said, “one of the main characteristics of Picasso’s work is precisely his capacity of transforming any influence into something distinct and proper. ” Picasso’s gaze on the Romanesque, Lahuerta adds, “is a look of artistic valuation and not an archaeological look.”

In a first space of the exhibition the first contacts of Picasso with the Romanesque one, centered in the works realized in 1906-1907 in Gósol, are explored in a moment in which it undergoes a return to a certain primitivism, in reaction against the called period Pink color.

Next to the virgin of Gósol, that at the beginning of the 20th century was in its original location and that Picasso himself could see in his Pyrenean stay, works like Bust of man (studio for Les Demoiselles d’Avignon), Rostro- Mask by Josep Fontdevila, Fernande with white mantilla, Study for The man of the lamb or the pottery Gazelle of oven decorated with a bust of man with striped sweater.

A second axis has to do with a tragic theme, crucifixion, very present in Romanesque art and Picasso worried at different times of his life, especially between 1930 and 1937. In the space of Santa Maria de Taüll, Romanesque frescoes Coexist with varieties of The Crucifixion, Three Bathers, Beheading Scene or Picasso’s Stiletto Woman.

A final area also refers to a recurring theme in the Romanesque collection of the museum: the skull, metaphor of death, which is one of the major transversal themes in Picasso’s work, expressed through masks and skulls, both Human beings as animals.

Here you can contemplate Woman’s Head, The Kiss, Goat’s Head, Ram Skull, Vanitas, Object with Palm Leaf or Mask.

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Art in Cadaqués

Art in a chapel

Cadaqués-Sant Baldiri chapel

Tonight in Cadaqués may enter galleries and artist workshops until midnight. An experience that will be repeated on July 16, August 13 and September 10, under the so-called Estiu d’Art, a proposal that wants to recover the artistic potential that has characterized this population for more than a century ago .

Cadaqués is the periphery. It lies at the eastern end of Catalonia and owes much of its charm to isolation. And the same geographical location has become a haven for many artists. But the impact of mass tourism, the crisis of the art market and certain weariness among those who have promoted various initiatives has led to the artistic atmosphere of Cadaqués has languished in recent years. To curb this reality and recover vitalism is born Perifèric project.

The objective of this proposal is to promote artists and art galleries of Cadaques. “We want to break some negative dynamics that occurs in Cadaqués, as in many other places. Is coordinating artists and galleries, to promote quality and provide an opportunity to expose all those artists linked to Cadaqués, “says Pitu Gómez, one of the promoters of Perifèric, with Tony Azorín and Maria Sola. The first decision has been to bring together the ten existing galleries and artists linked to Cadaqués and to do a poster with 40, although at present there are ten others waiting. And the second was to look for an exhibition space, complementary to the ten galleries and the municipal museum that already exist. First it was thought at the Corral de Gala a space council property that had belonged to Salvador Dalí, but is awaiting rehabilitation. But then came the option of the hermitage of Sant Baldiri, a small chapel near the cemetery of Portlligat hardly used except for some burials.

Thanks to the good availability Jaume Angelats Parson and the help of the bishops of Girona, this winter has been clean, restore and paint the nave of the chapel. “And the chapel has been available to artists,” concludes Pitu Gomez, who also runs the gallery Dieu, moviment creatiu, on the same avenue of Sant Baldiri. Except the altar and the saint, the rest of the space, which includes the four side chapels, have been stripped of all adornment and religious symbolism and available to artists.
On June 11 he opened the first exhibition with works of Tom Carr. From the last 17 it was the turn of Sebastian Skira. But those who leave today to visit the chapel and find your relay: Maya Cusell, which performs the opening at 19 hours. The next weekend will be a double performance: 52 Parlament on Friday and Saturday with Fina Miralles. Until October is expected to pass eight other artists. In addition, each vernissage there is a restaurant in the town offering a small taste.

Sebastian Skira, born in Cadaqués in 1980, the son of a renowned gallery owner and grandson of one of the great editors of European art, the Swiss Albert Skira, has been for a week watching the reactions to his work. It is “four square white floating on the dry stone walls” pieces of lacquered aluminum, with a texture that reflects and varies with daylight.

There was nothing else except an old “postalero” with blank postcards of the same texture, a whole irony about tourist souvenirs. And as if it were the thing, Skira has gone around the banks of the chapel for them to look toward the door. A lady comes in and asks if the church is ready for a wedding. Another spectator believes the paintings are part of the new decoration of the chapel. Sebastian Skira write it down on a notepad where you might be born another art project.

The hermitage of Sant Baldiri, which was begun in the late seventeenth century, consists of a single ship with semicircular head and portalada, semicircular arc, which has recorded the date 1702. The chapel is next to garden Dali’s house and from the porch is accessed Portlligat cemetery, where are buried the father and sister of the painter. Although this cemetery is little known, it has all the flavor of marine cemeteries, with several sculptures, including one of Josep Llimona.

The silhouette of the hermitage of Sant Baldiri is part of the iconography daliniana as the artist often played with the shape of the top of the bell tower and the bell made her a double image of a dancer. There is also a known photo of Dali to the chapel, which made him Francesc Català Roca in the ’50s.

The artistic offer summer in Cadaques has another focus in the exhibition Dalí, Duchamp, Man Ray. A d’starting escacs, which opened last 18th and will remain open until 17 October in the municipal museum. It has been curated by Pilar Parcerisas and also has a detailed catalog that complete the exhibits and the relationships between these three creators. This exhibition, which deserve a more detailed article, has its origin in the first visit Duchamp made to Cadaques in 1933. And as a result of the contact established with Salvador Dalí, they commissioned Man Ray that would make a series of photographs of buildings of Gaudí to illustrate an article of the Catalan painter for the magazine Minotaure. He concludes with pictures of what was the last work of Duchamp in Cadaqués: the anaglyph fireplace he designed for his house.

Visitors today come to Cadaqués will also be able to attend three vernissages: the double exhibition of sculptor Javier Corberó and artist Javier Mariscal, in the gallery Patrick Domken; Exposure Silk thousand fils in Marges-U, Gustau Carbo and Nobuko Kihira; and Jean Claude Bouthier, in the gallery Iturria. They may also consider other exhibitions and open Ramon Bigas (Societat l’Amistat), Francesc Llopis (gallery Dieu), permanent Tony Azorín and Maria Sola (gallery El Carro), permanent Elodie Loiseleur, Javier Aznárez and Ilich Roimeser ( workshop Tabakov) and an exhibition of old editions of the Cadaqués Gallery Bombelli (Espai Two). The Workshop Gallery will be exposed Fort winners 36 Mini Print International of Cadaqués and also exposing Cristina Perez and Alay (last year’s winner) is presented. Just last day 15, the Library of Catalonia in Barcelona presented the donation of the collection of engravings winners of all editions of the Mini Print International of Cadaqués. It is more than two hundred prints that complete the graphic background of the Library of Catalonia and reflect the diversity and evolution of this artistic technique. According highlighted the director of Print International, Merce Barberà, the collection is made up of the winners of this award held since 1981 in the Fort Gallery. The contest comes to meet annually to 650 artists from around the world. Since 1992 the Mini Print is also presented in England and France.

