Once again this year, SENDA is pleased to announce that we will be back at By Invitation 2024, an exhibition of modern and contemporary art that, for the fifth consecutive year, will be held at the Círculo Ecuestre de Barcelona.
With the intention of fostering the dialogue between different artistic currents, By Invitation 2024 will feature invited galleries and selected projects, covering both the secondary market and the primary market of established and emerging artists from the national scene. The show will be mostly made up of galleries from Barcelona, although there will also be galleries from other parts of Spain, such as Madrid, Valencia and Gijon.
In this edition, SENDA has its own space to present its gallery proposal: the Japanese Room. The imposing room will host the works of a wide variety of artists, reflecting the versatility of the gallery. From the Chinese ink lithographs of Gao Xingjian, to the dreamlike sculptures of Gonzalo Guzman, the imposing acrylic paintings of Yago Hortal, the colorful wooden creations of Mina Hamada, the black and white photographs of Robert Mapplethorpe, or the mixed media compositions of the internationally renowned Jaume Plensa.
In particular, we would like to let you know that the hall will be an accomplice of a tribute to the famed painter Joan Miró on the occasion of his year of celebration. The piece presented will be a watercolor, “Aquarelle sur papier”, from the artist’s Japanese series. A perfect work to be exhibited in a room full of oriental influences.
If you do not want to miss the opportunity to be part of this exhibition, ask for your accreditation in the link below. See you from the 7th to the 10th of November at the Círculo Ecuestre de Barcelona.
La llegada del otoño a Barcelona siempre trae consigo un aire de vanguardia, creatividad y tendencia. Como cada año por estas fechas, la ciudad se prepara para vivir uno de los eventos más esperados en el ámbito de la moda: la 080 Barcelona Fashion Week, que se celebrará del 14 al 17 de octubre. La semana de la moda catalana no solo destaca por ser una plataforma clave para diseñadores emergentes y consagrados, sino también por su capacidad de conectar la moda con otras disciplinas artísticas.
Este evento coincide con dos exposiciones que nos invitan a explorar el mundo de la moda desde dos perspectivas únicas.
“Cariàtides” de Gino Rubert en galeria SENDA: El arte de la indumentaria
La primera parada artística relacionada con la 080 Fashion Week es la exposición “Cariàtides” del pintor Gino Rubert, expuesta en la galeria SENDA. Rubert es conocido por su capacidad de explorar las emociones humanas a través de figuras que rozan lo surrealista. En esta ocasión, su enfoque pone especial atención en un aspecto fundamental del universo de la moda: la construcción de las prendas.
En “Cariàtides“, Rubert juega con texturas, pliegues, alfileres sobre el lienzo e, incluso, piezas de joyería, creando una conexión simbólica con el proceso artesanal de confeccionar ropa. A través de sus obras, se percibe cómo el pintor utiliza la tela como un material moldeable, donde cada pliegue y cada costura se vuelven elementos cruciales para la construcción de la figura femenina. Este acto de construir prendas en el lienzo refleja el minucioso trabajo de los diseñadores de moda y su atención al detalle en la creación de piezas que son tanto artísticas como funcionales.
Así como un modista crea prendas que visten cuerpos, Rubert viste sus figuras femeninas de “Cariàtides” a través de su pincel, utilizando los materiales como metáfora de la conexión entre el arte pictórico y el arte del vestir.
“Into the river” (2024). 54 x 41 cm
“La Tempesta” (2024). 73 x 65 cm. Detalle
“Dos + Uno. 1984/2024” de José Manuel Ferrater en LAB 36: El tiempo y la moda a través de la fotografía
En LAB 36, otra exposición complementa el espíritu de la 080 Barcelona Fashion Week, pero desde una perspectiva fotográfica. José Manuel Ferrater, afamado fotógrafo de moda, presenta “Dos + Uno. 1984/2024”, una retrospectiva que ofrece un fascinante diálogo visual entre diferentes épocas de su carrera.
La muestra consiste en una contraposición de imágenes icónicas de 1984 y sus antagónicas tomadas en la actualidad, permitiendo al espectador viajar a través del tiempo y observar cómo han evolucionado tanto la moda como la fotografía misma. Ferrater, conocido por su capacidad de capturar la esencia del mundo de la moda con su lente, nos ofrece una reflexión sobre los cambios estilísticos y culturales a lo largo de los años.
