Gala in Barcelona

The MNAC claims the artistic role of Gala beyond Dalí’s muse

Gala in Barcelona

The Museu Nacional d’Art de Catalunya (MNAC) places the focus on the character of Gala, Salvador Dalí’s partner, as the “key” character of the avant-garde of the 20th century, and gives her an artistic role beyond her muse facet of artists in the first major international exhibition dedicated to his figure.

It has been explained by the curator of the show Gala Salvador Dalí. An own room in Púbol, Estrella de Diego, together with the director of the MNAC, Pepe Serra, and the director of the Dalí Museums, Montse Aguer, in the presentation on Thursday of the tour of the different facets of the creator.

Just as with Dalí, Gala was part of a “collaborative project” that led the artist to sign with a ‘Gala Salvador Dalí’, the sample arises from an institutional alliance that wants to demonstrate the thesis that both characters were mutually constructed and gave birth to a third artistic character.

The exhibition, which brings together 315 paintings, drawings, photographs and documents related to Gala, part of Púbol as a “great surrealist object”, which Gala used as the room that Virginia Woolf claimed.

The exhibition discovers a very cultured Gala with many facets in which the route is divided and between which the curator has cited the surrealist, the dandy, the creator and the writer, as well as the muse as she builds her own path as an artist : write, make surreal objects and decide how you want to represent yourself.

Bad and manipulative?

“If Gala was so bad, so manipulative and she was so interested in money, why in 1929 did she leave the famous Paul Éluard, poet spoiled with surrealism, to go with an unknown Salvador Dalí?” Asks the curator and biographer. gala.

Knowing that many things have been said about Gala – Helena Dmitrievna Diakonova (Kazan, 1894-Portlligat, 1982) – the curator has said that this is “much more bad than it was said because it is more complex than it is Believe. ”

The exhibition reveals the changes in the image of Gala through its different ‘performances’, reflected by Dalí’s brushes, and allows to follow the evolution of the painter thanks to an important set of oil paintings and drawings: “To review Gala is to review Dalí, and this was a performer. ”

In addition, Dalí’s oil paintings and drawings on Gala can also be seen in the exhibition works of other artists who gravitated in the surrealist universe, especially around Gala, such as Max Ernst, Pablo Picasso, Man Ray, Cecil Beaton and Brassaï, among others .

Max Ernst and Man Ray

The exhibition tries to shed light on who Gala really was, and to understand who was this woman who does not go unnoticed, who awoke the hatred of André Breton and Luis Buñuel, the unconditional love of Éluard and Dalí and the passion of Max Ernst, in addition to be a model for Man Ray.

The task of the curator has been to “fill gaps” in the history that had not been addressed until now, and notes a facet of outstanding literary creation that can be seen with letters -especially to Éluard- and manuscripts -such as diaries- present in the exhibition, as well as surrealist objects and ‘performances’.

For the curator of the exhibition -defrayed by Abertis in collaboration with the Damm Foundation-, Gala “is the key character missing from the surrealist board” and the exhibition tries to give this character the role that corresponds to it.

The exhibition also brings together a collection of Russian Gala books, and brings together a collection of dresses and objects, which have had to be restored to be displayed. Claims the facet of ‘dandy’ of Gala: “The dandys were always men, because they were the ones who looked, and here it happens the other way around, because it is Gala that looks”.

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Exhibitions in Cadaqués August-2017

The artistic languages of the unconscious mark the summer of Empordà with a show that brings together Dalí and Picasso, among others

Exhibitions in Cadaqués-August-2017

André Breton, the father of surrealism, published in 1938 Trajectoire, a compilation of dreams written, among others, by Paul Éluard, Benjamin Peret or Michel Leiris and dreams painted by De Chirico, Max Ernst, René Magritte, Man Ray or Dalí. This book is now the starting point of the exhibition L’espai dels somnis, which has been opened in the Societat l’Amistat of the Casino of Cadaqués. Dreams become artistic language.

The Mayoral gallery in Barcelona, ​​which has specialized in the art of the avant-gardes of the twentieth century, has sought this time a project that unites several artists through a common thread. And the result is a collective one about the plastic representation of the unconscious, with an exceptional list of artists headed by Dalí, Miró, Picasso, Calder, Óscar Domínguez, Chagall, Magritte, Hamilton … He has performed in Cadaqués Until August 15) and from September 14 will move to Barcelona, ​​the Mayoral gallery.