For Saturday July 2 is scheduled to open season the Cadaqués Gallery, this year with an exhibition dedicated to Joseph Beuys, in which you can admire his and other contemporary artists work. And the planning for the rest of the summer in Cadaques include other names such as Dominica Sánchez, Christine Valcke / Pau Riba (presenting a book of poems illustrated) and America Sanchez, in the gallery Dieu; Inka Martí, Koyama and Moscardó brothers, Patrick Domken in the gallery; or Casademont le vieux and Pilar Villuendas (L’Amistat).

A simple tribute is also planned the painter Antoni Pitxot in early August with placing a monolith in his honor near his house, run by the Friends Dalí Museums. A full Estiu d’art that will tonight one of his first inedible, or other dishes, like Dali would say.

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Mayoral art gallery Barcelona

In the exhibition will be open until July 29, there are also works by other renowned artists such as Joan Miro and Antoni Tapies

Mayoral art gallery Barcelona

Texts, prints and unpublished works of Joan Brossa, Joan Ponç and Modest Cuixart can be seen from today at the Mayoral Gallery of Barcelona thanks to the exhibition “Dau al Brossa”, in which the figure of the artist is claimed and offer “many ingredients to see it differently.”

Commissioner Glòria Bordons, director of the Brossa Foundation, was expressed in these terms during the presentation of the exhibition will be open until July 29, and in which there are also works by other renowned artists such as Joan Miró and Antoni Tàpies.

Bordons focuses on the time of the magazine Dau al Set, between the late forties and the fifties of the last century, and in his relationship with Joan Brossa other contemporaries.

In order to display these “dialogues” has enjoyed the complicity of the philosopher and art critic Dau al Set group, Arnau Puig, the last testimony of this artistic movement, and with input from the art museum, which is preparing a major exhibition on the artist 2017.

The exhibition begins with some copies of “Nocturns Encontres”, considered the first visual poems of Brossa, a man of theater and poet, and a copy of the book “Em va fer” is also shown, with texts strongly influenced by conversations Dau al set group had with the Brazilian consul of the time in Barcelona, Joao Cabral de Melo, who had Marxist ideas.

The exhibition is the culmination of other organized by the Mayoral Gallery in recent months about Dau al Set, shows for the first time seven unpublished engravings of Joan Ponç, three of which, at the back, there are texts Brossa, which they had been stored in a folder so far.

While Ponç is inclined to draw strange creatures like demons, and strokes that refer sex scenes, Brossa invents words and build sentences difficult to understand.

Another striking piece is another unpublished engraving Cuixart with a text Brossa could be around 1947, also invented words like “Catasques” and focuses on the nails.

Bordons also wanted to poems by Brossa Antoni Tapies on shoes or dialogue with two paintings by Miró and Tàpies one of the same.

In the final part of the route three objects, installation, two visual poems and a video of Brossa and Frederic Amat “Foc al càntir” eighties influenced everyone for their stage in Dau al Set exhibit from “Porró amb daus “a” Contra l’atzar “.

The exhibition is completed with reproductions of letters between Miró, one of them dated in Sant Hipòlit of Voltregà (Barcelona) – and Brossa; between it and Cuixart, which had a more than understandable letter, and between Brossa and Antoni Tapies

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Art management center in Barcelona

Artur Ramon from art gallery to art management center

Artur Ramon Art Gallery Barcelona

www.arturamon.com/en/

Artur Ramon Art, historic art gallery and antiques, will close next October local street of La Palla and will reopen at the end of the year or early 2017, in a space of 660 m2en Street Bailèn, ground and floor, old textile manufacturing and be accessed only by appointment. But beyond the change of location, it is “a change of business model with which we reposition ourselves and face the growth in the international market. We will no longer be a gallery open to the public exhibitions, and we will become a center of art management, “explains Artur Ramon, third generation of the family.

The gallery owner Ramon have documented activity since 1911 in Reus, and in the 20s the great-grandfather moved to Sitges. The current business grandfather started it in 1942 in Barcelona, and in 1989 expanded to father Artur Ramon gallery. “Fifteen years ago we started thinking about internationalization, it means to be in the best fairs: TEFAF Maastricht and the Paris Motor Show.” To take this step, Ramon explains, “we were coming generalist tradition, and we specialize in drawings.”

In this model change, Artur Ramon Art is inspired by what already works in London or New York, where there are “art management centers which also offer added value study, assessment or consultancy. We are not only dedicated to buy and sell standard product: there is a cultural, patrimonial background. A work study, valuation, now did tangentially, and we want to become part of our core business “. In parallel, he wants to focus his collection in a higher market segment: “In the coming years we plan to invest between 1.5 and 2 million pieces of quality to grow.”

The company, headed by Artur Ramon and his sons Artur and Mònica, employs seven people. Currently, drawing and painting and represent 80% of the business, which in the last year was about
2 million euros. 70% of sales are made to international customers, mainly collectors or museums ( “this year we sold two drawings at the Rijksmuseum in Amsterdam and the Fine Arts, Boston”).

His forecast is that “in four years we could double the volume of sales, not the number of operations”; currently, about 50 transactions performed
per year.

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Medieval art at the MNAC Museum

Antonio Gallardo donation includes pieces of Romanesque art of the twelfth and thirteenth centuries from Catalonia and Castile and Leon

Medieval art at the MNAC Museum

The MNAC exhibits from today 20 masterpieces that the collector Antonio Gallardo Ballart has donated to the museum, including pieces of Romanesque art of the twelfth and thirteenth centuries from Catalonia and Castile and Leon; Gothic tables Serra, Lluís Borrassà or Bernat Martorell, as well as the Renaissance.

With this donation of medieval art, the main produced in European museums in the last 50 years of this type of work, according to the MNAC, the National Art Museum of Catalonia (MNAC) happens to have one of the best collections in the world Gothic and Romanesque art, as highlighted by its director, Pepe Serra, showing the works.

Serra explained that the works, “donated generously by Antonio Gallardo, who has found that the MNAC is a good destination” for them, chose the museum itself, which has made a selection of top quality parts first level .

Among the works that are incorporated into the museum’s collection there are also important pieces of key artists of the fourteenth and fifteenth centuries, as Jaume and Pere Serra, Lluís Borrassà, Bernat Martorell, Pere Teixidor, Martín Bernat and Nicolás Francés.