A través de su obra, vemos cómo los ideales de belleza, los estilos y las tendencias han mutado con el paso de las décadas, pero también cómo algunos elementos perduran. La moda se presenta no solo como una forma de expresión personal, sino también como un reflejo de los tiempos que vivimos. La exposición es, en esencia, un diálogo entre el pasado y el presente, entre la nostalgia de las épocas doradas de la moda y la constante innovación del mundo contemporáneo.
Vista de sala. “Dos + Uno. 1984/2024”
El diálogo entre moda y arte: Un encuentro inevitable
Ambas exposiciones, en su relación con la moda, encuentran un terreno común: la noción de la moda como arte en sí misma. Rubert y Ferrater, desde sus respectivas disciplinas, exploran y celebran la moda como un medio para expresar y desafiar convenciones. Mientras que Rubert se enfoca en la construcción meticulosa de prendas como un acto artístico y escultórico, Ferrater documenta la moda en su contexto sociocultural, inmortalizando momentos y tendencias que han definido épocas.
Este diálogo entre arte y moda se vuelve aún más relevante en el contexto de la 080 Barcelona Fashion Week, un evento que tradicionalmente ha buscado desafiar las barreras entre disciplinas. En un momento en que la moda se enfrenta a una constante demanda de innovación y sostenibilidad, las exposiciones de Rubert y Ferrater nos recuerdan que la moda no es solo tendencia, sino también un arte profundamente ligado a la expresión creativa.
An honorary doctorate is the highest distinction that a university can bestow on a person in recognition of an outstanding academic, scientific or cultural career. Jaume Plensa, one of the most influential artists of our time, has had a 2024 full of awards, consolidating his status as a key figure in contemporary art. This year, the Catalan sculptor has been awarded two honorary doctorates, awarded by a national and a foreign university, bringing his total to five titles of this rank in his career.
A successful year
In 2024, Plensa was honoured by the University of Notre-Dame (Indiana, USA) in April and more recently, on 30 September, by the Universitat de Barcelona, in an event that honoured other prominent figures from the world of culture such as filmmaker J.A. Bayona, multidisciplinary artist Lita Cabellut and actress and stage director Núria Espert. These awards not only celebrate Plensa‘s artistic excellence, but also his impact on society through his commitment to causes such as social justice and human rights.
From his imposing public sculptures to his delicate installations, Plensa has left a profound mark on the global art scene. His work transcends borders and connects with the viewer in a visceral way, inviting us to reflect on the human condition, spirituality and collective memory. Works such as the monumental ‘Crown Fountain’ in Chicago’s Millennium Park or ‘Nomade’ in Antibes (France) demonstrate Plensa‘s ability to transform public space into a place of contemplation and dialogue.
From here, we join in the applause for Jaume Plensa, whose art continues to inspire, break barriers and create human connections on a global level.
Jaume Plensa inaugurated on September 19 his new installation titled “Mirall” at the emblematic Llotja de Palma de Mallorca, a civil Gothic architecture temple that serves as a backdrop for two monumental sculptures: “Invisible Laura” and “Invisible Rui Rui.” These two impressive hanging heads, made of fine metallic structures, will be on display until February 15, 2025, offering a unique opportunity for art and culture lovers in Palma.
A Silent Dialogue
The protagonists of “Mirall,” “Invisible Laura” and “Invisible Rui Rui,” float suspended in the air, as if defying gravity. These sculptures face each other in a silent dialogue, an invitation to introspection and the contemplation of silence. With their fingers on their lips, both figures evoke stillness amidst the bustle of the modern world, creating a space of pause and reflection.
The Llotja de Palma de Mallorca is an ideal setting. This majestic civil Gothic building, a symbol of Mallorca’s history, enhances the serenity of the work, integrating almost spiritually with the forms and shadows of the sculptures.
Jaume Plensa’s Signature Style
The installation reflects Plensa’s signature style, known for creating works that explore themes like communication, humanity, and silence. With “Mirall,” the artist has encapsulated the essence of introspection in two forms that invite the viewer to a moment of pause.
From October 19th, 2024, to January 19th, 2025, the Museo Nacional Thyssen-Bornemisza Madrid will open its doors to a major retrospective of Peter Halley, in collaboration with galeria SENDA. This monographic exhibition, part of the exhibition program of Blanca and Borja Thyssen-Bornemisza’s collection, features 20 paintings by the New York contemporary classic, from both public and private Spanish collections.