The poet and essayist Vicenç Altaió, who defines himself as a cultural agitator and idea-broker, is the curator of the exhibition. “The dream is creative,” he says as a presentation, although it was not until the twentieth century when artists began to interpret it in different ways and in a more systematic way. Sigmund Freud had a lot to do and one of his masterpieces: The interpretation of dreams. We know that Salvador Dali read it while he was at the Student Residence in Madrid, a few years before he burst into the surrealist group of Paris by contributing his paranoid-critical method of interpretation of reality. And of him are exposed five works, among which stand out the watercolor Rhino in disintegration (1950) and the drawing in ink and gouache Sewing machine with umbrella (1951).

Although the reaction of European intellectuals to World War I was nihilism and Dada art, the subsequent years – with the crisis, the consolidation of the Soviet revolution and the formation of fascism – gave rise to an art of affirmation, Which was also of subversion. Artists are, however, divided between realistic engagement and aesthetic revolt. Some, like Miró or Dalí, will stay halfway. Vicenç Altaió even speaks of a “Catalan dream”, which began the poet J.V. Foix, affirmed with Miró and Dalí and that will have continuity in Tàpies and Ponç, basic nucleus of the Dau al Set. And we could even speak of a Cadaques branch, which, in addition to Dalí, is also expressed through the almost naive dreams of the painter Àngel Planells, son of this population, also present in this exhibition, with the oil Somni oblidat, 1936 .

Not forgetting that in 1929 the group of surrealists arrived in this corner of Cape Creus, formed by the poet Paul Éluard and Gala, the gallery owner Camille Goemans and the painter René Magritte (of whom the gouache La, of 1948) is exposed here. Later on by Cadaqués, Marcel Duchamp, also author of the cover of a book of poems and photographic collages gathered under the title of La (1936), another reference of the exhibition. And Man Ray, who in 1933 will photograph the rocks of Cape Creus, on the orders of Dalí for the magazine Minotaure, which, as if it were a dream, take forms of animals and objects. In the exhibition of Cadaqués there are no photos of Man Ray, but yes in the dedicated to De Chirico that can be seen at the CaixaForum in Barcelona.

Dreams are awake, as opposed to dreams asleep or revealed, dreams about dreams. And the works of these artists establish a dialogue between themselves, with sometimes coinciding languages, divergent in many cases. In the exhibition they are from two drawings of Dream and, of 1937 – paragons of an art subordinated to the social and political needs – to the aesthetic subversion of Joan Miró in the gouache Projecte per a The vol de l’alosa or the poetic vision By Marc Chagall at Le Christ. In the same way that includes an exceptional oil of Óscar Domínguez, of 1937, titled Personnages surréalistes, with own elements of the cosmogony of Dalí or Magritte.

The exhibition has two complements: the debate held on Sunday, July 23 between Vicenç Altaió himself and filmmaker Albert Serra, moderated by Montse Aguer, director of the Teatre-Museu Dalí, and the catalog of the exhibition to be presented in Barcelona . The catalog, in English, will include the contents of this debate, a theoretical text by Altaió, an interview by Llucià Homs to the renowned art critic Hans Ulrich Obrist – who with Francesco Bonami gathered at the Venice Biennale a new generation of artists under the Project The dreams-and an epilogue by Albert Serra. “Dreams are desires, the result of a tension between the rational and the irrational,” says Albert Serra.These days the Roi soleil exhibition is also being prepared, which will focus the summer’s programming on the gallery Cadaqués, directed by Huc Malla. And the invited artist is precisely Albert Serra, who on August 12 will present a documentary about a performance in Lisbon on the occasion of the presentation of his film La muerte de. In this performance, in the Graça Brandão gallery in Lisbon, Lluís Serrat, the actor who made of Sancho in Honor of cavalry, was put in the skin of the professional actor Jean-Pierre Léaud.

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Dalí’s mustache remains intact

Last thursday was carried out the exhumation of the corpse of the painter without “no remarkable incident”

Salvador Dalí‘s body remains the same as it did 28 years ago, when he was buried after his death. “His mustache remains intact, marking 10 and 10, as he wished. It is a miracle”. These are the words that have spoken with emotion Narcís Bardalet, the person responsible for embalming the famous painter almost three decades ago and that this morning has attended the exhumation of the corpse.

Bardalet explained, in statements to RAC1, that the teacher’s body “is a mummy, like wood.” As an example of the hardness of the corpse, the embalmer has reported that forensics have been forced to “use an electric saw instead of a scalpel.”

This embalmer has recounted the moment when the zinc lid, with which the casket was sealed, has been removed, and the body of the painter has appeared. “His face was covered with a silk handkerchief, an exquisite handkerchief. As I removed the handkerchief, I saw with great joy how his mustache remained intact, marking 10 and 10, as he wanted. I have felt a shocking emotion. You could also see her hair. ”

Bardalet has described this fact as a “miracle“, although he later described that it would have been “a miracle in the Middle Ages, now it is thanks to science.”