The donation of Antonio Gallardo, one of the largest shareholders of laboratories Almirall, has been carried out following an agreement of the collector with the museum and the departments of Economics and Culture of the Generalitat, by which also the Catalan government has committed to accept the rest of the collection and payment of future taxes.

MNAC director remarked that he hoped this donation will serve as an example of a philanthropic action, which is not in the mentality of the Catalans, “because it is common to buy.”

After the donation, the works have become the property of the Government, which has joined the catalog of Catalan Cultural Heritage and has given the MNAC to be exposed.

Of the works that pass the museum include fragments of mural paintings from monuments of Catalonia and Castile, all dating from the twelfth and thirteenth centuries, which represent a valuable complement MNAC collection.

Jordi Camps, curator and expert in medieval art, said that with this donation a set of spectacular works “or at best dreams we could imagine” is achieved.

For Camps, “it is as if there was a burst of Gothic and Romanesque art that can banish the idea that the Middle Ages was dark” because donating can see in color works so far only been seen in photographs in black and black in some books.

He also insisted that the value of the pieces complements and enriches what we already had the MNAC, and represent an important part names, typography, iconography and references of the museum lacked.

The core of the collection that the museum is reached Gothic painting and among the works that are incorporated there are names that were already well represented, as Bernat Martorell Serra or brothers, who have balanced what was already there.

The Commissioner has emphasized also in a table of Lluís Borrassà, which was represented succinctly in the museum, and the Gothic painting of Nicholas Francésc Miracle of Mount Gargano, who was the author of the altarpiece Gothic Cathedral of León, and it is part of a whole.

This painting, which comes from the church of San Miguel de Villalpando (Zamora), is part of a group that currently is dismembered and divided among several museums, such as Montserrat or the Cincinnati Museum of Art (USA).

On the origin of the collection from the museum management explained that Antonio Gallardo bought over the years with the help of an antiquarian who gave advice in choosing the works, and have stressed that there are very few collectors of this type of gear and leaving very little work of this kind for sale.

The tour of the exhibition is chronological and the walls have been painted blue to highlight the pieces, among which are The Virgin with Child and Angels Jaume Serra, unknown until 1990, or The Crucifixion of St. Peter, Pere Serra, the altarpiece of the church of Sant Pere de Cubells (Lleida).

The MNAC has also published a catalog with sheets of parts, which will also be the subject of a subsequent job search.

Paying taxes through works of art it is provided for in the tax law formula, which allows taxpayers to meet their tax debts through the delivery of artworks cataloged, or other goods registered cultural interest in the records.

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Urban Art Barcelona

The side wall of the civic center in the neighborhood of Sant Marti in Barcelona, serves as canvas for the last giant face of urban artist Jorge Rodríguez-Gerada

Urban Art Barcelona

The last Rodríguez-Gerada is the giant face of a woman, or the face of a giant woman reflected in a side wall of Sant Martí Civic Centre: 280 square meters of urban art with the inherent power not go unnoticed. By size, but not alone as almost all the works of the Identity series, which launched in Barcelona installed around -three decades has, more or less, Panorama is not just giant, mostly it’s content. “Instead of the huge picture of a movie star or a politician with a big smile, I draw someone from the neighborhood, the community. Drawing one of us. ” It has done in other neighborhoods like Raval, Horta and Born, and other cities such as Buenos Aires, Monterrey and Paris, and although one of the faces that draws Rodríguez-Gerada has ingredients of privilege, the choice of characters less driven the search for someone brainy representative -what think a newcomer to the world Rodríguez-Gerada- and quota criteria and magnificent as smell or chance. It could be you. It could be your son. It could be your neighbor.

“Instead of the huge picture of a movie star or a politician with a big smile, I draw someone from the neighborhood, the community, drawing one of us,” explains the artist
“It’s an artistic lottery. I get to see people go down the street and pick a person that I like.

I wonder if they identify with the place, if you have a sense of belonging … “Rodríguez-Gerada try not to repeat age or sex, and those are the only criteria beyond the pleasure of simply going out in search of the next face. Thus exposed his methods, who is the woman who squints from the wall of the civic center? Where do you live and what you do? It could be the neighborhood baker, the butcher, could be a teacher. It would, in fact, if Panorama was not an anomaly within the series. But Panorama, for once, is not just one person. Panorama is not a woman.

Jorge Rodríguez-Gerada born in Cuba 49 years ago but raised in the US, where he emigrated with his family in the 70s in the world of street art becomes a kind of old fox, a veteran with stories in tow as two or three times that stopped him in his day the police of New York, at the time I was going down the street to denounce altering billboards manipulative power of advertising. “With find some surprises included as police chief who understand the background of what I was doing and let me go; but they were the exception. ” In Barcelona he gained notoriety with the immense Obama drew on the grounds of the Forum in November 2008, on the eve of elections that upheld the first black US president, even in the environment of local urban artists was already a recognized character.

Windswept

The works in the series are not giants identities because. “The great thing only works if you have an intrinsic power behind”, explains Rodríguez-Gerada. In addition to size, are among others the common denominator of being drawn in charcoal, which gives them an ephemeral component, dramatic in a way, part of the speech of the artist. “I like the poetry that is in the fact that they are gradually swept away by wind and rain.” But Panorama is different. Panorama, which ended in December and a neighbor not heard yet discovered in wonder these days is made with paint and will last much longer than their peers series, and yes it is not one, there are several women: two work at the Civic Center (Naomi Poncela, mouth, and Chus Ruiz, chin), the third is a user (Montse Noto, eye) and the fourth is used bingo (Luisa Hernandez, nose). In short, a puzzle neighbors. “It’s not just a portrait. It’s a job I like people stopped to look and to think about the effort behind. What it means, too. Unfortunately, it touches urban art people are accustomed to instant, fast, the Banksy. I want to make an impact, but also want the work hold a calm look. So this time I used paint. ”

The character is the work; they are the protagonists. So in the photo the artist is behind, in the background, half hidden under his hood.

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Medieval art at the MNAC museum

What is special controversial paintings of Sijena?

MNAC museum Barcelona

Pieces of art of great pictorial importance have been the protagonists in recent weeks in a dispute over ownership of the same between Aragon and Catalonia and culminating in a trial that started this week. The judge will determine the final ownership of some paintings that carry more than 70 years in Barcelona whose origin is in the Monastery of Sijena, a small village in the province of Huesca.

The works of Byzantine influence, are an important iconographic significance. “They are the masterpiece of Spanish style painting 1200, an advanced period is between the end of the Romanesque and early Gothic art,” says Jordi Camps, head curator of Medieval Art National Art Museum of Catalonia (MNAC), where these frescoes are exposed today.

