• Arranz-Bravo. Doble o res

    The Arranz-Bravo exhibition. Doble o res brings us closer to an unprecedented aspect of Eduard Arranz-Bravo’s pictorial practice: his work with different modular registers within the scope of expanded painting. Diptychs, triptychs, polyptychs follow each other both in his contemporary painting and throughout his artistic career, indicating a continuous line of work towards new open, organic and vital pictorial formats.
    In his recent work, the painter has found in the diptych a dimension in which to work on concepts such as the search for unity from the understanding of opposites or the play of dualities. In the Doble series (2022) he advocates the fusion between opposites that love invokes; the drive towards fusion in sexual play; understanding between strangers; the unit of spirit that is achieved by appealing to tenacity and work; Or the strained, but possible, relationship between man and nature.

    We must understand the interest in the diptych and triptych formats of his current work as an evolution of that open look and in organic growth that materialized in the Tipel factory and that in the course of the eighties was incorporated into the his work, through the modular growth of the paintings. The exhibition shows some of the most successful works in polyptych format from the collection of the Arranz-Bravo foundation from the eighties: Es Nalos (1980), Epidauro (1982), Hotel Grec (1982), Prima Pantocrator (1988) . In all these works, the painter shows interest both in the organic growth of painting, and in the forcefulness and transcendence that he recognizes in moments in the history of painting that are referential for the artist, such as the Catalan Romanesque.

    Eduard Arranz-Bravo (Barcelona, ​​1941) is a Catalan painter, engraver, sculptor and cartoonist. Educated at the School of Fine Arts in Barcelona, ​​at the age of twenty-five he began his career at the Gaspar gallery, where he exhibited regularly until the end of the seventies. In 1968, he began his artistic collaboration with Rafael Bartolozzi, with whom he created works and actions relevant to his time, such as the murals of the Tipel de Parets factory (1969), the exhibition Mides Universals (Saló del Tinell, 1979) or the representation in the Spanish pavilion of the Venice Biennale (1980). During the eighties, already alone, he moved to Cadaqués, exhibiting regularly at Lanfranco Bombelli’s gallery, and establishing relations with the town’s international artistic community, such as Richard Hamilton, Dieter Roth or John Cage. In 1989 a large anthological exhibition takes place at the Palau Robert in Barcelona and the Paço Imperial in Rio de Janeiro (Brazil). In the nineties, he settled in Vallvidrera and began his professional relationship with the Franklin Bowles Gallery in New York and San Francisco, with whom he held more than fifteen exhibitions. From 2010, he also has gallery representation in China and Russia. In 2009 he opened the Arranz-Bravo de l’Hospitalet foundation, dedicated to the promotion of his work and emerging art.

    Curator: Albert Mercadé
    Opening: Thursday 24 November 7pm (until 12 February)
    Thursday to Saturday: 5pm to 8pm. Sunday: 11am-2pm

  • Eladio Aguilera. Para hacer poemas, no se bebe agua

    Para hacer poemas, no se bebe agua is a project that reflects on one of the quintessential spaces of art: bars, cafes, taverns, bistros. From Vienna to Montmartre, from the Raval to Montjuic, in our collective imagination the history of these enclaves is linked to the artistic and cultural effervescence of a city. Bars are places of meeting and parliament, where discourse is generated from the dialectical and emotional exchange between acquaintances and newcomers. There the communication flows thanks to the silent intervention of a liquid guest: alcohol. This is how the famous French vocalist Barbara sang it: “Pour faire des poèmes, on boit pas de l’eau” (‘To make poems, we don’t need water’) -, in her song “L’Absinthe” ( 1972) dedicated to the poets Arthur Rimbaud and Paul Verlaine and their relationship with the “green fairy”. In our cultural narrative alcohol is related to artists almost more than to art, as it is to life.

    The exhibition aims to be a catalog of images and objects about the alcoholic infrastructure of a bar. Glasses, chairs, tables, handles, bottles contain a special power that contains desire: the promise of happiness channeled through an object and the liberating experience that we give it. Coexisting between objects, diverse people know each other and generate knowledge. In this sense, the bar is a sacred emotional and cultural gym space.