This embalmer was convinced that “there would be Dalí for a long time”, and today he has proved it. “The mustache persists, and it is for centuries,” he has condemned.

An exhumation “without incidents”

The forensic team that took part in the exhumation works of the artist Salvador Dalí on Thursday night extracted some hair, nails and two long bones. Samples that, once carried out the genetic tests by a demand of paternity, will be restored to preserve the “integrity” of the body of the deceased.

The secretary of the Gala-Salvador Dalí Foundation, Lluís Peñuelas, explained at a press conference at 08:00 am this Friday to give details of the operation carried out between 20:00 hours this Thursday and Almost 01:00 am this Friday to extract biological samples in the litigation opened by Pilar Abel.

The foundation has considered the exhumation of the mortal remains of the Ampurdian genius to be “totally improper”, and has stressed that the judicial decision is not motivated and has no foundation.

Awkward situation

Peñuelas explained that the situation “has been uncomfortable” and that it has “grieved much”. He added that the works of extraction of samples have been able to carry out “without any remarkable incident” and has guaranteed that the exhumation has been able to carry out “preserving as far as possible the intimacy of the teacher”.

In this regard, he recalled that at the time of the exhumation of the body “there were few people,” and also “have been seized mobile phones and cameras so that they could not take snapshots.”

The group of technicians who have carried out the work was formed by three forensics and one assistant, and three people of the funeral service. Also present at the time of exhumation were members of the judicial delegation, as well as representatives of the Generalitat and the State.

Between 22:20 and 23:40 is when the most delicate work has been done. That is when the zinc lid that sealed the coffin has been removed and the biological samples taken. The Foundation has already requested that the samples removed – by nail, nails and two long bones – be returned once analyzed so that it can “rebuild the whole body again”.

It is in this sense that Narcís Bardalet has said that, surely, “Dalí will be the only people to be buried three times: one when he died, another tonight after the exhumation, and a third when they return the samples.” Indeed, Lluís Peñuelas explained that once the biological remains to be analyzed are returned to Figueres, the painter’s tomb will be reopened, “in a private act”, to rebuild the corpse.

Salvador Dalí’s body remains the same as it did 28 years ago, when he was buried after his death. “His mustache remains intact, marking 10 and 10, as he wished. It is a miracle”. These are the words that have spoken with emotion Narcís Bardalet, the person responsible for embalming the famous painter almost three decades ago and that this morning has attended the exhumation of the corpse.

Bardalet explained, in statements to RAC1, that the teacher’s body “is a mummy, like wood.” As an example of the hardness of the corpse, the embalmer has reported that forensics have been forced to “use an electric saw instead of a scalpel.”

This embalmer has recounted the moment when the zinc lid, with which the casket was sealed, has been removed, and the body of the painter has appeared. “His face was covered with a silk handkerchief, an exquisite handkerchief. As I removed the handkerchief, I saw with great joy how his mustache remained intact, marking 10 and 10, as he wanted. I have felt a shocking emotion. You could also see her hair. ”

Bardalet has described this fact as a “miracle”, although he later described that it would have been “a miracle in the Middle Ages, now it is thanks to science.”

This embalmer was convinced that “there would be Dalí for a long time”, and today he has proved it. “The mustache persists, and it is for centuries,” he has condemned.

An exhumation “without incidents”

The forensic team that took part in the exhumation works of the artist Salvador Dalí on Thursday night extracted some hair, nails and two long bones. Samples that, once carried out the genetic tests by a demand of paternity, will be restored to preserve the “integrity” of the body of the deceased.

The secretary of the Gala-Salvador Dalí Foundation, Lluís Peñuelas, explained at a press conference at 08:00 am this Friday to give details of the operation carried out between 20:00 hours this Thursday and Almost 01:00 am this Friday to extract biological samples in the litigation opened by Pilar Abel.

The foundation has considered the exhumation of the mortal remains of the Ampurdian genius to be “totally improper”, and has stressed that the judicial decision is not motivated and has no foundation.

Awkward situation

Peñuelas explained that the situation “has been uncomfortable” and that it has “grieved much”. He added that the works of extraction of samples have been able to carry out “without any remarkable incident” and has guaranteed that the exhumation has been able to carry out “preserving as far as possible the intimacy of the teacher”.

In this regard, he recalled that at the time of the exhumation of the body “there were few people,” and also “have been seized mobile phones and cameras so that they could not take snapshots.”

The group of technicians who have carried out the work was formed by three forensics and one assistant, and three people of the funeral service. Also present at the time of exhumation were members of the judicial delegation, as well as representatives of the Generalitat and the State.