Fall of Man and Sin

The frescoes were located in the arches of the monastery, explained the Old Testament, with the representation of man’s fall and sin. On the inside you can see very accurate of the ancestors of Christ as “a link between the old and new testament” portraits, Camps said, recalling that there is a tendency of this medieval art movement to the “individualization of the characters “where the drama is the protagonist.

Due to the fire that devastated the religious building in August 1936, during the Civil War, most of wall paintings were lost, although it has been partially preserved wall on the south side, where the flagellation of Christ is represented, His crucifixion and resurrection of the same. Also noteworthy is the presence of animals and monsters in different fresh. “They act as margins of manuscript illumination and no links with the English model that prevailed at that time”

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Patron of artists in Barcelona

Highly selected ‘preemergence’ creators made stays at multipurpose Espronceda center, where they can live, produce and present

Centro Espronceda-Barcelona

The wins Henrik and Holger Sprengel, along with two Italian artists, hold an art center in Barcelona as discreet as unusual. The Center pays Espronceda stays creative young artists and exhibitions of half the world, authors ‘preemergence’ already despunten but have not yet made their way into the difficult market of contemporary art. “Our main goal is to bring artists from outside Barcelona so they can show their art to the public here and take with new contacts in international cultural sector,” explains Holger Sprengel as normal.

He, like his brother, is a multireincidente entrepreneur who has opened several successful online and offline -restaurants Vietnamese businesses, tourists rental scooters, video games, books … customizable – and settled eight-year-twelve in the case of Henrik- in the Catalan capital. They have always been interested in creativity, but plans to open a cultural center arose in 2013 following an unexpected opportunity. His friend and partner, Elia Sabato, also Italian artist living in Barcelona, ​​met by chance a set of old workshops Navas neighborhood (Sant Andreu) who started reconverted into ateliers of artists. “We learned that they had been released three ships and decided to rent them to rehabilitate, was very spontaneous!” He laughs. They are in an alley that has no official name not appear in Google Maps. Being perpendicular to the street Espronceda, just call ‘passage Espronceda’. Tenants of this hidden oasis just open their studios to the public and prefer not to attract attention, aware of the serious shortage of comprehensive and affordable spaces in Barcelona.

These three car repair shops are now a multifaceted cultural space which also adopted the name of the street and poet, well soundproofed and for various uses. A ship contains apartments in which artists are housed. Opposite are the large kitchen, which acts as a shared living for residents and can accommodate from gastronomic events to yoga sessions. On the other hand, there are studies-from painting, sculpture, multimedia … – in which artists produce new works. And finally there is the ship of the gallery, which exhibited before returning home.

The usual profile “guest,” explains the German businessman, is a foreign author of around thirty, that begins to live his talent but still sells little work. Visiting Barcelona can last from two to twelve weeks, but usually lasts four or five. The creators self-manage their schedules and tasks-codesign and the center exposure assumes the dissemination of the event, making the catalog and “comisariado”- and if they want, can also visit the city with the scooter that serve them. “At first we feared that spend the day at the beach, but no way, we are surprised that demonstrate the enormous productivity,” says Sprengel to the evil-minded. “They are aware that this will be a striking point on your resume and important people come to the shows, do not want to fail,” he adds.

Although not close the door to welcome artists who are self-financing the stay, with an estimated cost of 950 euros per month according to the website of the center, only in English, they do not promote this route. “We prefer to make a very hard choice, very good people come and scholarship us,” responds Sprengel. With hardly advertise, they receive dozens of requests. They usually choose to recipients personally, but sometimes rely on the criterion of professional juries, such as the prestigious Venetian Laguna Art Price competition: between the four prizes they can choose the winners is a free stay in the Espronceda. The College of Art in London, added, also want to send them a couple of students who choose half.

Alejandro Martin, curator and collaborator of the center as commissioner, adding that just closed a deal with New York Artist Pension Frost, the largest collection of contemporary art in the world: “We have chosen one of their recommended residences, which involves dissemination more than 2,500 artists and many requests to come to Barcelona “. They also maintain good ties with Italy, for example with the University of Fine Arts in Rome and the association of art critics I Martedi Critici through the fourth partner in this adventure, artist and researcher Tarsitano Savina, Italian living in Brussels .

The artists “guests” are the hospitality of Espronceda two ways. On the one hand, they give one of the works that have been created in Barcelona to the collection center, which is expanding gradually. On the other, if they sell part of the above, Espronceda gets a commission of 45% of the amount. “But the purpose of the stay is not selling, is to serve as a catalyst for his career,” says Sprengel. “And in general, it sells very little: a table, two … or none,” he admits. Prices are not for millionaires -there original work by 300 or 400 euros, but local demand is minimal: “The reality is that art is bought in Barcelona, ​​is not like Madrid or London, this market is not developed and that’s too bad for artists “he stresses.

The Espronceda is one of the areas of relationship and social life of the community dynamics ‘expat’ of Barcelona, ​​mainly formed by young professionals Westerners. The networking loved all leisure activities in these circles, whose frank languages ​​are English and Spanish. Instead, the relationship with the local sociocultural fabric runs at half speed. In the case of contemporary art, for example, Espronceda not maintain any link with the very close and pioneer Ivanow Nau, a former factory converted into a cultural container.

In late February, due to local contact Alejandro Martin, the Espronceda host for the first time in its three-year history a sample of authors from Barcelona and Catalonia, from Hangar and the Faculty of Fine Arts at the UB. “We started very focused on building international ties and bring artists from outside, but now we want to connect with centers and creators of here,” Martin explains. Another line of work over the medium term stays for commissioners and curators and art critics.

The last artist who has exhibited in Espronceda has been an exception in every way possible. Kazakh Tolkyn Sakbayeva, 25, has spent five months producing new work in the Espronceda, but lives with his sister in an apartment in the city since mid 2013. His style is inspired by Impressionism and Cubism – chose Barcelona years of study here Picasso and since age 4 is devoted almost exclusively to drawing. Nevertheless, international criticism has started to focus on his other feature Tolkyn: born with severe cerebral palsy. It took a special exam to be accepted at the Faculty of Fine Arts in Almaty, his hometown.

His first exhibition with pieces for sale -more than 50- Espronceda has been in this fall and have extended until January 11. It has already sold half a dozen pieces and has some more “apalabradas”. The family in not dedicated to the art, his father is a scientist and his mother a teacher, but has turned to the vocation of the middle daughter, whom doctors and teachers had given so little hope of a future career. Both sisters and exercise of managers in English and Spanish touting achievements Tolkyn, name in Kazakh means ‘wave’. Coy and flirtatious, he receives praise from Alejandro Martin and her sisters naturally. “When no longer frustrated by not being able to paint small details-because of the motor limitations-, has found his own style,” explains the curator.