    The installation incorporates a series of paintings that give a nod to artistic episodes that intersect alcohol, artistic production and the artist’s personal experience. The personal stories of the artists are distilled in the form of an image, revealing the presence of creators such as Joseph Beuys, Martin Kippenberger and Margherite Duras. Thus, while the German artist appears outside, half naked and vital, the French writer presents herself gathered in the solitude of the kitchen with flowers reminiscent of her Montparnasse tomb. The series was born from a stay of Eladio Aguilera in Paris at the end of 2020, in which the artist, deprived of social relations as a result of the pandemic, became interested in the biographies of different French creators who were transferred and buried. in the cemeteries of the capital.

    Eladio Aguilera (Seville, 1995) graduated in Fine Arts from the University of Seville. He holds a Master’s degree in Artistic Production and Research from the University of Barcelona and is currently pursuing a doctoral program in Advanced Studies in Artistic Production (EAPA) at the same university. As an artist, he has been selected in calls and residencies such as Ajudes Injuve, Sala d’Art Jove de Barcelona, ​​Biennial of Art of Girona, Art Emergent Sabadell les I grants for the production of the BilbaoArte Foundation, the JCE residence ( young European creation) in Paris in 2020, the XXI Exhibition of Contemporary Art DMència in Córdoba in 2019, the XXXIV Exhibition of Young Art of La Rioja in the ESDIR of Logroño or the I Meeting of Photographic Creation of Andalusia in the CAF (Andalusian Center for Photography) in 2017. He has had exhibitions at the Blueproject Foundation in 2021 and at the VUNU Gallery in Košice, Slovakia; at the Art Center of the city of Vrá in Denmark in 2020, at Le Beffroi de Montrouge in the Paris region; at HYBRID FEST in Madrid in 2019, at the Center for Contemporary Art in Málaga, at the Birimbao Gallery in Seville, at the Les Cigarreres Cultural Center in Alicante, at the El Butrón Gallery in Seville in 2018, at the Andalusian Center for Contemporary Art of Seville.

  • The Tipel factory: the painted dream

    Fàbrica tipel exposició fundacio arranz bravo

    Just over fifty years ago, in February 1971, one of the most representative icons of the artistic culture of the seventies in Catalonia was inaugurated: the murals of the Tipel de Parts del Vallès factory, made by the painters Eduard Arranz-Bravo (Barcelona, ​​1941) and Rafael Bartolozzi (Pamplona, ​​1943 – Tarragona, 2009). The tandem of artists set out to overflow an initial commission from the businessman Isidor Prenafeta -a mural on a single exterior wall of the building- and expand it through the more than two thousand square meters of surface of the complete façade of the building. factory, even participating in the design of structural elements, such as windows and chimney, as well as the elaboration of sculptures -the 8 eight plaster sheep for the outside- or fun expanded painting initiatives -the trucks of the company, the shirts of the workers, and of other unusual objects. There was no precedent for such an initiative: in five months they will carry out what will be considered the largest mural in the world.

    In just over five months, Arranz-Bravo and Bartolozzi applied themselves in a free and experimental work, pouring on the walls a genuine imaginary, representative of the new international painting: psychedelia, pop art and also their own style, at the same time ironic and vitalistic, typical of two of the most significant painters of his generation. The attempted censorship by the Ministry of Public Works, which wanted to eliminate the work by denouncing it as a “modernist” painting and “element of distraction” by drivers of the new Barcelona-Granollers highway, and the popular support that goes receiving the work to be saved, made the Tipel a symbol of freedom in the last years of the dictatorship.

    The exhibition recovers a whole set of unpublished materials that emerged in the course of the publication La fàbrica pintada, by Arranz-Bravo i Bartolozzi (Ajuntament de Parets, 2022), written by the historian Carles Toribio. The exhibition brings to light for the first time period photographs, preparatory drawings, paintings, objects, original sculptures from the factory, as well as a selection of dozens of articles published in newspapers and magazines of the time in defense of the factory, such as Serra d’Or (Cirici Pellicer), Gaceta Ilustrada (Baltasar Porcel), Oriflama, Bocaccio 70, LaVanguardia or Destino (Giralt Miracle, Joan Teixidor). The exhibition also retells for the first time a selection of numerous articles in international magazines and newspapers dedicated to Tipel, echoing what was considered the greatest pop painting of the time.