Between 22:20 and 23:40 is when the most delicate work has been done. That is when the zinc lid that sealed the coffin has been removed and the biological samples taken. The Foundation has already requested that the samples removed – by nail, nails and two long bones – be returned once analyzed so that it can “rebuild the whole body again”.

It is in this sense that Narcís Bardalet has said that, surely, “Dalí will be the only people to be buried three times: one when he died, another tonight after the exhumation, and a third when they return the samples.” Indeed, Lluís Peñuelas explained that once the biological remains to be analyzed are returned to Figueres, the painter’s tomb will be reopened, “in a private act”, to rebuild the corpse.

 

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Dalí & Cadaqués

An exhibition in Cadaqués analyzes the aesthetic similarities between the three artists

Dalí & Cadaqués

It may seem strange but it is a chess game with three players: Marcel Duchamp, Salvador Dali and Man Ray. The three joined them for their interest in this board game, although only Duchamp lived it as a real passion, and fascinated them as a sham movements of life and death. This relationship and aesthetic confluences between them nourish the exhibition Dalí, Duchamp, Man Ray. D’escacs a game until October 17 can be seen in the municipal museum of Cadaqués, curated by Pilar Parcerisas.

The game trialogue started in 1933, when Duchamp first visited Dali in Cadaques. That summer commissioned Man Ray made a foto of various Gaudi buildings in Barcelona to illustrate an article Dali. At the end of the year the magazine Minotaure published “From térrifiante edible beauté et de l’architecture ‘modern style’ ‘where the artist opens his theory of edible beauty. Man Ray also made several pictures of Dalí in Portlligat covered with a sheet showing that interventionism and always he displayed the painter when it came to his own image.

That first meeting in Cadaques resulted in a text, whose manuscript was found in the archives of the Gala-Salvador Dalí Foundation in Figueres, entitled Je mange Gala. The painter shows the erotic desire as voyeur provokes the encounter between Duchamp and Gala during a trip to Pla de Tudela, in the Cap de Creus. According to this story, Gala approaches a Duchamp skin reddened by the sun that reminds you of grilled ribs are preparing fishermen on the beach. Pilar Parcerisas interprets this scene caused him to Dalí “enormous erotic jealousy which generated two reactions: eat Gala, eliminating the object of desire, and urinate on himself, an ironic homage to Duchamp and his famous urinal Fontaine”. The text, which is reproduced in the exhibition is accompanied by a drawing, where Dalí appears masturbating behind a rock, and the same scene inspired the famous painting Portrait of Gala with Two Lamb Chops Balanced on his back.

Cadaqués will be the scene of the relationship between these artists in 1958. And from this date until 1968, Duchamp will spend his summer holidays in this corner of Cap de Creus, along with his companion Teeny, and they will come also Man Ray and his wife Juliet Browner. Both artists we see in photographs of Surrealist bullfight held in Figueres in 1961 in homage to Dalí. It was the day he announced the creation of his Theatre-Museum, which would place a Boîte en valise, Duchamp, a suitcase with a kind of pulldown catalog with reproductions of his works, including the Mona Lisa with a mustache and registration l.h.o.o.q. (Phonetically equivalent to “elle a chaud au cul”). Irony and sense of humor were also shared characteristics.

Duchamp and Man Ray made tours reflect the Empordà and the photos taken by the waterfall of them Escaules, near Figueres, in a lunchroom that surely Dalí recommended them. This cascade leads to the work Étant donnes (now in the Philadelphia Museum), considered the last great creation of Duchamp. Anyway, the exhibition three more pieces made in the summer of 1968 show, shortly before his death. On the one hand, drawing the face of Emili Puignau, mayor of Cadaqués, builder and manager of Dalí, and on the other a dedication to Dr. Vergara on a poster reproduction of N or descendant un escalier (Duchamp’s work that inspired a sculpture Dali). More interesting is the design that made for a anaglyph fireplace, which he built in the apartment he had rented in Cadaques. According Parcerisas with this fireplace “tries to reflect the concerns Stereoscopic years of its optical experiments.” This was another point of contact between Duchamp and Dali. The exhibition also shows the concern daliniana scientific inventions, double images and holograms work on new forms of representation of the image.

In 1918, during World War I, Duchamp went to Buenos Aires and decided to devote himself to chess. “The painting ever interested me less,” he said then. And when half a century later came to Cadaqués not only he played chess in cafes but people participating in local championships in other populations. Once Pierre Cabanne asked: “Is your life in Cadaqués is different than it has in Paris or New York?”. And he said, “Stay in the shade. It is wonderful. Everyone, on the contrary, sunbathing tanning is one thing that horrifies me. ” The game of chess fascinated the Cubists and is represented in works by Gris, Delaunay, Marcoussis or Mondrian. But the great popularizer was Duchamp, saying identify with the figure of the horse, probably because of their movement. Man Ray has pictures of boards and in the 20’s and 40 came to market several models. Dalí also made one commissioned by Duchamp. The chips were different representations of the fingers, but took a salt shaker towers of a hotel as a model.