Coincidence or fate, these months Tolkyn has come into contact with the drivers of the first self-managed school Catalunya, Arcadia, with which it has begun to collaborate. It tests for them architectural barriers Ships Can Batllo and methodology for teaching art. In addition, 20% of sales in Espronceda exposure allocated to the project, which would open doors in 2018. “Participate in school as a workshop or as a teacher,” agrees Naomi Valero, adding that “it is essential” that the school Expect “adults concerning functional diversity”.

For its part, the family drives Sakbayeva a foundation in Kazakhstan, ARTolerance to help artists without resources or discriminated against for any reason. “We will open soon a kickstarter [an Online micropatronage] to fund new exhibitions and the work of the foundation,” he adds Togzhan Sakbayeva’s older sister.

Upcoming residences

Beginning of this year have reached Espronceda new guest artists. It is one of Marseille and Madrid Remy O. Manuel Leyva, who from 21 to 31 January will show their work at the exhibition The way you move. A half of January come two young Berlin artists, which lived in the ateliers with One and Leyva and also have their own exhibition scheduled for February.

In May he will give an artist talk, Ernesto Canovas. This 44 Barcelona moved a decade Great Britain, where he studied Fine Arts and triumphed with his paintings and drawings made, that the London celebrities buy at a good price in a gallery of exclusive Mayfair. Your resume accumulates numerous solo and group exhibitions and catalogs, awards and exhibitions. This, however, abroad. The ignorance of this author in his hometown has been Espronceda to invite to “make known” in Catalonia. “It will be three or four weeks here,” Sprengel progresses.

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Plensa statue in Miami

The giant head has lived a year and a half in Chicago

Jaume Plensa statue (Chicago)

In his first appearance, now just over three years ago, this gigantic head of almost twelve meters high, creating the Catalan Jaume Plensa, emerged from the water at the beach in Rio de Janeiro, in front of the Christ of Corcovado and scanning the bread Sugar. For those things of art, city of wind and icy winters long and was then installed in a central location in Chicago.

Despite the appreciation of the locals -like it or not, nobody is going unseen- Awilda you move again 18 months later. He goes in search of the Miami Heat.

This monumental piece took -equivalent to four floors-story home in the Millennium Park in the metropolis of Illinois in June 2014. He came to celebrate the tenth anniversary of the Crown Fountain, a permanent composition of Jaume Plensa located in the same enclosure that opened in 2004.

The Crown Fountain, turning it into a national icon and benchmark consists of two glass towers -15.2 meters each- where images of a thousand Chicago residents are projected. The initiative was formally called commemorative portraits 1004. This was because Awilda traveled together with other colleagues, smaller and make the bags while her. Paula will go to Washington-to the National Portrait Gallery- while Agnes and Laura return to Europe to participate in an exhibition at the Museum Max Ernst, near Cologne (Germany), confirmed yesterday the same Jaume Plensa by telephone.

Awilda stays in the United States. The acquired Jorge Perez, head of the real estate firm The Related Group, which yield at least a couple of years the Museum Park for display. His final home seems to be the Perez Art Museum of the city of Florida.

The artist takes a more positive view of this temporal experience, located in the key qualifying place in Chicago, at the intersection of Madison Street and Michigan Avenue. At this junction, emphasizes, “it is where the numbers change from north to south, is the city Ecuador”. Hence it has made an impact among the inhabitants of the great architectural city and its visitors.

The figure, composed of a dozen pieces, began to dismantle Monday and take several days to complete the operation.

In social networks they have already begun to appear reviewed their stay and go. There are mixed feelings. Some say they feel relief because they felt intimidated, but begins to dominate an opinion Awilda affection.

“It is a nice symbol that takes you from the busy loop (elevated train) to a meditative space,” wrote the tourism specialist Kym Spilker. “I feel calm and gives me peace and community,” Stephanie interjected photographer Bassos chicagoist.com on the website.

“People realize that a piece like when you go,” says Plensa. “In his absence the sculptor adds they will miss and will realize what they appreciated. When they ask what is this? But the disappearance, observed the gap and give an extraordinary value. ”

If the 1,000 citizens reflected in the two glass towers are ordinary people, Awilda is too. Like all figures Plensa, his inspiration comes from a real person. In this case, a girl who was twelve at the time, and neighboring Dominican origin of Barcelona.

“I’m always inspired girls of eight, twelve or fourteen years, sometimes slightly higher but with something particular as an idea for the future. I see the future in women, “remarks the talk.

As in other compositions, Awilda has his eyes closed. Not that I want to see the beautiful surroundings, but tries to provoke in the viewer’s search for inner beauty.

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The art of recycling

The CCCB hosts the 12th edition of the Drap-Art International Creative Recycling Festival of Catalonia

Drap-Art Festival of Catalonia-2015

Until 3 January 2016 returned to the Center of Contemporary Culture in Barcelona a new edition of the Art-free cloth with more than 100 pieces of art recycling.

During the public announcement opened this year received 162 projects from artists of different nationalities. Among all, 82 works by 25 artists were chosen for the exhibition. In addition, the exhibition will feature 20 pieces and installations of artists. In total, more than 100 works and 50 artists represented that make recycling much more than a form of expression; a path complaint.

This year the message should convey opens revolves around gentrification, gender violence or waste technology.

Tanja Grass, President of Drap-Art, says that “another novelty Drap Art-15 is that you will see more installations in other editions. Various artistic projects have been invited to interact with the work, to participate actively. ”

Over-activity of the Drap-Art 15

During the festival, the CCCB will be the center of numerous activities such as conferences, interventions in public space, performances, audiovisuals, performances and concerts. CaboSanRoque, Residual Gurus and Pedro Burruezo are some of the concerts will go to the fair. Nor shortage of creative recycling workshops proposals as diverse as creating a stop motion Christmas story, build a robot cardboard or attend an amazing concert of frogs.

All works of Rag-Art, both in the show, as the exhibition are for sale. This makes the festival a real art gallery suitable for all budgets, as prices of parts that can be found varies from 2 to 10,000.

International Creative Recycling Festival of Catalonia is not the only activity organized as Drap-Art association. The market Drap-Art is present on Saturdays in spring and autumn in the Plaza Real. In addition, currently Drap-Art works in exporting its festival: from 11 to 16 April 2016 will be held in Montevideo Uruguay Drap-Art. From 9 September to 9 October 2016 also arrive Re: New Festival, an event in Pittsburgh (USA) dedicated to sustainability, recycling and building collaboration with Drap- Art and its artists as its focus.

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Caixaforum of Barcelona mutated in Versailles

Le Brun’s drawings made for the Hall of Mirrors at the royal palace come to Barcelona

Charles Le Brun in Caixaforum BCN

Unpacking boxes, bulbs for placing and pictures to hang. This is the material that builds up in the rooms of CaixaForum where November 18th will wear the exhibition ‘Drawing Versailles. Sketches and cartoons by Charles Le Brun (1619-1690) ‘.

