Barcelona Symposium: Talking Galleries’ flagship meeting
The Barcelona Symposium, at the heart of Talking Galleries’ work, is a two-day conference of debates, cogent conversations, and fruitful networking all around art galleries.
It is a unique opportunity for prominent art world figures to discuss and reflect on various aspects of art gallery management. It attracts a diverse audience, made up of gallerists, collectors, art journalists, curators, artists, and fair directors, who are engaged in the discussion and contribute to the exchange of expertise and relevant knowledge across all sectors of the art business.
Held annually in the Museum of Contemporary Art of Barcelona (MACBA), each edition of the event has brought together over 200 professionals from about 25 countries all around the world.
“The letter seems to me a beautiful metaphor of society: a single letter is nothing; but together with others it can form words, concepts; this is the power of community.” – Jaume Plensa
The Gran Teatre del Liceu opened the 2022-2023 season yesterday, Monday, with the new doors, or ‘Constellations’, the work of sculptor Jaume Plensa, highlighting the celebration of the 175th anniversary of the historic Barcelona institution.
The artist Jaume Plensa next to Salvador Alemany, president of the Fundació del Gran Teatre del Liceu
The doors (stainless steel, 4 x 4 m) are inspired by two classics of Catalan culture: the architect Antoni Gaudí, and the painter Joan Miró, with his nearby Pla de la Boquería mosaic, in addition to the close relationship with the name of one of his most original series ‘Constel·lacions (1939)’.
“I think this dialogue between the past and the future gives us the key to the present: the contemporary gesture at the heart of society, embracing music with words and voice with writing.” The artist said yesterday at the opening ceremony at Las Ramblas.
Plensa intends to vindicate the diversity of the promenade with letters from nine alphabets engraved on the railings – intermingling Arabic, Latin or Chinese – that will reflect their moving shadows on the floor of the entrance, when the doors reach the light of the lamps of the portal.
During the presentation of the doors, the Minister of Culture, Natàlia Garriga, also expressed the importance of this work for the city: “I want to thank all the members of the Board of Trustees who accepted it so quickly, that they see so lucidly that this proposal would be key for the Liceu, but also for the Ramblas, Barcelona and Catalonia.” And she has added that “having art available to everyone makes it possible for citizens to know and value it. I am sure that these doors will awaken the love for art in many pedestrians, and in the spectators who pass through them to enjoy the opera in this important facility.”
For his part, the Deputy Mayor for Culture, Education, Science and Community of the Barcelona City Council, Jordi Martí, has emphasized above all the commitment of the Liceu to “link to contemporary artists of the city and to do it in a total and determined way, not just with a small gesture. Today we are opening three doors, but we will also be able to see Macbeth with the stage direction of Jaume Plensa.” Martí has insisted that the doors “improve the artistic environment of the Ramblas” and wanted to thank the artist for his “humble and restrained gesture because Constelaciones are integrated into the landscape and do not become an isolated work of art.”
After the institutional parliaments, the act has continued with the first official opening of the doors while the Coro del Gran Teatre del Liceu performed the Wagnerian piece Freudig begrüß en wir die edle Halle (Tannhäuser, act II) on the Rambla, directed by the director of the Choir, Pablo Assante, and accompanied on piano by David-Huy Nguyen-Phung. A piece from the second act of the Tannhäuser that celebrates the entrance of the guests and that wants to be a symbolic and metaphorical gesture of doors that invite the public to enter and enjoy the universal language that is music.
“The alphabet represents a harmony that celebrates the great diversity of the world,” said Plensa. The president of the fundación del Liceo, Salvador Alemany, has stated that the sculptor’s work is “a gift that gives prestige to the Rambla and the Liceo”.
No es la primera vez que el escultor dispone de una obra cerca de un núcleo cultural de la ciudad condal. Carmela, un rostro de cuatro metros, mitad niña y mitad adolescente, preside la fachada del Palau de la Música. El artista, Premio Nacional de Artes Plásticas 2012, ha proyectado sus conocidos rostros en otras capitales como Madrid, (Julia) o New York (El alma del agua).
