Itineraries

  • barcelona gallery weekend
  • barcelona gallery weekend
  • barcelona gallery weekend
  • barcelona gallery weekend
  • barcelona gallery weekend
  • barcelona gallery weekend
  • barcelona gallery weekend
  • barcelona gallery weekend
  • barcelona gallery weekend
  • barcelona gallery weekend
  • barcelona gallery weekend

  • A walk by curator Xavier Acarín

  • Bombon Projects: Lara Fluxà, Dilalica: Beatriz Olabarrieta & Mario Santamaría, Pigment Gallery: Sito Mújica, Galería Valid Foto BCN: Masao Yamamoto

    Through the four exhibitions that we will visit we delve into a consideration of the human body and its representation in relation to the built and natural spaces. In the debate on the implications of the ecological transition, the artists included in this walk, develop a critical reflection that advances a cultural transformation expressed in our relationships with the material and our ways of inhabiting a damaged landscape. In this repair process, how can we initiate collective regeneration? To what extent does this reposition us as desiring humans? What forms of representation contribute to deepening the objectives of social and environmental justice?

    If for Lara Fluxà, the linking of the human body in an ecosystem involves recognizing influences, symbioses and interdependencies, for Beatriz Olabarrieta and Mario Santamaría, confusion and architectural intervention in space encourage a mode of editing that goes beyond of representation, to delve into economic and technological considerations. For his part, Sito Mújica delves into the imagery of the human body and its classical references from a problematization of its construction combining human and artificial intelligence; and in Masao Yamamoto's photography we find a composition of elements with which to define a space of harmony and contrast between culture and nature. As Hito Steyerl says in Cut! Reproduction and Recombination, an essay referenced in Dilalica's exhibition, if industrialization produces an artificial and alienated body, from the factory to synchronized dance, the body of post-production, of 24/7 capitalism, is a spasmodic, precarious body, mediated digitally, isolated, medicated and sleepless. The alternative that Steyerl points out is the tape made of censored kisses that appears in the film Cinema Paradiso, kisses that threaten family and private property, that create "vectors of passion and affection", shared moments of bodies that intertwine and kiss in a unique exchange generating one more body, a temporary collectivity. On this walk we will kiss, and we will look for how the artists help us imagine other forms of relationship with the environment while we move through one of the most sensual areas of Barcelona.

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    Xavier Acarín Wieland is a curator and teacher. His projects and exhibitions have been presented at Elastic City, The Abrons Arts Center, Knockdown Center, Wendy's Subway, PS122 Gallery in New York, La Ira de Dios in Buenos Aires, HIAP and Muu Gallery in Helsinki and at the Fundación Mies van der Rohe, Caixaforum and Galería ADN in Barcelona, among others. He is co-author of four books Dear Helen (CCS Bard, 2014), Experience Design (Bloomsbury, 2014), Ante la Imagen (Comanegra, 2016) and Itziar Barrio (Skira, 2024). He is currently a teacher at EINA and a PhD student at Goldsmiths. 

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    Seven curators propose seven walks through the galleries participating in BGW2024 from their particular points of view. The seven guide-texts by Xavier Acarín, David Armengol, Cèlia del Diego, Carles Guerra, Sofia Lemos, Patricia Sorroche and Linda Valdés will be available here in September.

  • The Work of the Illustrator: a walk by curator David Armengol

  • Galería Alegría: Jorge Diezma and Philipp Röcker, Ana Mas Projects: Michael Lawton, L21 Barcelona: Fabio Viscogliosi, ethall: Rasmus Nilausen

    As soon as I read the list of artists who would coincide on this route around Galería Alegría, ethall, Ana Mas Projects and L21 Barcelona, I automatically thought of a piece of writing by Alfred Kubin (1877–1959) called Book Illustrator. In this short volume, Kubin praises and champions those who decide to make art with simple resources. Kubin writes that a pen, Chinese ink and paper are all that is needed to invent creatures and to imagine and justify impossible things. I flick through Kubin’s book and am entranced by some of his illustrations. In them, ghostly, dreamlike and symbolic scenes coexist and put across a sensation of attraction and anguish, and that, whether we like it or not, is always somewhat fascinating.