These days it touches the sample is mounted. And there are the experts removing the packaging of the pieces that arrived last week directly from the Louvre in Paris. They did properly protected as boxes, air conditioning and anti-vibration systems, which are something extremely fragile works of art. The last to come out has done this Thursday from the bowels of his protective shell has emerged a beautiful drawing of Pluto of 131 x 111 cm. Their fate has been a niche embedded in the wall then sealed with glass. The light that illuminates missing. It will dim. Not more than 50 lux. Things of the fragile paper.

Pluto looks and with Hercules, another drawing of the same characteristics presented at the same conditions-under one cover that reproduces the ceiling of the Hall of Mirrors at the Palace of Versailles, space where Le Brun made paintings left from the drawings . Both Pluto and Hercules are fragments of the central part of the composition of the roof, one that shows the episode “The king rules the world ‘with a Louis XIV idealized manning the helm of state surrounded by mythological figures. And other sketches of the same composition, the room also meets the sketches of one of the fragments of the Franco-Dutch War, another reason of Versailles ceiling frescoes. Thursday also were unpacking.

The ceiling of the great room of the official residence of the kings of France is not the only rebuilt in CaixaForum, in the adjoining room you can see part of the staircase of the Ambassadors, the plan to impress and coerce visits Luis XIV Access .

The paintings that were to dazzle the guests also came from the hand of Le Brun. And his sketches, of course, hang in this room. Everything, from November 18, with an entry to the exhibition refers to Versailles. Also in the assembly process, as no.

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How will humans in a hundred years?

The CCCB of Barcelona expo + HUMAN ‘, an exhibition that explores the boundaries of what it means to be a human being and what is ethically acceptable

Exibition-HUMANS-at-CCCB-Barcelona

Cyborgs, and clones superhuman. Evolution or Extinction? What it means to be human today? How will humans in a hundred years? Around these questions touring exhibition “HUMAN +” can be seen at the Centre of Contemporary Culture of Barcelona until 10th April.

“Human +” explores the limits of what it means to be a human being: the limits of the body, the limits of the species, the limits of what is socially and ethically acceptable. We have to improve ourselves, or we try to modify our descendants? We approached a singularity of a man-machine hybrid or lose authority because of the ever-increasing dependence with respect to the technological extensions of the body? It is the extension of human longevity magnificent aspiration or a terrible threat to the planet?

This exhibition continues the project “Human +”, presented at the Science Gallery at Trinity College Dublin in 2011. The artist Cathrine Kramer is the executive curator has had the collaboration of researchers Ricard Solé.

With works by fifty artists and pioneering research proposals, “Human +” explores the possible paths for the future of our species. From assisted reproduction techniques and emerging synthetic biology experiments to the ability to perpetuate ourselves through the digital world, our lives are conditioned and defined a revolutionary convergence of new scientific and technological fields.

To create the framework for exploration have been devised four general topics: increased skills, find themselves with others, designing the environment and life on the frontier. Each theme is represented through works of art, historical artifacts, videos, scientific research and commercial products.

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The contemporary art fair Swab comes with more galleries and programs to Barcelona

From 1st to 4th October the Italian Pavilion will host a total of 65 galleries from 22 countries around the world will exhibit more than one hundred works by emerging artists

Swab 2015-Barcelona

Swab 2015 International Fair of Contemporary Art in Barcelona, ​​reinvents itself and grows another edition. From 1st to 4th October, a total of 65 galleries (in 2014 participated in 2013 were 59 and 52) of a total of 22 countries around the world exhibit the work of more than one hundred artists emerging in the Italian Pavilion at Fira de Barcelona.

Swab was born in 2006 as an initiative of the private collection of contemporary art Diezy7 Space Barcelona. Since then, with the support of important national and international galleries. In the first edition held in 2007 at the Maritime Museum was attended by 42 galleries from 13 countries and was attended by 6,000 people. The year 2010 was one of consolidation, with 13,000 visitors the Italian Pavilion at the current location. The excellent reception from the public, as well as interest in new artistic approaches have generated the creation of new programs.

Programs Swab

Swab Seed, curated by David Armengol, gives voice to a series of proposals that have opened separate step outside the institutions in cities such as Barcelona, ​​Madrid and Berlin.

Juan Canela Swab Performance presents a series of specific actions and interventions related to the body, time, space and action.

Swab Forum will feature collaboration with De Appel Arts Centre (Amsterdam).

Swab Thinks Continue this space for reflection on emerging art galleries in hand, renowned artists and curators. This space presented during the 2nd, 3rd and 4th of October a series of lectures, debates and panel discussions that will dialogue artists, curators, collectors and critics think together cultural transformations of the contemporary world and the place in him artistic practice.

SOLO Swab, curated by Direlia Lazo and Carolina Ariza is an area meets individual presentations of Latin American artists, with emphasis on creative practices procedural and documentary confronted with the official story.

Swab ‘Zh¿ngguó: New photography Chinese’ demonstrates that contemporary Chinese art is not a mere copy of the West.

Swab Drawing Applications, this program integrates design, architecture journalism, psychiatry, calligraphy botany.

Swab 2015 General Program also hosts a significant number of galleries and consolidated with much prestige in the global market of contemporary art. Likewise, gives way to a series of new galleries creation and gives them the opportunity to participate for the first time in an international art fair.

Swab arrive at a historic bus

To mark the eighth edition of Swab Barcelona International Fair of Contemporary Art in collaboration with the organization and enabled TMB two historic buses will shuttle from the center of Barcelona fen a route to the Italian Pavilion where Swab Barcelona will be held.

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Mullican, Lopez and Llena, stars of the Barcelona Gallery Weekend

Internationally acclaimed artists will be among the protagonists of the first edition of a weekend full of exhibitions, actions and interventions

Barcelona Gallery Weekend

Internationally renowned artists as Matt Mullican, Antonio Lopez and Antoni Llena will be among the protagonists of the first edition of the Barcelona Gallery Weekend, a weekend of exhibitions, actions and interventions in spaces that will be held from October 1st to 4th.

On behalf of the Association of Barcelona Art gallery, event organizer, Joan Anton Maragall explained today in the Gallery Weekend presentation aims to demonstrate “the artistic potential of the city” and place it between “international industry benchmark.”

It is an initiative in which Art Barcelona has been working for two years, and “from the beginning has attracted interest in the gallery sector, including in galleries that are not of this partnership.”

From the point of view of the artistic world gallerism, “Barcelona was very stop and had been difficult to find a consensus initiative taking, which was what the government asked us,” said Maragall.

The week aims, as Maragall, to “put Barcelona on the international contemporary art scene, galleries closer to town and retrieve local collectors.”