    Book and exhibition commemorate the fiftieth anniversary of the inauguration of the Tipel murals, which in 2019 underwent a second restoration, curated by Eduard Arranz-Bravo, Bernat Daviu and German Consetti, in the near future. will facilitate access to the public through a walkway designed by the RCR Architects Studio.

    Opening exhibition

    February 17, 2022 at 7 p.m.

    Other activities

    As part of the exhibition, there will be a trip to the Tipel de Parets del Vallès factory and the presentation of the book La fàbrica pintada, by Carles Toribio and a prologue by Albert Mercadé. 25/02/22 at 19h.  Teatre Can rajoler, Parets del Vallès

  • Gerard Torres. Derelictes

    The singularity of the painting of Gerard Torres Sanmartí (Sabadell, 1987) lies in the artist’s
    view of painting as a broad and heterogeneous dynamic in which different artistic languages and processes inherent in the construction of the work – which may even be mutually contradictory – all have their place and consideration. Torres is as interested in deeply-thought-out analysis of painting as in its aesthetic and spontaneous expressiveness; in the depth of the error as in the resounding nature of painting’s communication; in the reproducible power of art as in its
    quintessential originality.

    The work we are showing at the Arranz-Bravo Foundation – expressive, residual painting, made from waste and leftovers from the painting process – is only the painterly stage in what comprises a general and more complex study of Torres’ artistic work that, impressed by his intense and indeterminate aesthetic, we suggested that the artist and curator, Joan Vila i Boix, might usefully explore. Because we believe that it is when Gerard focuses on working with the waste from painting, with
    errors, accidents, leftovers and detritus that he achieves his greatest artistic power. It has what Byung Chul Han would call a negative view of art and thought. It is not a question of affirming or denying painting, but of embracing a negative side that finds interest in the reverse of dumbed-down or analytical painting: rather than affirming without question or speculatively, suggesting indeterminately; rather than prioritising the surface of colour, focusing on the ineffable depths of matter and gesture.

    Gerard Torres seeks to go beyond Aballí’s anti-painting, for he also takes into account the work in its aesthetic state, as well as its formal expressiveness. In other words, painting as a dynamic whole, like nature itself.

    Free entry

    Opening hours

    From thursday to saturday  17 – 20h.
    Sunday: 11 – 14h

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  • Arranz-Bravo: present continuous