    I then imagine the connections between the visual imaginaries of Jorge Diezma, Phillip Röcker, Rasmus Nilausen, Michael Lawton and Fabio Viscogliosi. Despite their differences, I get the feeling their works maintain both the essentiality and the enigmatic estrangement that define Kubin’s writing and drawings. And rather than any expressionist reference, this is down to an aura of mystery that surrounds all five artists in different ways, tangible in Diezma’s dramatic baroque style, in Röcker’s extreme materiality, in Lawton’s and Nilausen’s narrative abstraction and in Viscogliosi’s metaphysical storytelling.

    But beyond forms and discourses, I am also referring to the ability to start something from scratch: a blank canvas, a piece of wood, a sheet. From there, we witness the emergence of a fixed, concrete idea that leads to existential doubt (Rasmus Nilausen); a possible path, a physical and narrative transition to some imprecise place (Michael Lawton); visions that overwhelm our understanding and good sense (Jorge Diezma); an unexpected accumulation of materials (Phillip Röcker) or simply a series of anthropomorphised animals in search of something (Fabio Viscogliosi). In reality, either through an explicit figurative narrative, an abstract approach or a strange balance between what we can identify and what we cannot, the works and exhibitions on this route encourage us to connect to a cosmogonical perspective. In other words, each artist shows us a parallel universe where self-referentiality – art that talks about art – and a series of emphatic, poetic messages about reality and the present coexist.

    Pleasingly, we come across artistic thought that is more individual than collective, more self-involved than activist, and that is a good thing.

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    David Armengol (Barcelona, 1974) is an exhibition curator, and since 2021 is in charge of the artistic direction of La Capella in Barcelona, a centre dedicated to emerging art and defined through an open call for the production of projects. As a curator, he has worked in Caixaforum Barcelona, Matadero Madrid, the Centre d'Art La Panera in Lleida and the Fundació Joan Miró in Barcelona. In 2019, he was co-curator of the Uruguay Pavilion at the 58th edition of the Venice Biennale. In 2021, he published the book Arte emergente: la cosecha y el viaje, a possible radiography of emerging art in Catalonia between the 1990s and the present day.

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    Seven curators propose seven walks through the galleries participating in BGW2024 from their particular points of view. The seven guide-texts by Xavier Acarín, David Armengol, Cèlia del Diego, Carles Guerra, Sofia Lemos, Patricia Sorroche and Linda Valdés will be available here in September. 

  • The question of the witness: a walk by curator Cèlia del Diego

  • RocioSantaCruz: Lionel Sabatté, Mayoral Group show: Barcelona 1978-92 / Catalina León, 3 Punts Galeria: Jan Schüler

    The question of the witness – which permeates spheres as diverse as philosophy, literature and artistic practices – has recently been immersed in a paradigm shift facilitated by audiovisual media and, especially, the democratisation of new technologies, which encourage us to post our daily lives on social media.

    The historical and political meaning of bearing witness was consolidated as a reliable way of accessing truth that can only be known first-hand in the 1960s, in the context of the trials connected to the Holocaust. Experiences of the Nazi extermination system, which aimed to change the course of history while erasing any trace of the methods used to do so, have been key in this area. It is in this framework that the narration of experience leaves the private sphere and takes on social importance. And so begins the ‘era of the witness’, in the words of Annette Wieviorka, which implies a radical shift in the construction of memory of genocide and in the concept of bearing witness.