Plensa will maintain his relationship with the Liceo in the new season as the person in charge of the scenery of the Macbeth of Verdi, que se estrenará el próximo febrero.
Technical and operating elements
As for the technical details, these doors weigh around 500 kilograms each and migrate on a single axis that is embedded at the start of the arch just above the capital; of the pilasters. The convexity of the doors does not exceed the outer plane of the pilasters and means that the minimum passage below the open sheepfold is about 3 m high. One of the characteristics of the structure is that the doors do not open laterally, but have an opening movement from bottom to top. In this way, in addition to physical sculpture, we also seek a set of dialogues with spaces, reflections and optical visions of light and shadow. Thus, all those who walk the ground of the Rambla will be able to walk on this carpet of shadows of the installation itself. The work is integrated without affecting any other past element incorporated prior to the facade of Oriol Mestres from 1874 and recovered in 2019.
Jaume Plensa‘s stainless steel sculptural doors stand majestically at the entrance to the Gran Teatre del Liceu, marking a new era for this iconic coliseum on Barcelona’s Ramblas. Although their final installation is still in progress, passersby can already glimpse the magnificence of these monumental structures, each weighing half a ton.
On Tuesday, onlookers witnessed how the three imposing trellises designed by the acclaimed Catalan artist, who has closely supervised every stage of this ambitious project, will look. As the September opening date approaches, coinciding with the expected return of activity at the Liceu, these works of art will be temporarily covered with a tarp, further heightening anticipation among citizens and art lovers alike.
Christened with the evocative name of “Constel·lacions“, these doors represent much more than simple architectural elements. They are a tribute to the Liceu itself, to the music that has filled its halls over the years, to the emblematic grilles designed by Gaudí and to the nearby legacy of Miró, whose mosaic adorns the nearby Pla de l’Os.
But beyond their aesthetic value, the doors also have a practical function: to preserve the safety and integrity of the surrounding space. By preventing people from taking refuge in the arcade at night, these works of art play a crucial role in protecting the environment, as Víctor García de Gomar, artistic director of the Liceu, pointed out in a previous statement. “Sometimes we find ourselves in hell. It is necessary to protect this space so as not to be complicit in things that happen here, from people shooting heroin, people who want to sleep, situations like rape and prostitution“.
Plensa‘s art not only beautifies the Liceu, but also serves as a reminder of the diversity and cultural richness that defines Barcelona’s Ramblas. Made with alphabet letters from diverse cultures, these doors are a symbol of inclusion and respect for the plurality that characterizes this emblematic artery of the city.
In the midst of controversy and discussion about the fate of public space, Plensa‘s doors represent a balance between aesthetics and functionality, between artistic expression and practical necessity. With their placement, it is hoped that the Liceu will not only be a place of artistic excellence, but also a safe and welcoming refuge for all who visit it.
Museo de Reus has opened its doors to present a true jewel of contemporary art: the exceptional piece “Duna’s World II” by acclaimed sculptor Jaume Plensa. This work, part of a private collection on loan from Galeria SENDA, has found its home in the historic headquarters of the Santa Ana district, adding a new and vibrant cultural dimension to the city.
“Duna’s World II” transcends the mere category of sculpture to become a gateway to the artist’s fascinating universe. It is a living testimony of his artistic ideology and a celebration of eternal youth. Masterfully carved in marble, the delicacy and smoothness of its surface invite the viewer to approach and be enveloped by its mystical aura. The face, with eyes closed in a gesture of serene contemplation, suggests a state of deep reflection, an irresistible invitation to explore the innermost recesses of our own consciousness.
Jaume Plensa, renowned for his ability to capture the very essence of the human being in his works, leads us on a journey of self-discovery towards inner peace and spiritual harmony. “Duna’s World II” reminds us of the vital importance of introspection and invites us to immerse ourselves in the time of thought, where we find the serenity and balance so longed for in the tumult of modern life.