This is the first time since 1992, when the Museo Nacional Centro de Arte Reina Sofía dedicated an exhibition to Halley, that Spain has hosted such a comprehensive retrospective of the artist. The exhibition encompasses his production from 1985 to 2024, exploring all stages of Halley‘s career. The selection of works has been carefully curated by Guillermo Solana, artistic director of the Museo Nacional Thyssen-Bornemisza Madrid, and by the artist himself, who has also designed the installation, promising a unique visual and conceptual experience for museum visitors. The exhibition highlights the exceptional reception that Halley‘s work has enjoyed in Spain for almost forty years, presenting twenty large-format works that span his entire career and with which one can observe his evolution over time.
In addition, this exhibition coincides with another show dedicated to Peter Halley at galeria SENDA, on the occasion of more than thirty years of collaboration between the artist and the gallery. Halley will present unpublished pieces designed specifically for the venue, forming a set consisting of a huge mural work that contrasts with a collection of very unique small format. The presentation will take place this December.
Centenaries are always a cause for celebration. They are irrefutable proof that tradition and perseverance have overcome any adversity that time may have thrown at them. And in the case of sport, one hundred years of dedicated quadrennial events is a milestone that should be commemorated in the most solemn way possible. For this reason, in 1992, coinciding with the celebration of the Barcelona Olympic Games, the Suite Olympic Centennial was held, which commemorated the centenary of the celebration of the first modern Olympic Games.
When did it all start?
History marks the beginning of these games around 1892, when Baron Pierre de Coubertin announced at a session of the Union française des sports athlétiques – Union of French Athletic Sports Societies – the celebration of the first Olympic Games of the modern era (1896), thus re-establishing this sporting event after more than 1,500 years without being held. The Games, a symbol of peace and universal alliance between the different countries of the world, once again brought together athletes from all continents to celebrate the great festival of sport in the birthplace of this age-old tradition: Athens. The Olympic return to Greece paid homage to the origins of these games, bringing together a small part of humanity in the city that saw the birth of sport and its competitions as we conceive them today.
The Olympic Centennial Suite as a symbol of unity between countries
In 1992, one hundred years after this session that shaped the Games of the First Olympiad, the International Olympic Committee, chaired by Juan Antonio Samaranch, decided to pay tribute to this event in a unique way that was closely related to the visual arts. It was from Barcelona, the Olympic city at the time, that the creation of an artistic piece commemorating the centenary, known as the Suite Olympic Centennial, was coordinated. The Suite was a collection of fifty works of art by fifty international artists, representing the different artistic currents of the time. This selection of artists was managed by a group of experts that included none other than one of the founders of Galeria SENDA, so we are very excited to be able to share his involvement and commitment to this event with you.
The artists who brought the Suite Olympic Centennial to life
Many of the artists who made up this union of virtuosos of the arts were great exponents of a very wide range of currents. Their contributions to this collective work of art were crucial to the creation of a symbol of fraternity that transcended the annals of art history. Below, we will talk about some of the artists who collaborated in the construction of the Suite Olympic Centennial.
Carlos Cruz Díez
Venezuelan artist Carlos Cruz Díez is internationally renowned as the creator of Op Art, a style of visual art that makes use of optical illusions. Cruz Díez’s vision is clear: to question the classical division between painting and sculpture, thus conceiving works that confront both arts in order to merge them into a single piece. For this reason, the artist uses the reliefs typical of sculpture in his paintings to create optical effects that produce the impression, at first glance, of movement in the paintings. It is therefore obvious to state that Cruz Díez plays with sensations to invite us to see with the human eye something intangible such as movement. In his pictorial works, such as the one he created for the Suite Olympic Centennial, we can appreciate how the artist invades us with a complete chromatic experience that invites the spectator to let himself be carried away by sensory perception and not by logical reason.
Carlos Cruz Díez. Suite Olympic Centennial (1994). 100 x 70 cm. Engraving
Antoni Tàpies
The Catalan Antoni Tàpies did not miss this opportunity to be part of art history either, participating in the making of the Olympic Centennial Suite. Characterised among those closest to him by his desire to embellish everyday life, Tàpies’ style stems from surrealism, influenced by its greatest exponents such as Paul Klee, Joan Miró and Joan Ponç. However, Tàpies is known worldwide for being part of the informalist movement, a style strongly rooted in chance, improvisation, the use and experimentation of materials and the rejection of premeditated construction. Antoni Tàpies, with works such as the one presented in the Suite Olympic Centennial, shows his inner abyss through the expressiveness of the materials, with his characteristic crosses and initials engraved on the canvas.