    The starting point is Michel Foucault’s reflection that culture, rather than being the medium for delivering truths to those who do not see them on behalf of those who cannot express them, is the tool with which the politics of the statement – the systems through which information reaches us – are revealed. The artistic projects presented at 3 Punts Galeria, Mayoral and RocioSantaCruz bring together inquiries that perhaps did not intend to bear witness a priori, but that take on new meanings in the construction of narration. Several trends intertwine in these spaces. The first is autobiographical experience, seen through Jan Schüler’s visual narration, which reflects the Germany he grew up in: a place marked by Nazism, antisemitism, concentration camps and extermination. Then, we find the documentation of events through the experience of others, in the exhibition where Vicenç Altaió looks back at the euphoria of the 1980s in post-Francoist Barcelona, where mass culture – inherited from the liberal model – and the social pedagogy of old communism came face to face. Finally, a more poetic perspective linked to materiality is displayed through both Catalina León’s reused canvases, on which she brings the marks and traces of canvases’ past lives into dialogue with the appropriation of the iconographic motifs of Italian painting and of architectural ornaments, and Lionel Sabatté’s creations from dust, pigments and residue found near the Cocó de la Gralla cave paintings in the Terres de l’Ebre, which emphasise the footprint of time on matter and connect it directly to past events.

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    Cèlia del Diego is Head of Institutional Relations at MACBA. She has been director of the Centre d'Art la Panera in Lleida and of the CA Tarragona Centre d'Art, artistic director of the Capella de Sant Roc and of the Projecte Lumens. Decennals d'art contemporani del Museu de Valls. She has participated in the acquisitions committee of the National Collection of Contemporary Art of Catalonia. She has coordinated ArtsLibris in Barcelona and ARCOmadrid, and has been associate director at the Galeria Toni Tàpies in Barcelona.

    Art critic and curator, she is deputy director of Artiga. Revista de pensament i art contemporani. She has been president of the Associació Catalana de Crítica d'Art, and is a member of the International Association of Art Critics and the Asociación de Directoras y Directores de Arte Cotemporáneo en España. She has carried out projects at La Casa Encendida (Madrid), Palazzo della Frumentaria (Sàsser), CaixaForum (Tarragona, Lleida and Palma), Mataró Art Contemporani, Arts Santa Mònica (Barcelona), Lo Pati Centre d'Art Terres de l'Ebre and the Bòlit Centre d'Art Contemporani (Girona).

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    Seven curators propose seven walks through the galleries participating in BGW2024 from their particular points of view. The seven guide-texts by Xavier Acarín, David Armengol, Cèlia del Diego, Carles Guerra, Sofia Lemos, Patricia Sorroche and Linda Valdés will be available here in September. 

  • Plot Twists: Five Exhibitions, a walk by curator Carles Guerra

  • Victor Lope Arte Contemporáneo: Beate Höing, ADN Galeria: Eugenio Merino / Julio Anaya, Galeria Marc Domènech: Esther Boix, Zielinsky: Ckaydui Goulart, ProjecteSD: Jochen Lempert

    For gallery-goers, the experience is about much more than just seeing exhibitions. Entering and leaving the establishments involves stepping on the street, passing from one neighbourhood to another. Altogether, it has the effect of a film montage. The resulting film, however, is unpredictable, and new, often irreconcilable scenes keep getting added to it. The twists and turns of the plot are out of control. Five galleries in the Esquerra de l’Eixample provide more than enough material for a feature film. The first shots open with a mix of ceramics and paintings. The artist exhibiting at the Víctor Lope Gallery is Beate Höing (Coesfeld, 1966), known for her sharp sense of irony. She puts together a visual repertoire that seems typical of an unabashed and shameless bourgeoisie taste. So much so, in fact, that it manages to make us think twice. Perhaps it is all more critical than it looks at first glance. But Beate Höing’s ornamental saturation does not prepare us in the least for what comes next: Eugenio Merino (Madrid, 1975) at ADN Galeria, in the company of Julio Anaya Cabanding (Málaga, 1987) and – although he is not part of the BGW programme – Robert Filiou (Sauves, 1926 – Les Eyzies, 1987). Miquel Àngel Sánchez’s gallery has earned its rebellious reputation. That is why the new version of Merino’s Federico García Lorca will be worth seeing. I am afraid the question of historical memory will be like the screen you are left with when your computer crashes. Either you shut down and restart, or you stay there for eternity. By the way, at ADN, politics is not in conflict with the pop dialect. On the contrary, this is the mark of its politics. Julio Anaya could be described as the latest version of the post-pop vogue, and it must be said that things are getting interesting. But, just at this point, you have to move a few streets away. Passatge Mercader is half a kilometre of art in Barcelona with interesting proposals such as those found at Galeria Marc Domènech, Zielinsky and ProjecteSD. As Maria Lluïsa Faxedas points out, feminist revisitings celebrate names that were denied publicity, while at the same time provoking therapeutic enthusiasm. The paintings of Esther Boix (Llers, 1927 – Anglès, 2014), produced between 1955 and 1977, will test this hunger for restoration. Will this be the exhibition that redeems an artist as quintessential as Esther Boix? Next door, the photographic series created by Claudio Goulart (Porto Alegre, 1954 – Amsterdam, 2005) will remind us of Ulises Carrión’s experimentalism. It is a tribute to the art of global nomads whose bodies somatised the geopolitics of the 1980s. Finally, we find more photography at ProjecteSD. A regular at the gallery, Jochen Lempert (Moers, 1958) is another of the most heterodox and freest spirits. As usual with him, we hope that the unusual will make an appearance in each of his works. And if not, it will definitely be worth it anyway. Jochen Lempert never leaves you indifferent.