“Duna’s World II” is a unique marble piece, 183 x 67 x 58, created in 2015
The transfer of this masterpiece represents an invaluable gift for Reus, which can now boast of having two works by the renowned sculptor in its city In 2003, Plensa left an indelible mark on the city with his monumental creation “Body of Light“, which majestically adorns the entrance of Biblioteca Central Xavier Amorós. With the incorporation of “Duna’s World II“, Reus consolidates its position as an unavoidable cultural destination on the map of contemporary art, attracting visitors and art lovers from all over the world.
If you want to explore more closely “Duna’s World II“, in addition to approaching Museo de Reus, you can watch this video of Canal Reus where the details of the work are explored, in addition to hearing a few words from the councilor of culture of the City of Reus, Daniel Recasens, and the delegate of the Government of the Generalitat in Camp de Tarragona, Teresa Pallarès.
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The artist based in Barcelona has just presented a new series of sculptures in the shopping center La Roca Village. The collection represents a novelty for the artist who usually works on large-scale public murals.
Striking sculptures by American-born Japanese artist Mina Hamada dot the streets of the space. In June, the creator inaugurated a project conceived together with La Roca Villageand the galleryLAB36. The idea behind Colorful Walk, conceived ex profeso for that place, is to support local talent.
Three colorful geometric sculptures and a set of hanging wooden mobiles can now be seen at the entrance of La Roca Village. A final three meter tall sculpture will be installed later this summer. Mina talks about her work process, her iconic style and how she approaches a new medium.
Hamada transmits its good vibrations through itsfree and organic forms, in a style characterized by color, rhythm and improvisation. Although it is mostly known for its mural artof enormous dimensions, the artist explores other formats such as canvas or sculpture without abandoning the artistic language that identifies her. You can currently enjoy his circular and rectangular canvases in an individual exhibition that he has done for the galleryLAB36 titled Transition.
The La Roca Village project began to take shape in 2021 and, after several meetings, Hamada and the team created for the occasion, chose to develop strong>works with volume. The artist, who has worked in various disciplines, from paintings to murals or work on paper, is the first time that she has developed such large works in three dimensions:
“It’s a new challenge for me. With Paseo Colorido I can bring people closer to my work and make them interact with it.”
Hamada’s proposal is articulated through three groups of sculptures: Dream Passage, with large-scale works (300 x 200 x 150 cm) ; Summer whims, which are three small format pieces; and Aerial landscape, a mobile installation. The artist is excited about the opportunity to give volume to her creations, because “they look like characters that come out of my paintings and have a soul.”
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ISEA, the International Symposium on Electronic Art, is one of the most important annual events worldwide dedicated to the crossroads where art, design, science, technology and society meet.
The event has been held over 26 times all over the world, and after more than 10 years since it last graced European soil, it touches down in Barcelona. With it comes an enthusiastic international and local community, ready to work together to develop this interdisciplinary field.
From Galeria SENDA we propose James Clar (1979, Wisconsin, EEUU) with two pieces that pay homage to the theme of this edition: ‘Possibles‘.
James Clar installing Half Submerged, 2022 in the mezzanine of Galeria SENDA
The North American artist James Clar, after having studied telecommunications, cinema and animation at New York University, began to experiment with light and television. He developed his own visual systems, transforming pixels on the screen into sculptures. His work stems from the purpose of “digitizing” human, socio-cultural, and political conditions. In this way, he analyzes and observes the effects of the media and technology in modifying human behavior and society, with a focus on our perception of culture, nationality, and identity.
‘Possibles’, the main theme of the 2022 ISEA edition, not only opens up an unfinished world of futures before us, but also presents and pasts behind us.
The ‘Possible’ is openness and movement, a horizon of change that unfolds and organizes the world. The Possible shapes our reality, and precisely for this reason it is a political problem in itself. From “everything is possible” to “being realistic and asking for the impossible”, from an “infinity of possible worlds” to “this is not possible and it is not possible”. Sometimes we are trapped in a world of pre-designed Possibles – “this is everything” – where it seems that nothing could have been left out, there are no alternatives. Sometimes it is living an illusion of freedom in an impossible world where criticism simply disappears. How to open up to contingency, not only to becoming but also to its uncertainty?