Antoni Tàpies. Suite Olympic Centennial (1994). 63 x 90.5 cm. Engraving
Eduardo Chillida
«My aim is to define three-dimensional emptiness through three-dimensional fullness», said Eduardo Chillida when asked about his work. The Basque artist, author of iconic sculptural works such as “Peine del Viento”, which clads the coast of San Sebastian, dared for this special occasion to create an engraving that challenges his concern about how to expose empty space in pictorial works. Through his own artistic language, Chillida shows the emptiness to the public thanks to the fullness, charging his creations with a strong artisanal force. Influenced by his sculptural training and by the traditions of the Basque people, Chillida dazzles us with pieces that invite the spectator to empathise with an artist divided between sculpture and painting.
Eduardo Chillida. Suite Olympic Centennial (1994). 70 x 100 cm. Engraving
Ben Vautier
Under the slogan «Any action an artist makes is art», Ben Vautier has established himself as an artist who fuses his most plastic side with his most poetic vocation. Camouflaged in a clearly childish calligraphy, Vautier hides great and profound statements in the strokes he writes on his canvases. Self-defined as a zero-visceral artist, Vautier considers himself an individual driven by premeditated theoretical reflections. Therefore, for the Olympic Centennial Suite he writes on a black background «Life is competition – Ben», i.e. «Life is competition – Ben», opening our eyes to a reality of the human condition. Artists who use language as a means of expression in their work seek to awaken the viewer, and that is exactly what Vautier achieves with phrases such as the one written for the Suite Olympic Centennial.
Ben Vautier. Suite Olympic Centennial (1994). 100 x 70 cm. Engraving
Peter Saul
It is impossible to talk about Peter Saul and not imagine one of his colourful creations. Using aggressive caricatures and exaggerated distortions, he succeeds in immersing the viewer in a narrative in which Saul mocks a system mired in capitalism. Peter Saul has long been associated with the Pop Art movement, although the artist has always radically separated himself from this movement due to his political convictions. Saul’s style is clear: transforming characters and settings into bland, visceral forms through graffiti-like drawings, with garish colours deliberately chosen to make them feel vulgar in the eyes of the public. For the Suite Olympic Centennial, Peter Saul chooses green to colour his work, caricaturing the athletes in different animals and strange bodies.
Peter Saul. Suite Olympic Centennial (1994). 100 x 70 cm. Engraving
Mimmo Rotella
The artist Mimmo Rotella is capable of capturing contemporary reality from a documented expression rooted in neorealism. In fact, Rotella has been a great exponent of Mec Art, a current that takes the art of photography as its starting point, using image transfer techniques. This style has been considered a response to the subjective and lyrical content of European Informalism, which employs mechanical resources to create works of art based on movement. In his project for the Suite Olympic Centennial, the Olympic rings take center stage in an amalgam of grainy, textured backgrounds.
Mimmo Rotella. Suite Olympic Centennial (1994). 70 x 100 cm. Engraving
El legado de cincuenta artistas
That is why we can say that the Suite Olympic Centennial was a before and after in the history of the Olympic Games, a celebration of success, a symbol of the unity of peoples. Each work that forms part of this project is a small contribution to a legacy that is not only about sport, but also about art and humanity.
In “En la Cabeza del Artista,” we find two works by Robert Mapplethorpe, the celebrated American photographer known for documenting the New York subculture scene in the 60s and 70s. In “Statue Series” (1983), Mapplethorpe captures the essence and form of statues with timeless elegance, while in “Louise Nevelson” (1986), he reflects the strength and distinctive personality of the sculptor.
In this collective exhibition, we find two unusual works by the renowned sculptor Jaume Plensa. On one hand, his graphic work “Étude en Jaune VI” (2020) is a study of the anatomy of the head. On the other hand, “CAP III” (1988) is a sample from the beginning of his career. In the eighties, his sculpture was anthropomorphic, with volumes that transported us to human landscapes with totemic and primitive echoes.
Yago Hortal‘s work stems from a strong commitment to painting and the very act of painting. In “SP 119” (2016), the characteristic use of intense colors and dynamic movements by Hortal can be observed. Despite the marked abstraction of the piece, the color stains create a form that resembles a face. In “Z78” (2023), Hortal continues his exploration of abstraction with dynamic and fluid brushstrokes, differing from the painter’s usual vibrant palette.