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    Carles Guerra (Amposta, 1965) is a researcher, independent curator, associate professor at the Pompeu Fabra University and member of the Collège de photographie et images animées Cnap Centre national d'arts plastiques (França). During the year 2023 he has been appointed Inaugural Visiting Professor in Catalan Studies by the New York University and the Ramon Llull Institute. Previously he was guest professor at the Center for Curatorial Studies Bard College and other international centers.

    He has been director of the Primavera Fotogràfica de Catalunya (2004), director of the Virreina Centre de la Image (2009-2011), curator of the Museu d'Art Contemporani de Barcelona MACBA (2011-2013), executive director of the Fundació Antoni Tàpies (2015-2020) and artistic director of the Museu de l'Art Prohibit (since 2023).

    His latest research project has addressed the figure of the Catalan psychiatrist Francesc Tosquelles. This project has been exhibited at Musée Les Abattoirs, Centre de Cultura Contemporània de Barcelona CCCB, Museo Nacional Centro de Arte Reina Sofía MNCARS and The American Folk Art Museum AFAM in New York, under the title Tosquelles. Like a sewing machine in a wheat field.

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    Seven curators propose seven walks through the galleries participating in BGW2024 from their particular points of view. The seven guide-texts by Xavier Acarín, David Armengol, Cèlia del Diego, Carles Guerra, Sofia Lemos, Patricia Sorroche and Linda Valdés will be available here in September.

  • Images beyond Imagination and the Imaginery: a walk by curator Sofia Lemos

  • Chiquita Room: Louis Porter, àngels barcelona: Lúa Coderch, Sala Parés: Michael Kenna and Toni Catany

    What are the formal operations through which we perceive something as image or reality? How do we perceive what we are looking at? Susan Sontag, the incomparable American critic, begins her reflection on our fascination with images from the past with Plato’s allegory of the cave, in which humans experience reality as a series of shadows cast on a wall. Like shadows, she says, photographs overtake and supersede reality.

    In her essay ‘In Plato’s Cave’, Sontag describes how life is increasingly structured as if always viewed through a camera lens, arguing that ‘reality’ and its derivative, ‘image’, are concepts that shift and change within each culture over time. Written in 1977, Sontag’s discussion of the appropriation of reality and the idealisation of the image could not have been more prescient. Like Plato, she believes that images can supersede actual experiences of reality, turning partial views into truths. The ‘Image World’ then becomes more real than reality.

    In this mindful gallery walk, we will delve into the paradox of a world rich in imagery yet seemingly devoid of imagination. While addressing the difference between the imaginal and the imaginary and locating the imaginal’s root meaning in the image, as well as its ability to generate social imaginaries, we will consider the works of four artists. To differing extents, they will offer critical-creative capacities to address our past and current modes of relating to images.