James Clar presents two installations that pose the challenge of how to draw new Possibles to come, and not just confirm those that are there waiting to be confirmed, experienced and thought of as Possibles. How can that be brought into existence in our worldview?
How to go from the impossible, the fable or the utopia to directly bite our reality?
– Half Sumberged, 2022
– Cloud Seed, 2022
In the mezzanine of Galeria SENDA from July 1st until the end of the month.
At the symposium you are sure to find exhibitions, workshops, open-air projects, round tables, talks from artists, school initiatives and a variety of other activities, all with the involvement of different organisations and communities from the city of Barcelona.
The artist Mina Hamada, known in Barcelona mainly for her street art, presents an exclusive solo exhibition for the gallery LAB36: “Transition”.
The opening will be next Saturday, May 21 from 11AM to 2PM at Carrer de Trafalgar, 36 (Barcelona, 08010).
Fase lunar 1. Acrylic in wood. 90cm diameter. 2022
“Transition“, produced for LAB36, the Japanese-born artist continues to develop the artistic language that identifies her & nbsp; and presents us with a universe of colors and forms a sign of her identity. Dynamism and movement are features that in Mina’s work create a dialogue with the geometric games characteristic of her paintings. This time on circular and rectangular canvases that she has chosen precisely for the exhibition.
It is thanks to the balance of her works that Mina Hamada is today one of the great representatives of international urban art. In contrast to the harshness of the streets, her paintings convey softness, emotion and a rhythm that breaks with the brutality of the everyday landscape.
“Transition” builds a world of fantasy-realism and brings to light multiple elements, some abstract and some figurative, of Mina’s gaze. Her works invite us to enter a new universe of colors, shapes and energies.
The doors that the Catalan artist Jaume Plensa has designed for the entrance of the Gran Teatre del Liceu in Barcelona in homage to music, Antoni Gaudí, Joan Miró and the “diversity” of La Rambla in Barcelona, join the celebration of the 175th anniversary this year of the inauguration of the Liceu.
Plensa has assured that with the doors of the lobby he wants to pay homage to Gaudí’s railings and also Miró’s constellations, which is why it has baptized them as Constel·lacions, as well as the “artery of diversity” of Barcelona, which for him is La Rambla. Constel·lacions will be installed in the three arcades of the main entrance of the theater and It will be integrated without affecting other elements incorporated prior to the Oriol Mestres façade from 1874 and recovered in 2019.
Jaume Plensa’s doors that will be incorporated into the entrance of El Liceu.
Plensa has underlined that these doors are a conglomerate of letters that grows, with the color of moonlight, and has remarked that humanity is marked by language, and that in this creation he pretends to show “alphabets of many cultures”.
“You already know my world of texts and alphabets. I like to mix different cultures because I think we are very good when we are together, keeping our individuality and small differences, but how good we are when we are together! And I think these doors are a tribute to diversity, even more so on the Ramblas, which are the artery of diversity in Barcelona.”
Jaume Plensa
Despite admitting that he hates doors as well as everything that closes, the artist has remarked that the more he sees the design the more he likes it -the doors will open vertically- and it has been a success, and he has remarked that they will also be used to ;“dignify the area” in what has been defined as a gift from the Liceu to the city and become the new face of the theatre. Asked if he fears the doors might be damaged, he has said it will provide a finish that supports restoration very well without fuss.
These are “quite light” pieces in the words of the artist, about 500 kilograms each and a thickness of 1 centimeter of steel, which gives them rigidity and lightness at the same time. The president of the Liceu, Salvador Alemany, and the theater’s artistic director, Víctor Garcia de Gomar, have trusted that the doors will be installed at the start of the 2022-2023 season at the end of September. They have cost around 750,000 euros -Plensa has not wanted to collect the fees-, of which 50% is assumed by the ACS Foundation, 35% through Feder funds and the remaining 15% for the theater, reports Europa Press.