The Gallery Weekend, which includes the participation of the City of Barcelona and the Generalitat, and the support of the Ministry of Culture and the city of L’Hospitalet de Llobregat, will offer a program based on four routes galleries, institutions and unusual spaces, plus other cultural, intellectual and social initiatives.

The kick-off will take place on October 1st in all spaces and galleries and curated at the MACBA, which will host the opening ceremony and open city in which attendees can see the museum exhibits until midnight.

Forty spaces, including 21 galleries, collected proposals for national and international artists, both contemporary and historical art.

The participating galleries show the best of their programming from internationally established artists as Matt Mullican, Antonio Lopez and Mladen Stilinovic to significant proposals such as Antoni Llena, Perejaume, Rogelio López Cuenca and Daniel G. Andújar and Francesc Ruiz, representative this year Spanish Pavilion at the Venice Biennale.

In the galleries who bet on the historical avant-garde works by artists such as Joaquín Torres-García, coinciding with his retrospective at the MOMA in New York, Fausto Melotti Alberto Magnelli and in dialogue with Joan Miró, and group it shows exhibited works by Salvador Dalí Alexander Calder, Juan Gris, Julio Gonzalez, Miquel Barcelo, Antoni Miralda and Carlos Pazos.

The project already has precedents in Paris, Madrid and Berlin, with the participation of DNA galleries, Ana Mas Projects, Àngels Barcelona, ​​Artur Ramon, AL34, etHALL, Balaguer, Barbie Carles Taché, Estrany-de la Mota, Joan Prats, Marc Domenech, Marlborough, Senda, Sicart / Joan Gaspar, Trama, Nogueras Blanchard, Palmadotze, ProjecteSD and Sala Dalmau.

As a complementary activity, Barcelona Weekend Gallery will feature the “Compositions” program, a series of five projects commissioned for the occasion, curated by the team Latitudes (Max Andrews and Mariana Canepa Moon).

Mariana Canepa reported that the selected artists are David Bestué, Dora Garcia, Jordi Mitjà, with Pere Llobera Nilausen Rasmus and Daniel Steegmann Mangrané.

These artists continued Canepa, develop temporary interventions in unique venues outside the contemporary art circuit as the Freudian Field Library, the Geological Museum of the Seminary, the Umbracle the Ciutadella Park, the gardens of the Central del Raval or the old All Cosme industrial site in L’Hospitalet.

They have also been implicated in museums initiative and centers like the MACBA, the MNAC, the Picasso, the Blueproject Foundation, CaixaForum, the CCCB, the Center Key Art Room, the Miró foundations, Tàpies, Vila Casas, Sunol, Arranz-Bravo and Mies van der Rohe, and La Virreina Image Center.

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Montserrat disclose their Mesopotamian treasures

For the first time, a book detailing the hundred most important pieces of the largest collection of Spain dedicated to the ancient civilizations of the Middle East

Montserrat disclose their Mesopotamian treasures

Coinciding with the difficult political, social and cultural moment living some countries now controlled by the Islamic State and that once formed part of the first great civilization in history, the Museum of Montserrat has decided to value its Mesopotamian background with publication of a catalog that, for the first time to the general public about the main parts of Spain’s largest collection of Mesopotamian antiquities.

And, in fact, few know that the Benedictine mountain treasures such volume of Mesopotamian art, some 1,200 pieces, of which correspond to a thousand cuneiform tablets. “There is in the mind as a collection Montserrat you were not cataloged,” explains Javier Uriach, editor of the Mesopotamian collection of the Museum of Montserrat presented today at the Palau Robert in Barcelona in the presence of Abbot Josep M. Soler.

The catalog has selected a hundred pieces, all brought here nearly a century ago by Father Ubach from the region lying between the Euphrates and Tigris rivers. “At present, marked by strife and violence in the Middle East, take a relief and a significant historical importance descriptions and photographs that Father Ubach made in these countries he will soon hundred years when there was peace,” says Father Pius-Ramon Tragan, Scriptorium Biblicum et Orientale of Montserrat. “It should reflect on how, in the 20s of last century there were all kinds of cults in the area of ​​Iraq, and now because of religious intolerance is destroying a irrestituible testimony. Lucky parts of Montserrat are saved, as that are in museums around the world, “said Uriach.

The most relevant findings

The Cover

Among the pieces which includes the catalog, written by the specialist in Sumerian and Akkadian languages ​​and member of CSIC, Ignacio Marquez Rowe, include the weight of a talent as the father duck Ubach acquired in a village outside Baghdad and that the monk was the most valuable work of the Biblical Museum, which he founded to offer a historical and cultural Biblical scripture (embryo of the current montserratino museum) context. Only four similar pieces are known worldwide. “Father Ubach discovered on the door of a humble home, used as nerves,” explains Uriach.

Another relevant findings showing the catalog is a fragment of ‘kudurru’, a kind of monolith Babylonian kings placed inside temples. “It’s a symbolic piece, you can see, carved in elegant relief, symbols of gods or Papsukal Gula, goddess of medicine,” says the editor of the work.

Among the cuneiform tablets catalog collecting herbal notes on a piece of medical science or dedicated to astronomical knowledge, especially relevant in a culture that reached accurately predict celestial phenomena. And as a curiosity, the work also shows a tablet stored within its on clay, no doubt, the ancestor of our paper charts.

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Stars of the culinary art in a movie

The film, directed by Veronica Escuer and journalist Cristina Jolonch, gives voice to the chefs who broke the rules and created a new language in the kitchen, universal today | premieres May 25 at the Academy of Motion Picture Arts and Sciences from Spain

‘Snacks, bocados de una revolución’

“The cooks believed we could change the world and we have done”. It is a reflection of Joan Roca collecting documentary Snacks, snacks from a revolution, led by the gastronomic journalist Cristina Jolonch and creator of the festival Film & Cook Veronica Escuer, in which great figures of the Spanish culinary forefront as the chef of El Celler de Can Roca remember how they were able to infect the world his passion for cooking from reinvent absolute freedom and create a new language today is universal.

“I have not seen any major restaurant in the world that does not use techniques elBulli,” says the chef Paco Perez Miramar. A transverse and global influence has injected desire to improve the chefs – “all want to be number one in the world” Quique Dacosta- supports them and has brought a new challenge: finding the balance between influence and own label. Angel Leon admits that “it is difficult to have head when you create and not show flashes of your peers”. “It’s a world where continually copy” adds Dani Garcia and in which it competes.