    For Barcelona-based Lúa Coderch, the beginning of a public gathering – be it a class, a performance, a concert or an exhibition – implies a distancing, however imperceptible, between the before and the during times: for instance, a voice is projected or amplified, or a certain spatial arrangement creates the categories of audience and what is being seen. This distancing allows a certain reality to emerge, and with it, manifold relations and interactions between the elements present open up. The onset of these formal operations creates a scene: the unit of meaning and action that, according to Coderch, best describes our times. In her words, ‘The scene, that situation in which we find ourselves now, what we experience, feel, think, with the information that we have circumstantially at hand, is not only what makes sense to us, it is also a unit of action, what we react to.’

    Following Coderch’s speculation around the implications of a scene at àngels barcelona, which necessarily produces a distancing that intensifies our attention, we will move towards Chiquita Room, where London-based British artist Louis Porter looks at the contemporary manifestation of distance: the distance between things, ideas, and ourselves and the world. He asks, ‘In an era of connectivity, why does everything seem so far apart?’ Taking Walter Benjamin’s notion of the aura to describe our fascination with images from the past, Porter combines a variety of photographic techniques with found materials, including palmistry manuals, records of solar eclipses, Victorian trigonometry exercises, encyclopaedic illustrations and popular scientific journals, to interrogate the circulation of images and the technologies of reproduction that populate our social imaginaries of distance and proximity. 

    Finally, at Sala Parés, a dialogue between the British photographer Michael Kenna and the Mallorcan artist Toni Catany takes place through over 70 works, including their unique and personal views of the city of Venice and still-life series. Though the photographers have yet to meet, their works are linked by a way of seeing things that was initially reflected in the exhibition Michael Kenna, Toni Catany: Confluences, which opened at the Toni Catany International Photography Centre in Llucmajor (Mallorca) in 2023.

    Sontag wrote that photographs have the effect of ‘making us feel that the world is more available than it really is.’ Perhaps, with their disparate approaches, these four artists can lead us to consider what images we want to produce today if we want to close the gap between who sees and what is seen while remaining aware of how reality’s multiple dimensions.

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    Sofia Lemos is a curator and writer. Her research interests lie at the intersection of art, metaphysics, and ecology, through a distinctive approach to public programs and exhibitions as mediums for collaborative knowledge-production. Between 2021 and 2024, she was Curator at TBA21–Academy, where she led the research fellowship Meandering dedicated to art and ecology. From 2018–21, she was Curator of Public Programmes and Research at Nottingham Contemporary, where she initiated its live programs and mobilized the multi-year research project Sonic Continuum with multiple academic partners. In 2020, she was Associate Curator at the 2nd Riga International Biennial of Contemporary Art¬¬–RIBOCA. Previously, she curated performances, symposia, and exhibitions with Fraeme, Galeria Municipal do Porto, Serralves Museum of Contemporary Art, David Roberts Art Foundation, and collaborated with Contour biennale 8, Haus der Kulturen der Welt, PRAXES, and Museum of Contemporary Art of Barcelona, among others. She is the editor of Meandering: Art, Ecology, and Metaphysics (Berlin: Sternberg Press, 2024), Sonic Continuum: On the Sound and Poetics of Time (Nottingham: The Contemporary Journal, 2021), and the reader Metabolic Rifts (Berlin: Anagram, 2019) with Alexandra Balona. Lemos regularly lectures and contributes writing to publications, monographs, and exhibition catalogs.

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    Seven curators propose seven walks through the galleries participating in BGW2024 from their particular points of view. The seven guide-texts by Xavier Acarín, David Armengol, Cèlia del Diego, Carles Guerra, Sofia Lemos, Patricia Sorroche and Linda Valdés will be available here in September. 

  • A walk by curator Patricia Sorroche

  • House of Chappaz: Carles Congost, Galería Uxval Gochez: Yeonsu Lim, SUBURBIA CONTEMPORARY: Gianluca Iadema, Artur Ramon Art: Jordi Ortiz

    ‘In this process, we soon realised that the mutation of the urban landscape also implied a mutation in the human landscape.’ José Luis Guerín

    In 2001, an enormous crane was used to make a hole in Barcelona’s Barri Xino, so that a block of flats could be built. The transformation of the landscape of this iconic neighbourhood was filmed by José Luis Guerín, giving rise to a need to rethink cities and their landscapes, not just as architectural spaces, but also as places through which we can assign ourselves new meanings as societies, so that we do not get lost in Borgesian labyrinths where beings and communities might end up disappearing.