The model of Plensa’s work for the Liceu. (Photograph: FERRAN NADEU)
“The doors presented two extraordinary challenges” – adds Plensa. “One is the building itself, which everyone says is horrible but I think that when the horror accumulates it ends up being wonderful. I would not touch a comma of this building, I love it. I love the lamps at the entrance. And the second is that we are facing an extraordinary work by Miró on the Ramblas that I think has marked many things in the city in a very strong way, including the tragic moment of the attack in the city, which ended up just ahead.”
“In these Constel·lacions I wanted to pay homage to the Liceu, to music, but also to think of an architect who has given us many days of glory in the city, Gaudí, and I choose the title precisely because of this world of Miró’s constellations, which is the one I especially want to pay tribute to,” he said.
The doors that the Catalan artist Jaume Plensa has designed for the entrance of the Gran Teatre del Liceu in Barcelona in homage to music, Antoni Gaudí, Joan Miró and the “diversity” of Las Ramblas in Barcelona, join the celebration of the 175th anniversary of the inauguration of the Liceu.
Plensa said that with the lobby doors he wanted to pay homage to Gaudí’s grilles and Miró’s constellations, which is why he has named them “Constel·lacions“, as well as to the “artery of diversity” of Barcelona, which for him is Las Ramblas. “Constel·lacions” will be installed in the three arcades of the main entrance of the theater and will be integrated without affecting other elements previously incorporated into the facade of Oriol Mestres of 1874 and recovered in 2019.
Jaume Plensa’s doors to be incorporated at the entrance of the Liceu
Plensa stressed that the doors are a conglomerate of letters that grow, with the color of moonlight, and remarked that humanity is marked by language, and therefore, in his creation, he wanted to show “alphabets of many cultures“.
“You already know my world of texts and alphabets. I like to mix different cultures because I think we are very good when we are together, keeping our individuality and small differences, but how good we are when we are together! And I think these doors are a tribute to diversity, even more so in Las Ramblas, which is the artery of diversity in Barcelona“.
Despite admitting that he hates doors, as well as everything that closes, the artist has remarked that the more he sees the design the more he likes it – the doors will open vertically – and believes that they have been a success. In addition, he has remarked that they will also serve to “dignify the area” in what he has defined as a gift from the Liceu to the city and become the new face of the theater. Asked if he fears that the doors may be damaged, he said that it will provide a finish that supports very well the restoration without complications.
These are “quite light” pieces, in the artist’s words, weighing some 500 kilograms each and with a thickness of 1 centimeter of steel, which gives them rigidity and lightness at the same time. The president of the Liceu, Salvador Alemany, and the theater’s artistic director, Víctor García de Gomar, are confident that the doors will be installed at the start of the 2022-2023 season, towards the end of September. They have cost about 750,000 euros – Plensa has not wanted to collect his fees -, of which 50% is assumed by ACS Foundation, 35% through Feder funds and the remaining 15% by the theater, as reported by Europa Press.
The model of Plensa’s work for the Liceu | Photograph by FERRAN NADEU
“The doors presented two extraordinary challenges” adds Plensa. “One is the building itself, which everyone says is horrifying, but I think that when horror accumulates, it ends up being wonderful. I wouldn’t touch a comma of this building. I love the chandeliers at the entrance. And the second is that we are looking at an extraordinary work by Miró on Las Ramblas that I think has strongly marked many things in the city, including the tragic moment of the attack in the city, which ended right in front of the building“.
“In these «Constel·lacions» I wanted to pay tribute to the Liceu, to music, but also to think of an architect who has given us many days of glory in the city, Gaudí, and I chose the title precisely because of this world of Miró’s constellations, who is the one I especially want to pay tribute to” he added.
This year we celebrate with great enthusiasm our twentieth participation in ART BRUSSELS, from April 28th to May 1st 2022, with the following selected artists:
