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19_09_2018

Scars and Reparations

In this article, Dolors Bramon, a historian with a PhD in Semitic languages, takes a historical look at the conflict between different cultures in Spain inaccurately referred to as convivencia. The author questions the honesty of the meaning of multiculturalism and underscores the need for repairing historical injustices. As in Kader Attia’s work, for Dolors Bramon scars are cries against oblivion.

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The (Im)possibility of an Island

Like the force fields that keep particles together in atoms, the apparently distant connections between narratives and individuals sometimes converge in similar reflections. Such is the case of the random encounter of isolation, the main subject of the exhibition program The Possibility of an Island, with the thread of thoughts that Agustín Fernández Mallo subtly weaves in this new article for our blog.

Agustín Fernández Mallo, a physicist and writer based in Palma de Mallorca and the author of the Nocilla Dream, Nocilla Experience and Nocilla Lab trilogy, among other works, is part of the current contemporary literature and art scene. His latest novel has been published in Spanish as Trilogía de la guerra.

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19_04_2017

Meeting Joan Brossa

The foyer at the Fundació, devoted to amateur photography, is currently the venue for the Joaquim Gomis exhibition titled Brossa at La Ricarda and will soon feature From a Pixel a Poem, by Cloe Masotta, as part of Epicentre Brossa, an activities programme centred on the life and work of Joan Brossa, the poet and visual artist who transformed contemporary Catalan culture.

Cloe Masotta, a film critic and professor who handles film programming for museums and cultural centres, has completed a research project on Joan Brossa as part of the Independent Studies Programme at the MACBA Museum in Barcelona. Here she tells us about her immersion into Brossa’s world and describes the sequence of coincidences through which the poet worked his way into her life.

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02_03_2017

The Curse of Saying

The explanation is as follows: to consider a risk involves calculating. It’s true that this is probably determined by the verb to consider, but it is no less true that the noblest of things (in Montaigne’s terms) tend to deprecate risk. They don’t ‘consider’ it. Or not much. Risk in art is nothing in itself. At the most, it is a subsidiary element to other deeper things, by no means an ultimate goal. Does risk really mean anything at all in art? Isn’t risk simply a token of what we had previously been determined to do?

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22_12_2016

Art in Check: Passion and Obsession

‘I play chess day and night. I like painting less and less,’ stated Marcel Duchamp in 1923 after finishing one of his great works, Le Grand Verre (The Large Glass). It is impossible to separate the painter from the chess player, because Duchamp’s art was always in check, and he viewed this mental sport as a source of creativity.

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22_11_2016

From leaving as a learning experience to ‘Muna’s Journey’

Living abroad means having time stand still in one place while it speeds up somewhere else. It isn’t the effect of jet lag or of different time zones. A capricious, subjective internal sense of time stirs up emotions and changes priorities. Who do we belong to? Where do we belong? Psychologists and sociologists who have considered the matter in depth would speak of it with more authority, but it would be terribly boring to take the intuitions that a new life can give us and sum them up in a scientific headline, wouldn’t it?

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