For Duchamp, chess was a metaphor for his life. He once said: “Contemplating the formation of the chess pieces on the board carries an implicit mind purpose, in chess there is always a transformation of the visual aspect in gray matter, and art should spend the same.” The exhibition of Cadaques is in this sense an invitation to understand art as a poetic machine that can transform everything.

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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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Dalí in the cathedral of Barcelona

A Sant Jordi´s sculpture by Salvador Dalí shines in the cathedral of Barcelona

Salvador Dalí Sculpture

The archbishopric of Barcelona installed in the cathedral of Barcelona a new image of Sant Jordi, designed by Salvador Dalí, donated by the Estate of Noble Knights of the Principality of Catalonia, which already can venerate in one of the chapels of the cloister of the Gothic temple .

Coinciding with the last feast of Sant Jordi, the cathedral celebrated the blessing ceremony and placement of the sculpture “Saint George and the Dragon”, designed by the artist of L´Empordá, already visitable.

From the first waxwork, created in 1976 and together with other 43 sculptures, also molded in wax with your hands, Dalí made the bronze casting to proper size, as is the case which is installed in the cathedral from Barcelona.

After the blessing of the sculpture by the dean-president of the Cathedral Chapter, Joan Guiteras, they intervened Joan-Xavier Bofill Pellicer, Grand Master of the Estate of Noble Knights of the Principality of Catalonia, which was the one who made donation of the sculpture and Nicolas Descharnes, son who was secretary, collaborator and personal friend of “empurdanés” currently genius and great specialist and supporter of Dali’s works.

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New museum-shop in the Rambla of Barcelona

It will disclose the main cultural icons, and tickets selling, local products and will also feature a gourmet cafe

Museum-shop in the Rambla of Barcelona

La Rambla counted from tomorrow with a new cultural showcase, Espai Patrimoni with an innovative format and focused on the dissemination of cultural and gastronomic heritage of Catalonia. It will occupy the basement of the Palau Moja, on the busy corner of Rambla/ Portaferrissa, where were the library of the Generalitat de Catalunya and the exhibition hall Max Cahner for years. The project has more than three years of gestation and up to three times postponed the opening date for the Ministry of Culture and the winner of the contest UTE’d just agree the design and functions of space.

The Espai Patrimoni will address both locals and tourists and will combine three features: museum-shop with Catalan history as narrative backbone, gastronomic restaurant and tour desk with ticket sales. The museum-shop will occupy most of the space and will consist of a tour in 11 stages: prehistory, Iberian, Greek legacy, Roman legacy, Romanesque, Gothic, Baroque, Industrialization, Modernism, artistic Geniuses (Picasso, Miró, Dalí) and contemporaneity. Each period will have its exhibition space, with a historical explanation help of audiovisual and interactive technology; an identification tourist icon (Roca dels Moros of Cogul, Ullastret, Empúries, Roman Amphitheatre, Sant Climent de Taüll, monastery of Santes Creus, Cardona Castle, mNACTEC of Terrassa, Colonia Guell …) and a map of Catalonia with the ten location assets representing. A horizontal strip will travel around the perimeter as a timeline.

In addition, and therein lies the novelty, each step accompanied by a selection of products on sale, related to the subject. For example, the Greek influence shall be accompanied by books on the site of Empúries and Romanesque wines show designations of Catalan origin. The offer will include everything from handicrafts, jewelry, fashion and footwear, to products of sweet and savory food, home accessories and more traditional souvenirs such as postcards, mugs, key chains and magnets. It will also include books, DVDs, music and chests of experiences.

Extended hours and rental cars

The cafe area open nine o’clock until midnight and will allow visitors to have a light snack, lunch or dinner and tastings of traditional dishes of Catalunya. “Gastronomy is another element to publicize products and companies in the country,” says Angel Diaz, manager of Advanced Leisure Services (ALS), with Sapiens Publicacions public tender for the conceptualization of space winner and exploitation by a period of 10 years renewable. Sapiens has been responsible for all content and develop ALS manage the space. “A long period allows for a more ambitious investment and be more relaxed about their repayment” he argues.

The third function that will house the Espai Patrimoni tourist information. A central counter resolve questions about how to get to the assets which explains the “museizada” area and also sell tickets and visit. It will include both public spaces such as churches in the Vall de Boi, and private, such as Casa Batllo or Peralada Castle for example. Initially not exclusively include recreational attractions, such as amusement parks, shopping malls and football stadiums, but the door is not closed to formulas that include a cultural value.