    The Arranz-Bravo Foundation celebrates the painter’s eightieth birthday Eduard Arranz-Bravo (Barcelona, 1941) with a great exhibition dedicated to his current work. Through a wide selection of paintings, sculptures and works on paper, the exhibition aims to celebrate the present artistic moment of one of the most important living Catalan painters of the generation of the years sixty, which is still in full artistic activity. The sample is the first of a set of actions to be carried out in the frame of the painter’s birthday, such as the presentation of a book and an exhibition dedicated to the Tipel factory or the edition of the memories of the artist. 
    The current work of Eduard Arranz-Bravo crystallizes some of the artistic values of the generation of the sixties in Catalonia: the vindication of the present moment, of the existential immanence, of a reality lived in a joyful, ironic and critical way; one attitude that reacted against the spiritual and transcendent gaze promoted by the hegemonic informalism of the 1950s and 1960s, and dogmas and prohibitions of the dictatorship. This involves two attitudes and themes that we find in painting contemporary of Arranz-Bravo: the human body and the joyful experience of living. If the body for Tàpies it was an airtight and obscure territory, for Arranz-Bravo it is a propulsive engine of overflowing energy, which has as centers of gravity four anatomical centers who paints and repaints obsessively: the head (Head, 2021), the heart (Heart, 21), the eyes (Eyes, 2021) and hands (Hand, 2021). The heart is the source of the emotional experience of art. The hand, the executing arm. The eye is the meter. And the head, analytical reflection necessary to carry out any artistic action. All this anatomical substrate is essential to focus on the communication of the intensity of experiences and vital moments. The jewel of a dance (Ball, 2020); of samba (Samba, 2021); of the pleasure of simply living (Happy Life, 2020), or of laughing at living (Leopard, 2021). This is not a frivolous look at life. Arranz-Bravo is a lot aware of its tragic nature. But it does not decay into nihilism. Positive the decrepit energy towards the experience of the reality that, lived with intensity in the continuous present, can be pleasing, and even joyful. These are the burning moments of emotion that he is interested in capturing and immortalizing in his contemporary painting. In the sculptural field Arranz-Bravo has worked in an interested emotional dimension in capturing vital harmony and rotundity. In Bravo (2020), he makes a sculpture serene, structured, like a harp resting after a concert, finding the point exact between order and touch. Finally (2020), it is also a work of serenity rotundity, as a point and end of a book. Because Eduard has not lost that hunger inside to shake and shake us, which, as the poet Paul Valery points out, it is one of the most distinctive features of great artists and poets. It’s the same roundabout which we find in some of his paintings, such as Tuto (2020).
    Eduard Arranz-Bravo (Barcelona, 1941) is a Catalan painter, engraver, sculptor and draftsman. Trained at the Barcelona School of Fine Arts, he began his career at the age of twenty-five trajectory in the Gaspar gallery, where he will exhibit regularly until the end of the years seventy. In 1968 he began his artistic collaboration with Rafael Bartolozzi, with whom will carry out works and actions relevant to its time, such as the murals of the Tipel factory Parets (1969), the exhibition Mides Universals (Saló del Tinell, 1979) or the performance at Spanish pavilion of the Venice Biennale (1980). During the eighties, already alone, he moved to Cadaqués, exhibiting regularly in the gallery of Lanfranco Bombelli, and establishing a relationship with the international artistic community of the people, as Richard Hamilton, Dieter Roth or John Cage. In 1989 a large exhibition takes place anthology at the Palau Robert in Barcelona and the Paço Imperial in Rio de Janeiro (Br zil). A in the nineties, he moved to Vallvidrera and began his professional relationship with the Franklin Bowles Gallery in New York and San Francisco, with whom he has made more than one fortnight of exhibitions. Since 2010, it has also had gallery representation in China and Russia. In 2009 he opened the Arranz-Bravo de l’Hospitalet foundation, dedicated to the promotion of his work and emerging art.
    Exhibition opening (as part of the Gallery Weekend): Wednesday 15 September at from 5 pm (with anti-Covid prevention measures)
    Gallery Weekend special hours, from Thursday 16 to Sunday 19 September:
    Wednesday: 5pm to 8pm; From Thursday to Saturday: 11 am-2pm / 5pm – 8pm. Sunday: 11 am-2pm
    Arranz-Bravo Foundation. Thursday to Saturday: 5pm to 8pm. Sunday: 11-14h
    Av. Tarradellas, 44. L’Hospitalet de Llobregat. CC Room Key (M: L1 Tower)
  • Mercedes Pimiento. Terminal Architectures

    Mercedes Pimiento (Seville, 1990) presents Terminal Architectures, a project based on material experimentation and the expanded articulation of sculpture. The artist raises new materials linked to urban, domestic and industrial structures and infrastructures, such as ducts, channels, wiring, false ceilings, pipes or connecting circuits, which interest the artist both for their formal qualities and for the new spatial and conceptual possibilities that they open it.

    Mercedes Pimiento is fascinated by structures that, despite transporting essential elements (water, electricity, data, gas) man tries to make invisible, with the paradox that these structures are increasingly decisive in our lives . As the inspiring essay of this project states (Terminal Architectures, by Martin Pawley, 1998), the more virtual our context becomes, the more structural and residual physicality surrounds us. Thus, the homes where we live look like connecting terminals: receptacles where cables and pipes of arrival and exit of information and raw material flows are connected.

    Mercedes Pimiento is interested in both, the structural joints and her sculptural presence that she perceives, mainly in the industrial environment of Hospitalet, where she has a studio in the FASE creation space. Pepper works through organic materials (vegetable wax, beeswax, rosin or powder resin) or artificial (latex, viscolatex, silicone), and adapts its test materials in pre-existing structures (such as ventilation ducts or industrial packaging parts) , using different reproduction techniques, such as molds or formwork.