    The architecture of the city, its wandering, its interconnections and its cultures make up a complex web of synaptic relationships, which seek to situate us in common meeting places. Through interspecies consciousness, or in the construction of collective memories from singularities, an urgent rereading of history’s hegemonic discourses, visible in our cities, can be taken on. In these places, popular culture becomes political and symbolic struggle and resistance, for class, race and gender equality. It is from these perspectives that we will move between the four artists and galleries. At House of Chappaz, Carles Congost directly refers to the fight for and defence of LGBTQ+ rights through Bronski Beat’s electronic sounds in Smalltown Boy. In a new assimilation of the project he presented at Es Baluard, the harp-bust of Jimmy Somerville reminds us how symbols are transmission and allegory, and how we can view folklore and popular culture as places of knowledge and thought where hegemonic discourses around gender intersectionality can be subverted.


    Galería Uxval Gochez presents a project by Yeonsu Lim, Wrapped, in which the artist proposes an exercise of assigning meaning to artistic practice itself that centres on cities’ monumental symbology. Based on Christo and Jeanne-Claude’s failed plans to wrap up the Columbus monument in 1975, Lim offers us the chance to cover or wrap some of the city’s monuments or sculptures that are linked to identity. But what happens if we hide these symbols? What other histories of the city will emerge?  Can we imagine other places, outside of the historicist and anthropocentric positions in which History places us? Her practice leads us straight to Gianluca Iadema’s proposal at Suburbia Contemporary. Through a poetics of visual, musical and technological language in From, Maybe to…, he offers us complex architectural structures where other personal and collective memories can be created. Using a natural, self-referential algorithm, he fuses some of his memories with visual or musical elements to build new genealogies or memories capable of transforming reality or the imagination.

    Finally, the exhibition at Artur Ramon Art, Another Imagination. Jordi Ortiz + 373 Trees, takes us back to that circulation through the city so that we can pay attention to what accompanies us but does not seem to distinguish us. With a visual poetics as a starting point, he takes us to wander around the city through photographs of the trees around us – the same ones that accompany us as we walk around – with an ecosystemic perspective, so that we may manage to recognise ourselves as part of a ‘self’ in relation with our surroundings, because the ‘perspective’ is also a political and social agent that works to offer new world views of the place we live in.

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    Patricia Sorroche (Barcelona, 1980) holds a degree in Humanities from the Pompeu Fabra University (2002); a Master's degree in Museography and Cultural Heritage Management from the University of Barcelona (2004) and a postgraduate degree in Contemporary Art Aesthetics from the Autonomous University of Barcelona (2005); and an Expert in Cultural Heritage from the UDIMA, Universidad a distancia de Madrid (2018).

    In 2024 she joined the Museu Tàpies team as the new head of exhibitions. Previously, she worked since 2004 at MACBA, Museu d'Art Contemporani de Barcelona, managing the Permanent Collection, since Registry; and since 2019 also as assistant curator of the MACBA Collection. She has also worked at the Musée du Louvre, 2008-2009.

    She has been a guest lecturer since 2020 on the Master's Degree in Cultural Management at the International University of Catalonia. She has participated in seminars and classes at other universities. She has been part of the Art and Memory group of the MAR/Alzar project organised by the MNCARS. She is currently a member of the GOAP think tank promoted by the Department of Philosophy at the University of Barcelona. In 2021 she is co-founder of the curatorial group LaOtra.

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    Seven curators propose seven walks through the galleries participating in BGW2024 from their particular points of view. The seven guide-texts by Xavier Acarín, David Armengol, Cèlia del Diego, Carles Guerra, Sofia Lemos, Patricia Sorroche and Linda Valdés will be available here in September.  