Erik Parker
Erik Parker is known for his style that fuses influences from Pop Art and the American psychedelic subculture. In “S/T (Split)” (2004), Parker uses mixed media to create a psychedelic composition in which the viewer can intuit the shape of a head.
Stephan Balkenhol, a sculptor known for reintroducing figurative sculpture to the contemporary scene, uses carved softwoods to create works with visible textures and stark contrasts. In “Head of a man” (2005), Balkenhol presents a simple but expressive portrait, demonstrating his skill in woodworking. His sculptures evoke medieval techniques and folk art, standing out for their distinctive style and meticulous technique.
Joan Ponç
Joan Ponç, a Barcelona painter influential in the avant-garde art scene of the 40s and 50s, is known for his personal symbolism and his world inhabited by imaginary beings. In “Suite En la Cabeza del Artista” (1958-59), Ponç uses ink on paper to create drawings that explore the magical and mysterious aspects of reality.
Gonzalo Guzmán, a young contemporary sculptor, is known for his stainless steel sculptures that refer to his dream world. “Estela_31” (2024) is another example of Guzmán‘s use of steel to create sculptures that play with form and space, generating a strong visual impression.
The exhibition includes “Barcelona (BCN 878.1)c2bn” (2023) by Jordi Bernadó, a photographer known for his images that question reality and representation. This photograph captures “Flora,” the large-format sculpture by Jaume Plensa that was installed on Passeig de Gràcia in the summer of 2023 for his exhibition at La Pedrera.
Roger Ballen is known for his disturbing psychological studies and social statements. In “Perpetrator” (2003) and “Head Inside Shirt” (2001), Ballen uses black and white to capture unsettling scenes that explore the human subconscious.
Sergio Roger
Sergio Roger draws inspiration from the beauty of ancient civilizations, especially the Greco-Roman era. He reinterprets and subverts iconic elements of classical art using natural textile fibers instead of marble. Each of his works is unique, created with antique fabrics like linen and silk, carefully selected from antique shops. With technical mastery in textile sculptures, Roger explores ancestral techniques with a contemporary vision, questioning our perception of the past and the permanence of traditional art.
32 years ago, galeria SENDA opened its doors and dedicated the summer an exhibition that was key in the history of the gallery titled “Landscape Untitled”. In it, invited Albert Oehlen, Christopher Wool and Peter Halley – artist with whom we mantain the relation and will be exhibiting after the summer. Each of them had a room and conceived the space as a little show.
This exhibition carried a fantastic text by Luis Francisco Perez in which he said:
“The practice of painting, even that which abandons itself to a maelstrom of contemporaneity devoid of memory, obeys a will to reconstruct, a desire projected towards the conquest of an existing territory.”
Facing the arrival of summer, we recall the Olympic spirit of ’92 with the America’s Cup, which this year takes place in Barcelona and brings us back the joy of a sporting project that puts the focus on our city. Thus, in SENDA we take up again the idea of landscape, which is so typical in the history of Catalan art, and we present “Landscape Untitled 2”. In this group show in the Mezzanine of the gallery, works by Joan Fontcuberta, Robert Wilson, Gao Xingjian, Peter Halley, Anna Malagrida, Gonzalo Guzmán and Glenda León are in dialogue.
Glenda León‘s “Contours of the World” series of marbles revisits the forms employed in previous works, such as the canvas of “The Horizons of the World” (2018) or the “Contours of the World” silkscreens. In these new sculptures, the artist cuts the marble following different shapes. From natural elements such as a tree branch, to the flight of a bee, the Ganges River or the Valdivia earthquake in Chile, the sculptures explore the interaction between nature and the human interpretation of its phenomena. Each carefully crafted piece shows León‘s skill in transforming the rigidity of marble into organic and fluid representations, giving a new life to this material.
“Contornos del mundo” (2024) Different sizes, Calatorao black marble“Contornos del mundo: El Terremoto de Valdivia, Chile” (2024) 9 x 23 x 1.5 cm, Calatorao black marble
Joan Fontcuberta
With “Paisaje de la Seguridad: Banco de España/Caja de Seguridad” (2001), Joan Fontcuberta immerses in a reflection on perception, reality, security and politics. This work is part of his series “Landscapes of Security” and is closely related to his idea that all nature has become artifice due to the influence of culture and economic and political contexts.
“Banco de España/Caja de Seguridad” (2001) 120 x 180 cm
View of the exhibition “Der Messias” by Robert Wilson in March 2024 at Senda
This sequence of four works depicts a mountain as the protagonist, highlighting the distinctive use of light in each piece. Wilson uses light not only as a visual element, but as a narrative medium that transforms the perception of the landscape in each work. Through subtle and dramatic variations in lighting, each work captures a unique moment, suggesting the temporal and atmospheric evolution of the mountain, and which relates directly to his set design of “Der Messiah”.
“Der Messias” (2020) 60.5 x 80.5 x 3.5 cm each – Charcoal and paper
Gao Xingjian, known as much for his literary work as for his visual art, presents in “Cité fantastique” (2011) an interpretation of the landscape that plays with abstraction and suggestion. The painting, with its monochromatic tones and fluid strokes, evokes a sense of mystery and contemplation.
“Cité fantastique” (2011) 130 x 162 cm – India ink on canvas.
We also find a unique work on paper by Peter Halley. “Cell 8” uses graphite and creates a texture and tone that differs significantly from his usual use of color, but maintains his interest in systems and connections. This drawing shows a study of space and confinement, recurring themes in Halley‘s work, where he often explores the architecture of the urban environment, understanding it as landscape, and the interaction between personal and social space.
“Cell 8” (1995) 12.5 x 17.7 cm – Graphite and paper
The photograph “Refuge 8” (2006) by Anna Malagrida is part of a series of photographs of shelters in the Jordanian desert. These basic and precarious constructions are the simplest expression of the form represented by the notion of refuge, roof, or protection. The photographic vision transforms these anonymous constructions into desert sculptures. This series of photographs of shelters in the Jordanian desert, which captures the simplest essence of protection and refuge, dialogues with the various interpretations of the landscape presented in the exhibition “Landscape Untitled 2,” transforming these anonymous constructions into desert sculptures that resonate with history and human nature.
“Refugio 8” (2006) 32 x 40 cm – Copia Pigment Print
Finally, Gonzalo Guzmán‘s two sculptures induce us to reflect on how art relates to its context. The ability of the sculptures to reflect the accompanying landscape highlights how context influences the perception of the artwork. This dynamic interaction between the work and its surroundings invites viewers to consider how context modifies our experience and understanding of art and the world.
Estela_23″ (2024) 120 x 32 x 24 cm – Stainless Steel
Thus, “Landscape Untitled 2” is a journey through different interpretations of landscape, from the tangible and physical to the imaginary and sensory.
“Art and science: shared trajectories”, a dialogue between the artist Xavi Bou and the professor and researcher Josep Perelló, will take place on 4th June at 7pm at galeria SENDA. Framed in Bou’s current exhibition at the gallery, both will offer us their perspective that intertwines art and science.
A meeting of gazes
Xavi Bou, through his project “Ornithographies”, explores the flight of birds using advanced photographic techniques that reveal patterns invisible to the human eye. His work is not only visually stunning, but also invites deep reflection on nature, the importance of preserving wildlife, and our place in it.
Josep Perelló is a professor in the Department of Condensed Matter Physics at the University of Barcelona (UB) and a researcher at the UB Institute of Complex Systems (UBICS). Founder of the OpenSystems-UB group, Perelló promotes scientific research projects with citizen participation and artistic practices. His work in citizen science and collective experiments for public space has been recognised and acclaimed both locally and internationally.
For all this, Perelló‘s historical knowledge and Bou‘s artistic and nature experience converge in a talk that fuses art and science from a different perspective.
The fusion between art and science
During the talk, Josep Perelló will provide a historical perspective on the intersection between art and science, exploring how these two fields have dialogued and influenced each other over the centuries. His experience as head and curator of the Science Area at Arts Santa Mònica, as well as his work at the Barcelona Office of Citizen Science and the Ciutat i Ciència Biennial, provides him with an enriching vision that promises to broaden our understanding and appreciation of this interdisciplinary fusion.
Xavi Bou, for his part, will share his personal experience and creative process. He will take us through the development of his project “Ornithographies”, from the initial inspiration to the technical and artistic realisation of his photographs. It will be a unique opportunity to understand art from the perspective of the person who creates it, and how science can be a powerful tool in the artistic process.
Do you want to attend?
We’ll be waiting for you on 4th June at 7pm at galeria SENDA (Trafalgar, 32). The talk is free and open to the public. You only have to confirm your attendance by clicking on this link and register.