    The exhibition continues and expands throughout the territory with an intervention by Mercedes Pimiento at the La Carpa del Hospitalet school. The artist presents a series of interventions and structures that offer us the possibility to think about the flows, the connections and the reasons and consequences of the traffic of the materials. The strength of the concepts emerges in an area where the work and modification of the raw material stands, for the stubborn, as a metaphor beyond the most obvious taxation.

    The initiative is part of the Tandem project, of the Arranz-Bravo foundation and the La Carpa school, curated by Artur Muñoz; an initiative of art and pedagogy in the school, which since 2018 has been transforming the curricular artistic contents of all the educational lines of the center, making them participants in the latest currents of contemporary art and design.

    During the exhibition, you can visit the intervention of Mercedes Pimiento in the school, as well as learn informally about the pedagogical and innovative proposal of the school La Carpa.

  • Eduard Arranz-Bravo Francesc Parcerisas

    The Arranz-Bravo Foundation shows an exhibition dedicated to reviewing the artistic and literary quality relationship between the poet Francesc Parcerisas and the painter Eduard Arranz-Bravo, throughout
    more than Forty years of friendship. It is one of the most prolific collaborations between painter and poet in Catalan contemporary art: with about thirty joint works, mainly in the format of an artist’s book, but also in the form of illustrated poems, portraits. , Catalogs, and all 1 flow of Epistolary Exchange, unique witness of the yearnings for freedom and artistic experimentation of the final years of the dictatorship.

    The most intense period of artistic collaboration between Arranz and Parcerisas is in the late sixties, when the Gaspar Gallery promotes the edition of emblematic artist books: Mes Plec (1967), Dibuix-dibuix (1968), Granollers Low Leaf (1973); initiatives that were accompanied by independent projects, such as Escultures de Mar (1969) or La gallina il ‘adolescent (1973), the latter carried out in Libertarian Ibiza in the seventies.

    The exhibition also shows more recent works, such as the set of poems and engravings On éreu (2009), a self-critical review of the utopian gaze of youth. The exhibition is complemented by videos, portraits and objects that seal 1 friendship sustained over time, fruitful and fraternal.

    Francesc Parcerisas (Begues, 1944) is a poet, translator and literary critic. A prominent member of the literary generation of the 70s, he has published many books of poems and has received numerous awards, such as the Carles Riba of 1966, the Joan Alcover of 1975, the Critics of Catalan Poetry (1983 ) and that of Catalan Literature of the Generalitat de Catalunya, the same year. 1991 Triumph of the present, collection of his poetic work, He received the Lletra d’Or prize. With his first book of prose, La primavera a Pequín (2013), he won the 2013 Narrative Bookseller Prize. In 2015 he was awarded the National Culture Prize “for the relevance of his poetry, his translated work and his work. work as a literary critic »

    Exhibition curated by: Albert Mercadé
    Exhibition opening: Thursday 3 December from 5pm (with anti-Covid prevention measures)

    Arranz-Bravo Foundation.
    Thursday to Saturday: 5pm to 8pm. Sunday: 11 am-2pm
    Av. Tarradellas, 44. L’Hospitalet. CC Room Key (M: L1 Tower)

  • Negativeland 2

    Negativeland 2 es la segunda parte del proyecto que el artista Joan Pallé (Lleida, 1989) presentó al Instituto de Estudios Ilerdenses (IEI) el 2018. En ambos episodios Pallé emprende una reflexión plástica sobre la idea de ‘negatividad’ y la exploración de los efectos de este concepto al espacio urbano. El principio de ‘negatividad’ es uno de las ideas troncales del pensamiento contemporáneo, concebido por el filósofo sudcoreà Byun-*Chul Han (Seúl, 1959), quién ha hecho el eje de su cuerpo filosófico desde su primer ensayo La sociedad de la transparencia (2012).

    El concepto de Han es una reacción a primeros de hiperpositivitat que rige la sociedad contemporánea: la sociedad de los smiley, de los win-*win, de los super!, de los seguimos!, expresiones que aparecen en los ojos de Han como el último disfraz léxico del siempre camaleònic ideario neoliberal, ahora en manos de la nueva economía digital. El principio de negatividad que defiende Han es el reverso de la moneda: es la vivencia profunda, lenta, disidente y misteriosa de la realidad desde la conciencia trágica, aceptando la angustia, la diferencia y el conflicto como principio motriz de la vida y la existencia.

    A Negativeland Joan Pallé le ha interesado investigar las posibles derivas de la negatividad en el espacio público. Tal y como explica el antropólogo Manuel Delgado, el espacio público es una idea abstracta y que se asocia fácilmente al neoliberalismo: un ideal utópico y positivo de orden, salubridad, ocio y civilidad en que la arquitectura y el urbanismo modernos se inspiran para erradicar el desorden, la disidencia y la negatividad de una realidad social determinada. A Joan Pallé le interesa explorar el que Delgado denominaría las formas ritualísticas y con potencial simbólico que surgen de los conflictos surgidos al espacio público. El principal: el fuego, surgido de la crema de autobuses y coches por parte de las guerrillas urbanas que se defienden ante el adelanto de la autoridad defensora de la orden y el negocio. En este sentido, la exposición está articulada por esculturas y dibujos de autobuses, furgonetas y cuerpos en llamas, encendidos durante diferentes disturbios y conflictos urbanos. Pallé también le interesan los fenómenos de virulencia contra las estructuras de comunicación del capitalismo que ocupan el espacio público, como las antenas de comunicación -la pieza principal de la muestra, al patio de la fundación- o las estructuras de los paneles publicitarios.

    La exposición Negativeland2 forma parte del programa oficial del BcnGalleryWeekend al Hospitalet y cuenta con la colaboración del IEI (Instituto Estudios Ilerdencs)

    Joan Pallé (Lleida, 1989). Vive y trabaja en Barcelona. Obtuvo el grado en Bellas artes (2017) por la Universitat de Barcelona. El año 2017 se convierte en artista residente a Fabra y Coats (Barcelona) a través del programa de residencia de San Andreu contemporáneo (SACO_FIC). En los últimos años ha recibido la beca de residencia de la Panera en colaboración con el CDAN y Centro de Arte y Natura de Farrera; la beca de creación artística para el festival MAU de Rocaumbert fábrica de las artes (Granollers); la beca de investigación artística de la Sala de Arte Joven de la Generalitat en colaboración con el Macba; la beca de investigación de la Escocesa; la beca de producción artística de Baumannlab (Terrassa); la beca de producción de Banco Sabadell Arte Sala Parara (Barcelona); y ha estado ganador del certamen de artes visuales Bienal Larva, I.E.I., Lleida. Ha participado en exposiciones colectivas, en centros artísticos como Fabra y Coats (Barcelona), Museo Can Framis (Barcelona), Le Beffroi Ville de Montrouge (París), Kunstbygningen y VRA, Højskolevej (Dinamarca), entre otros.

  • Isabel Servera_Fem temps

    sabel Servera, artista residente en el edificio Freixas del Hospitalet, presenta Hacer tiempo, la suya primera exposición individual en un centro de arte institucional. El proyecto se articula a partir de una instalación site specific (CMYK, de 3 x 7 m) y una selección de obra reciente. El trabajo de Servera se centra en el despliegue de tres conceptos: la repetición, el tiempo y el trabajo processual. Su obra es consecuencia de largas jornadas de trabajo dedicadas a la repetición, obsesiva y disciplinada, de gestualidades y tramas plásticas. El error, el desgaste de los materiales y uso de los aperos de trabajo -imprentas, fotocopiadoras, colores-, son impulso y sostent de una obra a través de la cual el artista quiere reivindicar una temporalidad divergente a la propuesta por la sociedad tecnocrática.

    Así, su interés se centra a menudo en la reconstrucción de documentos de oficina triturados (St6, 2019); o en la repetición de calidades expresivas detectadas en la fragmentación de los colores de impresión (CMY, CMY II y CMYK); o en la repetición ininterrumpida y cotidiana del punteig del bolígrafo o rotulador sobre el papel, en un marco de tiempo determinado (Calendario Laboral, 2019, Punto y seguido, 2017-2019). Según Giselda Chillida, crítica de arte y autora del texto Hacer tiempo o lo tiempo del artista, “A través el trabajo manual y rítmico, Servera introduce la irregularidad en terreno de aquello inefable y maquinal. El tiempo del artista es un “otro”. Es tiempo impreciso e indisciplinado. Es tiempo extraño que se convierte en excrecencia.”

    Isabel Servera (Mallorca, 1986) es licenciada en Bellas artes por la Universitat de Barcelona, ​​donde también ha cursado un máster de Producciones Artísticas e Investigación. Ha expuesto individualmente Again & again en la Galería Miquel Alzueta, Barcelona y Manufacturar, elaborar, producir a la Galería The Goma, Madrid. Servera ha sido seleccionada para participar en varias exposiciones como: Premio de Pintura de la Fundación Vila Casas (Barcelona, 2019), Premio de Pintura Internacional Guasch Coranty a Centro de Arte Tecla Sala (l’Hospitalet de Llobregat, Barcelona, ​​2018 y 2015), La marca visible en Arte Santander, proyecto comisariado por Mónica Álvarez Careaga ( Santander, 2017), Arte 35-BS a la Galería Trama y Sala Parara (Barcelona, ​​2016) y Tabula Raída o la (im) posibilidad de construir una generación al Museo Se Baluarte, proyecto comisariado por Fernando Gómez de la Cuesta y Pau Waelder (Palma de Mallorca, 2014). Su trabajo también se ha podido ver a: Hilvaria Studios (Países Bajos), MUU Galleria / MUU Kaapeli (Finlandia), LAC Narbonne (Francia), KKKB, SWAB, Centro de Arte Santa Mònica, Centro de Cultura Sus Vueltas, The Private Space o FAD. Actualmente vive y trabaja a Barcelona.

  • Arranz-Bravo a Cadaqués.

    Eduard Arranz-Bravo ha sigut un dels artistes catalans que va viure amb més intensitat el que s’ha anomenat com la darrera època daurada de Cadaqués: els anys setanta i vuitanta, un moment en que es donaren trobada a la població empordanesa artistes com Marcel Duchamp, Richard Hamilton, John Cage, Merce Cunningham, Diether Roth, Joan Ponç o Salvador Dalí. El seu estudi-residència a la fàbrica de Sardines (on hi va viure permanentment entre 1985 i 1991) va esdevenir ser un dels punts de confluència de la comunitat artística, on hi tingueren lloc recitals de màgia de Joan Brossa, accions musicals de John Cage, gravacions de cinema, debats, exposicions i happenings. Així mateix, Arranz-Bravo va ser l’artista que més vegades va exposar a la galeria Cadaqués de Lamfranco Bombelli (fins a 14 ocasions), un dels nuclis artístics de la població. L’exposició vol recrear aquest ambient internacional i creatiu, així com rememorar l’amistat estreta que va unir Arranz-Bravo amb amics propers com Richard Hamilton i Diether Roth, a través d’obres i documents de la col·lecció personal de l’artista així com provinents el MACBA (Interfaces, Hamilton-Roth, 1979).

    L’ambient obert i trencador de Cadaqués inspirà un nou moment artístic a Arranz-Bravo, més experimental i poifacètic. L’exposició mostra l’obertura de l’artista a l’acció performàtica, tant al seu estudi (Accions amb Roberto Rambaldini (1980) o Peter Gersina (1985), Acció Un (1985), Acció Al Jonson (1985,) com en el marc urbà de Cadaqués (Cadaqués Blau, 1987). També s’endinsà en el terreny cinematogràfic (com a director del film Triade amb Peter Gersina i Bigas Luna); i s’aplicà per primer cop en el gènere escultòric, desenvolupant sèries en terracuita i bronze produïdes per Lanfranco Bombelli. Així mateix, la seva obra pictòrica es torna també ara més oberta, simbòlica i afirmativa.