The documentary, which will be presented next Monday May 25 in Madrid at the Academy of Motion Picture Arts and Sciences of Spain, according to its authors note gives voice to the “magic brigade” of Spanish art, a “great figures the same discipline to agree a time and a place and get breaking barriers as has happened with artists, writers, sportsmen “. In addition to Garcia, Leon Perez or Rock, the film captures the impressions of Juan Mari Arzak, Martin Berasategui, Andoni Luis Aduriz, Carme Ruscalleda, Pedro Subijana, Quique Dacosta, Eneko Atxa, Albert Adrià and Josean Alija.

The chefs remember the applause from critics and audiences were not always on the side of the cutting edge because it was difficult to get break established barriers. “I spoke people Ferran (Adria) and got bad,” said Juan Mari Arzak. And it is that neither the chef of elBulli own genius expected erected in the kitchen of a new era that ended up being: “No dreamed get where we come” reminds Adrià.

ElBulli footprint is so decisive in world cuisine chefs that many other countries have learned from the Spanish technical and stylistic revolution, as the US Grant Achatz, the Brazilian Alex Atala, the Peruvian Gastón Acurio and Italian Massimo Bottura. The oyster Francescana chef remembers precisely how he learned in Cala Montjoi “you can convey emotion through a sardine or a piece of Parmesan. With the humblest elements of the kitchen, the heroes of the working class”.

Because it was not always so. The film’s influence academic Nouvelle Cuisine in these chefs is addressed, seeking the New Basque Cuisine and why the Bulli finished breaking the old rules.

And, either to enhance an ingredient or rescue a humble element, the last will of the avant-garde cuisine is seeking and sápida sensory experience, encouragement after beauty. “The worst in a dining experience is indifference. I prefer that people angry, “says Andoni Luis Aduriz. “The revolution is made” head of Joan Roca.

Snacks, snacks exhibit a revolution following its premiere at film festivals around the country.

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Tomorrow opening of the Museum of World Cultures in Barcelona

The museum contains over 500 parts of Asia, Africa and Oceania, and will be open for free tomorrow saturday until April 7th

Museum of World Cultures in Barcelona

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Traveling around the world is now possible from Barcelona, thanks to the new Museum of World Cultures. Opens tomorrow February 7th and will ambentrada free for two months, until April 7th. Inside, gathering 500 pieces of art from Africa, America, Asia and Oceania. The European art, says its director Josep Lluís Alay is very present in the space, the houses and the Marquis of Christmas Llió who have been rehabilitated and equipped.

The museum project divides the pieces countries and continents, in order to give visibility to Barcelona and its heritage have attracted collectors from the late forties. The rooms of the new museum feed Folch Collection and the Museum of Ethnology of Barcelona, as well as other donations which include the University of Cambridge, 15 objects from Polynesia.

Recognition art around

Among the exhibits there are some special value as a small Buddha fasting unique in Europe. Only three have survived the whole world and one of them lies far from the Museum of World Cultures in Barcelona. The facility is also the scene of a majestic room masks or two funerary sculptures of wood, almost 5 meters, made from a single trunk and New Guinea. According to Alay, “we recognize that there is art, and art has always been to Asia, America, Oceania and Africa, there are different levels arts, but art is a universal concept of humanity “.

As the Deputy Mayor for Culture, Jaume Ciurana, “is an art museum but has a special interest in putting the pieces of art in its historical, geographical, social and symbolic.” It is in this sense that the research to make the museum have been profound and have uncovered, for example, that municipal funds retained several works best African artist, Olowe Ise.

Thanks to the collaboration of the University of Wisconsin have been able to attribute the pieces, a rare occurrence in African art.

For mayor´s Barcelona, Xavier Trias, “the Museum of World Cultures is part of the clear desire to interact with others Barcelona distant continents and cultures, because this city has always been, and still is, a city reception, which is open to dialogue and the contributions and diverse cultural influences. ”

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Sold a work of the Catalan painter born in Barcelona, Joan Miró for 20.5 million euros at an auction in London

The work “Painting (women, moon, birds),” a 1950 oil painter was sold at Christie’s auction house in a surreal art.

Painting (women, moon, birds),” by Miró

The work “Painting (women, moon, birds),” a 1950 painting of the Catalan painter Joan Miró, was sold today at Christie’s in London at an auction of surreal for 15.5 million pounds (20.5 million euros, or $ 23.3 million), well above the estimated price.

The play, originally valued at between 4 and 7 million pounds (5.3 and 9.3 million or 6 and $ 10.5 million) became the star piece in a puja in which four other works were sold the Catalan artist (Barcelona, 1893-1983).

“Painting (women, moon birds)” topped the bid to “L’oiseau au plumage déployé vole vers l’arbre argenté” also by Miró, an oil on canvas which reached 9.1 million pounds (12.2 million or $ 13.7 million).

The fabric, 1953, employs some of the most recurring elements of catalan painter in the 1950s, such as birds, trees, sun and moon.

The auction on Wednesday was described by the expert from the London house in modern art, Olivier Camu, as “the best group of works by Miró to hit the market in a single sale”.

Besides these two oils, Christie’s auctioned four other works of Miró, plus parts of René Magritte, Marc Chagall, Francis Picabia, Jean (Hans) Arp and Max Ernst.

Of the six works of the Catalan painter on sale today only “L’échelle de l’évasion” did not reach the estimated price of between 3 and 5 million pounds (4 and 6.6 million euros or 4.4 and $ 7.4 million).

“Jeune fille au cheval”, the French artist Marc Chagall Belarusian origin (Liozna, 1887-1985), painted an oil on canvas from 1927 to 1929, exceeded its initial valuation and reached 5.9 million pounds (7.8 million euros or 8.8 million dollars).

Courtesy Avantgarde Limousine Barcelona

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First exhibition of sacred art and profane in Barcelona

Artur Ramon Art Gallery exhibition ‘Memory and Desire’, which brings together for the first time pieces of religious iconography, modernism and contemporary until March 14th

Art gallery Barcelona

The exhibition “Memory and Desire” presents 15 works dedicated to public and private collections. The head of the gallery, Artur Ramon, said that “we succeeded in a tour of seven centuries of history through unique objects, they are both the artistic and the historical significance.”

Works by Sebastian Herrera, Francisco Plan, known as the Vigatà, Ramon Casas, Miquel Barceló and Isidro Nonell are willing to converse with each other. “The intention is to recreate the atmosphere of a museum,” adds Ramon.

Art sacred and profane

The visitor will find some works of religious art, a terracotta plaque of Jesus the sixteenth century polychrome sculpture of Christ School Burgos thirteenth century, a key Flemish Gothic or embroidery representing history of childhood Moses.

The exhibition, in addition to making everyone these unique pieces, also means, according to Ramon, “the essence recover some of the antique, showing that professionals are not only buy and sell art, but also have cultural implications because recover many works by major restoration work. ”

The exhibition will be open until next spring, includes some of the best pieces of the collection of European decorative arts Artur Ramon has collecting.

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