Experimentation and analysis of the public response will determine the precise direction of space, which also has perspective dedicate the courtyard of the Palau Moja -at accessed from Portaferrissa- to sign the Catalan intangible heritage as the castellers or traditional festivals.

As for transport, Diaz notes that “at the moment there are no plans to organize group outings” but yes rented cars, and give information on alternative public transport mobility. “We want to close the circle, giving incentives to encourage visits and facilitate the means to finally do”, he argues. “We have searched unprecedented worldwide and we have not found any equivalent,” he adds.

La Rambla, a complex ecosystem

The Espai Patrimoni is the most visible to the citizens of the young Catalan Agency for Cultural Heritage, an entity of the Department of Culture created in March 2014. It will also seek to revalue by a ‘brand’ own neoclassical Palau Moja project, somewhat forgotten by the locals despite its historical significance for the city. To draw the attention of the millions of visitors to the Rambla, the local will wear their glasses-slightly hidden by a large porches arches- vinyl heritage icons, that will change. Also it hosts activities to call the local public, such as tastings, children’s workshops and project presentations.

However, the new cultural showcase will live with ten offices and tourist information booths operating in the Rambla, as heterogeneous as coordination missed each other. In recent months, they have proliferated private ticket counters and organized tours, with special prominence for Barça-parties and has even opened a retail outlet passes nightclub. Turisme de Barcelona has two offices -anexas the Gran Teatre del Liceu and Experience- Jamon, a focal point within the monument to Columbus and kiosks Plaza Catalunya and Portal de la Pau. The City Council, meanwhile, has the Last Minute-Ticket 3 rarely crowded despite selling theater tickets exclusively 50% three hours before the start of the show.

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Lorca in Barcelona (theater)

‘El Publico’ is Lorca’s response to a moment of personal and creative crisis, a cry for loving and artistic freedom

Lorca Barcelona-teather

For a irrepresentable work, audiences will come out lately Lorca many crackpots ready for anything. Willing to to stage a huge unfinished and eventful history that lies between us miraculously scenic poem. A poetic puzzle intimately connected to the world and the time of Poet in New York and pregnant with meanings about the theater and about desire. A cry for loving and artistic freedom. A journey into the Lorca himself. Your brain. At its deepest tensions. A work that claimed, the content and form dark, avantgarde theater against another aimed at pleasing the public. And in the early thirties clearly it defends, sometimes so fierce against the dominant hypocrisy homoerotic desire. If at the beginning of 2015 the Teatro Real in Madrid became the public opera hand writer Andres Ibanez and composer Mauricio Sotelo, is now one of the reference figures of Catalan theater, Alex Rigola, former director of Teatre Lliure, who dare with this piece that almost seems to go hand in hand with this position: it was released worldwide in 1986 in Milan by one of the founders of Rigola Lliure and successor as head of the institution, Lluís Pasqual. A version still revered.

Of course, this great scenic poem, this Drama in twenty paintings and murder, as stated on the edge of the first page of the manuscript preserved although the work would end six acts and deaths there a few others, it will not It is represented in the Lliure but at the National Theatre of Catalonia, which comes from the Teatro de la Abadia Madrid, which is one of its Rigola usual suspects. Public premiered there on 28 October in the Sala Juan de la Cruz. It was a peculiar room the old church of the Holy Family with the help of set designer Max Glaenzel has become a whole cosmos. With the walls covered with hundreds of strips of metallic gray plastic. And with a cork floor that mimics the earth and creates mounds not only on stage but it moves toward the seats to integrate them into a universe on top even has its own celestial sphere, dark, starless. Under which the characters -the director, horses, Elena, Juliet, the fool Pastor, harlequin suit, red prestidigitador- Naked or delivered to the passions of the poem often with little or no clothes except the Director , played by Pep Tosar. A powerful universe Glaenzel Rigola and are challenged to recreate the always difficult TNC Great Room, where, live things, happen to show a decidedly popular, successful musical Molt soroll per no res.

Instead, the public not only the difficulty of the explosion of meanings of poetry with which it is written, but the manuscript that has survived is not the definitive, but has been saved. A manuscript dated August 22, 1930 and whose front pages are written on a letterhead of La Union in Havana, a city where have occurred the first reading of the work to Loynaz brothers. In July 1936 Lorca convene a group of friends at the Buenavista restaurant to read the final version, typewritten and with many corrections. And lost. Which has gone down in history is, according to his savior, Rafael Martínez Nadal, to Lorca, on his last day in Madrid on July 16, 1936, she gave him a packet of papers to be the keep: he must destroy especially if anything happened. Among them was The public, Martinez Nadal published much later, in 1976.