  • News from Somewhere: a walk by curator Linda Valdés

  • galeria SENDA: Gino Rubert, Prats Nogueras Blanchard: Richard Wentworth, FUGA: Nieves Mingueza, Taché Art Gallery: Lluís Lleó

    Dear T,

    There are some things I’d like to talk to you about. Here are some preliminary notes.

    [on 1] a scene where it looks like nothing has happened yet, a blank canvas being touched by a brush (something is happening on the back too), and some contemporary caryatids, we can’t see what they are carrying on their heads, but we can see the pins holding together their clothes; [on 2] a series of gestures caused by (re)encounters, some fortuitous, between objects that have been living together in the same place for 50 years, like a book from 1939 whose title ends with the word “war” and an empty one litre jar; [on 3] the grid on graph paper – with its certainty and precision – old photos and other layers of an own language for a necessary condemnation; [on 4] the colour of pure pigments and matter that makes a border, that build boundaries that can sometimes be joined by a red string, sometimes by a wrinkle, sometimes by a brush.

    What does all of this make us see? What’s it for? Where does it make us focus our attention? What’s it telling us? What are we telling ourselves?

    Narrations become present, and so does the epistemology they answer to or question. What if it’s less about explaining yourself, and more about getting involved?

    You know I’ve been thinking about the folds in time for a while now, including the future with its multiple possibilities and the imaginaries we’re creating for those possibilities. It’s probably because I’m trying to respond, once again and along with Fisher, to the capitalist realism that means it’s currently easier to imagine the end of the world than the end of capitalism.

    It was you who told me about Morris and his News from Nowhere. When I thought about this route around the exhibitions by Gino Rubert at Senda [1], Richard Wentworth at Prats Nogueras Blanchard [2], Nieves Mingueza at Fuga [3] and Lluis Lleó at Taché Art Gallery [4], I viewed the pieces as news from somewhere and speculated about a potential person from another time who finds them. Following this thread, I’ve decided to look into what they say about us.

    I’ll tell you more soon.
    Lots of love.


    ***
    Linda Valdés works in the field of artistic practices from different areas such as research, curating and teaching, sometimes from collective platforms, developing projects with an emphasis on reflection on formats and ways of making linked to content. She is a founding member of the research platform Equipo re, where she works on the intersection of body politics and archive politics. During 2023 she has been resident at the ADKDW in Cologne. She has recently developed the seminar "Imaginación Política. Futurar" in the study programme "Tejidos Conjuntivos" at the Museo Reina Sofía (2023-2024). She has curated exhibitions at MACBA, Barcelona; Conde Duque, Madrid; Tabakalera, San Sebastián and CAC de Quito, Ecuador.

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    Seven curators propose seven walks through the galleries participating in BGW2024 from their particular points of view.
    The seven guide-texts by Xavier Acarín, David Armengol, Cèlia del Diego, Carles Guerra, Sofia Lemos, Patricia Sorroche and Linda Valdés will be available here in September. 

  • BGW Familiar. Family visit to 'Scene', by Lúa Coderch

  • Sunday 22  and Saturday 28 September, from 12:30 o 1:15 pm
    Visit for families with children to the exhibition 'Scene' by the artist Lúa Coderch at àngels barcelona gallery.
    The visit will be lead by the artist, psychologist and mediator Diana Rangel, who will invite the participants to reflect on what they see through questions, games and other proposals.

    Recomended age: 7-14
    Pintor Fortuny, 27, Barcelona.
    Limited capacity. Free admission with previous registration: bgw@artbarcelona.es

  • BGW Familiar: Family visit to 'Agñipé', by Catalina León

  • Sunday 22 and Saturday 28 September, from 11:00 to 11:45am
    Visit for families with children to the exhibition 'Agñipé' by the artist Catalina León.
    The visit will be lead by the artist, psychologist and mediator Diana Rangel, who will invite the participants to reflect on what they see through questions, games and other proposals.

    Recomended age: 7-14
    Mayoral: Consell de Cent, 286, Barcelona.
    Limited capacity. Free admission with previous registration: bgw@artbarcelona.es