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Under the structure of an emblematic market with iron casting architecture of the 19th century, the archaeological site of 1700 Barcelona is found, which is unique in Europe, along with the old market, the memory of the events of 1714 and exhibitions, all located at El Born Centre Cultural, a new and exceptional historic venue that links three centuries of history.
Barcelona 1700. From stones to people:
An exhibition to recall Barcelona society of the 18th century, that was a dynamic and modern society, but also marked by the wars suffered between 1691 and 1714.
The exhibition includes around 1,800 objects that have provided valuable new information to portray everyday life and how the people of Barcelona lived three centuries ago. Linked to the permanent exhibition at the foot of the site, there will also be three exhibition areas displaying various objects. The most remarkable is the Sala de la Guerra (War Room), where a selection of over three hundred bombs are exhibited, of different sizes, types and materials which were discovered during the excavation.
The exhibition is structured in three major areas: La Gran Casa (The Home), La Ciutat pròspera (The prosperous City), La vida quotidiana (Everyday life), La Ciutat atacada i mutilada (The attacked and mutilated City) and La Ciutat refeta (The rebuilt City).
In 2009, the health care activity of the Modernist Enclosure of Hospital de la Santa Creu and Sant Pau moved to modern facilities located northeast of the architectural site. Since then, the monumental site of pavilions constructed by Domènech i Montaner, a Unesco World Heritage site, provide their unique spaces of outstanding artistic and heritage value, to hold congresses, courses, events, knowledge centres, but also for guided tours and activities for everyone.
Inaugurated years ago as the world's first film festival dedicated to the fantastic genre, today it's become the region's biggest celebration of the moving image. The picturesque seaside town of Sitges, 30 minutes down the coast from Barcelona, hosts hundreds of films from around the globe, including animation, rom-com and gangster as well as its core themes of gore, horror and fantasy.
This year's event, the 51st, celebrates the anniversaries of various iconic movies, including John Carpenter's Halloween (1978), which is also tied into a retrospective on slasher films, and 2001: A Space Odyssey and The Night of the Living Dead, both released in 1968. Organisers are also using the 200th anniversary of the publication of Frankenstein to explore the role of women in many of the movies based on the seminal novel.
Running in parallel to the screenings are exhibitions, master classes and Q&A sessions, special events focused on television series, the chance to see films using virtual reality technology, plus a crowded Zombie Walk through the streets of Sitges.
"After the End of the World" is an exhibition about the planet of 2017, irreversibly transformed into an Anthropocene planet after two centuries of human intervention in natural systems. But it is also an exhibition about how we will reach the world of the latter half of the 21st century, and about our society's responsibility to the generations who will be born and grow up in it.
The project brings together voices from the various disciplines of creation and thought; together, artists, filmmakers, novelists, playwrights, architects, designers and scientists will imagine scenes, stories and escape routes to the different possible worlds that we can build, according to the decisions we make in the coming years—decisions in which we are all much more than mere spectators.
MACBA Collection. Beneath the Surface brings together works that focus on the problems deriving from representation and its limits, as well as the relevance and incidence of the artist and art in contemporary society. Although from different conceptual and formal approaches, many of these pieces share references to Conceptual art, forms derived from Minimalism and a contemporary fascination with material and surface. Beneath the Surface, and hence the title, examines the interest in aspects beneath which lie contents of a very different nature. It is worth mentioning the performatic component that permeates some of the works.
The exhibition is integrated by works of various formats and typologies by artists such as Ignasi Aballí, Antoni Tàpies, Lucio Fontana, Karla Black, Art & Language, Angela de la Cruz, Derek Jarman, Latifa Echakhch, Félix González-Torres, Charlotte Posenenske, Rita McBride, Gregor Schneider, Doris Salcedo and Michelangelo Pistoletto, among others.
The Macba presents the first institutional retrospective of Rosemarie Castoro, (1939-2015). The exhibition focuses on the period from 1964 to 1979. Castoro was a multidisciplinary artist, who formed part of the New York vanguard, with wide artistic experience that included abstract painting, conceptual art, street and studio performance actions, sculpture, installations and land art.
"Rosemarie Castoro. Focusing on infinity" also analyzes her activist aspect. It examines how her interest for dance is shown in her way of reading a space and in the performance photographs of her works, which she describes as "stages and containers for the body".
The permanent collection, which occupies the whole second floor, is the cornerstone of the Casa Vicens Gaudí museum and will act as a foundation for the rest of the exhibitions and installations scheduled.
The permanent collection is based on the social and cultural context in Barcelona when Casa Vicens was being designed (1883-1885), looking more closely at the beginning of the career of a young Antoni Gaudí through his influences, reflections, first projects, works and collaborations, to then focus on the original project and construction of Casa Vicens and how it changed over the years, above all explaining how the building techniques and art, structures and ornamentation all come together to form a single whole. It is in this final aspect that Casa Vicens is conceived as a whole art work.
This collection begins with an audiovisual piece and continues with original pieces from the house and three interactive tables with historical documents, plans, models and the more unique and representative building and decorative materials from the House.
The first temporary exhibition is curated by the the expert in Gaudí, Juanjo Lahuerta, who is director of the Gaudí Chair. Entitled "The first house. Own house. The manifest house"The manifest house", this temporary exhibition runs through fourteen houses, designed by some of the contemporary architects of Gaudí.
The chronological period of these architects starts with Viollet-le-Duc and William Morris, who were crucial in Gaudi's training. Other outstanding North American architects of the first generation of the Modern Movement are included, –Richardson, Sullivan and Wright–, plus European architects of Gaudi's generation–Berlage, Wagner, etc.– It is completed with the second generation, where the declinations of Art Nouveau had already been defined –Horta, Guimard, Mackintosh and Olbirch–.
A house by each architect has been chosen, which was either the first house to be built, or it was their own house, or a manifest house. This means, a house in which experimentation on typology and style has all the features of what the author's work would become in later decorative architecture and furniture.The time connections with the Casa Vicens are shown, with dialog.
Gyula Halász (1899 - 1984) from Hungary, better known as Brassaï, his pseudonym, was one of the photographers who undoubtedly redefined the potential of photography during the 20th century, as an artistic medium. Brassaï focused particularly on the city of Paris, the core concept of some of the most iconic and significant images. His powerful and artistic eye captured vital moments of the everyday life of the city, especially its nighttime appearance and vitality. We now have the chance to observe his work in an exhibition organized by Fundación MAPFRE and curated by Peter Galassi.
Antoni Tàpies married Teresa Barba in 1954. after years of intense correspondence when the artist lived in Paris. The love and understanding towards Teresa is shown in this exhibition, which presents a series of drawings (Teresa Series -1966) and a collection of lithographs, lithocollages and collages called "Letters to Teresa (1971-1974)". Both series pay tribute to the relationship between them, through a repertoire of signs without translation for visitors; a gesture that preserves the intimacy of the couple.
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