Rigola a work that fascinates him since he discovered at the Institut del Teatre and it fits perfectly with his theatrical career in recent times. The Catalan director, who spent eight years at the Lliure left by choice not to perpetuate himself in charge- and is responsible for six years of the Venice Biennale Teatro, it has become an impressive theatrical campus where teach the great directors of the time, he has opted to turn in great poems and performing facilities from Macbeth and Coriolanus to The Birth of Tragedy Nietzsche (with music by David Bowie).

And now he has made up his mind to Lorca. In their selves, their passions, battles Freudian creator lives in a time of deep personal and artistic crisis where the two men who have been in love, Dali and Emilio Aladrén, women have been both named as … that of the public, Elena. A crisis in which triumphs with works such as Mariana Pineda but feels it is not the theater to do, which is to bourgeois, who is not going to the depths. A moment in which Lorca is also, says Rigola, who hides his homosexuality as if there was a problem. It is the time when you go to New York and Havana and discover new worlds and theaters. Voltages in which immerses the viewer in the audience, the first dimension is “Fourth Director. The Director granted. Dressed in tuxedo. Decorated blue. A large handprint on the wall. The windows are X-rays. ”

A hand radiographs, signaling the willingness to go penetrating inside and give way to a journey that merge reality and dream, in which the Director will come to see the audience in the theater is discussed It is done and who should do: “I will have to give me a shot to open the true theater, theater under the sand” and which calls his theater desired- says a character, to which the Director opposes ” And the moral? And the stomach of the audience? “. That written in a work in which sexual images, particularly homoerotic, are as poetic as scurrilous. A work in which the necessary theatrical revolution and deception of men who hide their sexuality and, either way, speaking of truth and lies are mixed. For the solution it is to “destroy the theater or live on stage!”. And love.

Federico Garcia Lorca

The public

Teatre Nacional de Catalunya. DECEMBER 17th TO JANUARY 3th

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Dali was born …….

Dalí’s birthplace will be rehabilitated.

Dalí signature

Twenty years after the Figueres Town Council bought the house where Salvador Dali was born, finally it seems that the rehabilitation project to turn it into a cultural center of reference. The Ministry of Culture is willing to include a grant of 500,000 euros in the 2016 budget to begin work and the city of Figueres assume the remaining cost of the reform valued at 2,511,000.

Last week the mayor of Figueres  Marta Felip visited in Madrid, the Institute of Cultural Heritage, the Ministry of Education and Culture, where he met with the deputy general manager Alfonso Muñoz Cosme.

The talks are the continuation of a separate interview that took place a few months ago between the mayor herself and the then Minister of Culture José Ignacio Wert and are part of an initiative that has been supported by the deputy of the PP by Concepció Veray Girona.

Marta Felip expected that after the tender process may lower its cost slightly and hoped to get the involvement of the private sector through sponsorship of a club, for which he will begin a round of contacts with stakeholders in the tourism sector. In any case, it considers that the approximate cost of 1.8 million remaining is acceptable to the City Council in three years. Although the museum should then apply. The purpose of the mayor is already include a round at the 2016 investment plan to be adopted in the coming weeks. “Our goal is about the end of 2018”.

Dalí’s father in 1900 rented a flat in the street Monturiol, No. 6, winning the notary in Figueres Square and moved there with his wife, who had just married. In this house a first child, also named Salvador, who died at 22 months was born. The May 11, 1904 Salvador Dali was born another, which would become the famous painter. In 1908 he was born his sister Anna Maria. The father was the notary on the ground floor and is communicated with an internal staircase to the mezzanine, where the family lived. Just above did the Matas, who had come from Argentina, with a daughter, Ursula Matas, according Eugeni d’Ors with its beauty inspired the character of The Ben Planted. And one floor up Dalí’s grandmother and a single mother sister settled, though often made life on the mezzanine sliding balcony that had a four-meter wide overlooking a large garden Abadal-Fonsdeviela family, Owners of the entire building.

It was at the time a house in the adjoining garden, which blocked the view from the balcony was built, when Dalí changed housing in 1912, and moved a little further, in 10 of the Monturiol street , that Dalí dubbed the genie, because there had been born inventor of the submarine Narcís Monturiol, the poet Carles Fages de Climent, historian Alexandre Deulofeu and himself.

The building, whose structure and façade have been preserved almost intact, is a work of modernist architect Josep Azemar, and is part of a set of listed buildings that have been preserved in this street. Since 1961 has a plaque recalling that Dalí was born here, placed by Mayor Ramon Guardiola.

