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SCALES: CASA VICENS

Barcelona Gallery Weekend 10-13.10.2019 Barcelona Gallery Weekend 10-13.10.2019 Barcelona Gallery Weekend 10-13.10.2019 Barcelona Gallery Weekend 10-13.10.2019 Barcelona Gallery Weekend 10-13.10.2019 Barcelona Gallery Weekend 10-13.10.2019 Barcelona Gallery Weekend 10-13.10.2019
Scales
  • From Oct 10 to Nov 10
  • Until Oct 14:
  • From Mon to Sun, from 10:00 a.m. to 8:00 p.m.
  • Last access 6:40 p.m
  • From October 15 to November 10:
  • Mon, from 10:00 a.m. to 3:00 p.m
  • From Tue to Sun, from 10:00 a.m. to 7:00 p.m.
  • Last access 5:40 p.m
  • Carrer de les Carolines, 20-26
    08012 BCN
  • Check schedule changes on the web www.casavicens.org
* Free admission during the BGW 2019 with invitation to pick up at the info points. From Oct 14 to Nov 10, 20% discount on admission with the same invitation.

Casa Vicens

In the framework of Barcelona Gallery Weekend an audiovisual piece by the artist Glenda León was exhibited in one of the rooms of Antoni Gaudí’s Casa Vicens, the first relevant work from the architect summarizing the creative world present in all his subsequent production. On the occasion of the fifth anniversary of Barcelona Gallery Weekend, the collaboration with Casa Vicens has been continued through the exhibition Scales, a selection of six pieces by different artists represented by some of the galleries participating at this edition.

From October 10th to November 10th, the works of art that inhabit Casa Vicens and its garden establish a set of timing, functional, formal and poetic correspondences with the building, inviting to reinterpret each corner from contemporary artists’ angle.

In line with Gaudí’s personal style, this exhibition is inspired by both nature and craftmanship. The title refers to the protective function of scales, taking the concept of Casa Vicens as an analogy of a haven, a summery oasis where you can rest under the shelter provided by the red brick structure and mosaics made of tiles. Each of the six pieces exhibited evokes such function in their own terms and enters into a dialogue of materials along with a set of handicrafts incorporated in the décor of the house by Gaudí himself: iron, wood, ceramics, paper, stone and rock are the raw materials in this exhibition.

Vanesa Muñoz, Broken Monolith, 2015
barcelona Gallery Weekend
Casa Vicens, © David Cardelus
barcelona Gallery Weekend
Scales

Casa Vicens

Entering the Mediterranean inspired garden, we find a set of pots, Constellations, by Jean Denant (2016), reinforcing and ennobling the brick as the vital holder. They are made from the debris resulting from the dismantling of the refugee camp in Rivesaltes, in France. These sculpture-pots resignify the subject-matter of the construction and they fill it with Mediterranean greenery as an emotional and protective gesture.

Following the visit itinerary, leaving the entrance behind and passing through the barrier between the public space and the private one, there appears a carpet created by Marria Pratts which has been specifically produced for the exhibition and welcomes everybody. Evry1Wlcome is an open invitation to leave behind all the elitism involved in crossing that entrance. Now Casa Vicens is a collective heritage and everybody is in charge of its maintenance and protection. The carpet is a warm object instantly evoking home and hospitality.

After entering the former dining room in the main floor, we encounter the Cube (The Picture of Dorian Gray), de Francesco Arena (2018), working as a counterpoint to Francesc Torrescassana’s realist paintings. The sculpture is made of greystone, a material widely used in building homes, and it holds an edition of Oscar Wilde’s The Picture of Dorian Gray inside. The enigmatic cube of stone not only appears to protect one of the modern classics of Western literature, but also evokes the lasting value and beauty of Casa Vicens itself, with a charm that leaves no trace of time.

Jean Denant, Constellation, 2016
barcelona Gallery Weekend
Scales

Casa Vicens

In the first floor we find the resting area and, in the main bedroom, Jordi Mitjà’s work Monument precari amb monedes inhabilitades (Precarious Monument with unusable coins) (2017): an embrace of two zinc plated iron reeds intertwining with the greenery inspired decoration in the room.

In the room close to the main bedroom, Vanesa Muñoz’s Broken Monolith (2014) makes a wink at the groundbreaking figure of Gaudí and his questioning of all the prior construction rules. Muñoz’s wooden monolith symbolizes of science knowledge and its (fake) certainties, and it leaves behind a specific truth, revealing in its gap that, deep inside, “chaos and fate are makers of possibilities and creators of life.” (V.M., 2014).

Finally, in the last room, Marc Larré's visual essay expressly made for the exhibition closes the tour. Trompe-l'oeil, polychrome plaster muqarnas, and papier-mâché tiles are some of the varied decorative elements that have inspired Larré's work, where the manipulation of printed images of Gaudí's work seeks to create relationships and concepts in tension between the decoration and its environment.