The house was owned by the Marquise de la Torre, married to the leader of the Liga, Raimon d’Abadal, and their descendants ended up selling it to the city of Figueres: first the mezzanine and ground floor (the mayor Marià Lorca, 1995) and later the rest of the block (the mayor Joan Armangué in 2000). In 2004 the rehabilitation of the facade and roof and in 2007 undertook, being mayor Santi Vila, the Minister of Housing, Carme Chacon, promised to pay reform, but since replaced the promise faded.

Uses the plan developed in 2008-2010 plans to establish in the ground floor a reception area, bookshop and tour desk; on the mezzanine, rather than rebuild housing it is to recover the memory of Dalí biopic; the first floor is a space for thematic exhibitions of historical recovery of characters and elements linked to Dali Figueres; The second floor is devoted to proposals of contemporary art and culture, and the roof will be reserved for gazebo, bar and rest area. The objective is to recover a heritage building linked to the artist’s childhood and at the same time, get that million annual visitors attracted by the Dali museum have another reason to prolong their stay in the city.

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Divino Dalí in Cadaqués (Costa Brava)

Divino Dalí in Cadaqués (Costa Brava)

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An exhibition of Picasso and Dali, jewel of Barcelona’s season in 2015

The Catalan capital will also include retrospectives dedicated to the Moche culture, still lifes Golden Age Spanish or Alvar Aalto

Portrait of Picasso In 1947 Dalí painted this fantastic piece of 64.1 x 54.7 inches portraying his colleague Pablo Ruiz Picasso. Both painters met on the first trip from Salvador to Paris, back in 1926 and exhibited works together on more than one occasion.

An exhibition on the relationship between Picasso and Dali is one of the main attractions of the artistic season start 2015 in Barcelona, which will also feature retrospectives dedicated to the Moche culture, still lifes Golden Age Spanish or Alvar Aalto.

Since March, the Museo Picasso show at the exhibition “Picasso / Dali. Dali / Picasso” the relationship between the two geniuses of universal art of the twentieth century, illustrated from eighty pieces, including paintings, drawings, prints and sculptures.

In this first confrontation of the work of the two artists their relationship is drawn from the first trip to Paris Dali during the spring of 1926, when the painter ampurdanés visited the studio of Malaga, until its matching response to the barbarity of war Spanish civil or ideological disagreement from the 40s.

Another milestone of the Barcelona artistic season will be the exhibition “Gold, myths and rituals. Mochica Culture of Ancient Peru”, a project to display 200 masterpieces of pre-Columbian art from the Museo Larco Herrera, from pottery vessels textiles and jewelery to pieces and feathers.

CaixaForum remember from February the 25th anniversary of animation film studio Pixar, a show that started at the MOMA in New York in 2005 and over the years has grown to show audiences of all ages the scenes of feature animation company, with emblematic works like “Toy Story,” “Monsters,” “Cars” or “Ratatouille”.

The same cultural space Caixa will value between May and August the work of the Finnish architect Alvar Aalto (1898-1976), a key figure in architecture and design vanguard of the twentieth century; and display between June and September the exhibition “Animals, men and gods. The bestiary in Pharaonic Egypt,” which is on display at CaixaForum Madrid in the first half.

The Museu Nacional d’Art de Catalunya (MNAC) deployed from October 2015 a sample of fifteen lifes of Spanish artists of the Golden Age, including Juan de Zurbaran, Juan van der Hamen or Juan de Arellano, from a private collection , some of which will join the permanent collection and will be exhibited at the new presentation of art from Renaissance and Baroque, which will open in 2016.

Between June and October, the Tàpies Foundation will make a retrospective look at the work of Antoni Tàpies from the 1940s until his death in 2012, with emphasis on the evolution of typologies, techniques and materials used by the artist.

The Miró Foundation shine a new major project throughout 2015, with the rethinking of its permanent collection, which will incorporate new works.

This center will offer from March the exhibition “Prophetia”, which will showcase works by artists from all over Europe to reflect on Europe from the current economic, political and social crisis.

In season MACBA the exhibition “Proletarian Chamber Theatre” dedicated to Argentine Osvaldo Lamborghini (Buenos Aires, 1940 – Barcelona, 1985), which presents for the first time in a museum, the most comprehensive anthology of his artistic works, allowing understand the radicality of this artist stabbing still uncharted by the aesthetic accounts of the eighties.

The CCCB presented in March “The Sebald variations,” an exhibition that will take the German writer WG Sebald, author of some of the fundamental books of our new century, as a thread of a question mark on the history of the twentieth century and its projections in the XXI.

The exhibition will coincide with the Kosmópolis literary festival will be a count of the different ways that Sebald’s work has influenced the visual arts and literature since 2001.

In the field of photography, highlight two proposals that will review the work of Leopoldo Pomès, Xavier Miserachs and Gabriel Homes in La Pedrera, the MACBA and the MNAC respectively.

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