    L’exposició presenta un recull d’obres significatives entre 1985 i 1992, provinents tant del fons de la fundació Arranz-Bravo com de la col·lecció particular de l’artista. La mostra es clou amb una série d’homenatges contemporanis del pintor català dedicats a l’evocació de Cadaqués, un dels quals realitzat amb l’artista Bernat Daviu, que vol homenatjar l’esperit fèrtil col·laboració artística que va regnar en el curs dels anys vuitanta a la població empordanesa.

    L’exposició s’acompanya amb un catàleg, amb una entrevista de Bernat Daviu i Albert Mercadé a Eduard Arranz-Bravo, i el text d’Albert Mercadé: Arranz-Bravo i l’âge d’or de Cadaqués.

  • Marc Badia/Jan Monclús. Let me die alone but please film it

    Let me die alone but please film it is the Marc Badia (Barcelona, 1984) and Jan Monclús (Lleida, 1987) new project  which they present together at the Arranz Bravo Foundation within the Gallery Weekend program. Barcelona 2017. 

     Let me die alone but please film explores the similarities between the success-failure binomial and the concept of absurd or “do in spite of”. A combination that allows us to understand and approach certain dysfunctional interests shared by the two artists such as error, failure, joke or absurd challenge.

    Jordi Antas

  • Francesc Ruiz Abad. I didn’t know I was collecting

    Francesc Ruiz Abad. I didn’t know I was collecting

    I did not know I was collecting’ is the first solo exhibition of an institutional nature of Francesc Ruiz Abad, winner of visual arts Arranz-Bravo 2015. The curator of the exhibition, Anna Dot, proposes an exhibition route that it consists of a random sequence of paintings, drawings, books, maps, boxes, travel documents or audiovisual linked to the artistic and personal journey of the artist. The exhibition wants to highlight the “procedural” nature of the work of an artist who has done most of the pictorial experiences roaming (Europe. Asia and America). His work is a “painting crossing.” as defined in the catalog of the exhibition, Albert Mercadé artistic director of the FAB; an open painting to the own strategies of conceptual art -the travel, exploration, and research- textual work, without sacrificing the aesthetic principles of contemporary painting: irony, plastic strangeness and intensity.

    Francesc Ruiz is a leading exponent of the new Barcelona pictorial scene; a generation born during the nineties that has the ambition to return the painting to the centrality of contemporary art. His pictorial referents are mainly in contemporary European painting: Sigmar Polke, Oliver Kossack, Fiona Rae, Jakub Julian Ziolkowski or Leipzig School (Tilo Baumgärtel, Jonathan Meese … etc), this is the last city where Frances Ruiz has live. An ironic, psychedelic and vital work, which links to the work of resistant paints our own context, as Pere Llobera or Nilausen Rasmus.

  • Carlos Valverde. Stronghold

    Stronghold Carlos Valverde Black TEAM




    THE FIRST IS THAT catch them

    FAB  + Homessession + Sant Jaume de la FEP

    Opening Friday, June 10 14h ,

    the FAB Banquet with Stronghold for Forever Blowing Bubbles ( Bernat Daviu Joana Roda ) 

    Participate and register 

    Team Black : black.stronghold@carlos-valverde.com

    Red Team : red.stronghold@carlos-valverde.com

    Team Blue : blue.stronghold@carlos-valverde.com


  • Arranz-Bravo.After drawing

    Arranzbravo el dibujo en accion

    Opening 18/02/2016 19:30


    If there is an autonomous discipline that has survived post modern iconoclasm, it is drawing. Along the way, other historic arts have become displaced, but drawing, disegno, continues to be a valid, rigorous practice. This affirmation is also applicable to the art of Eduard Arranz-Bravo. The artist hasgone through different artisticstages and attitudes: from the poetic art of the early-sixties to the more experimental and engaged work of the seventies and his present symbolic-monumental period. And, throughout all these stages, drawing has remained his most beloved and loyal resource. Drawing continues to be “art’s springboard”, the private laboratory of utopian experimentation that is essential to achieving, ultimately, the great artistic metaphor.

    The exhibition Arranz-Bravo. Drawing in Actionreviews the uses, techniques and procedures used by this artist since the beginning of his career througha selection of pieces from the Arranz-Bravo Foundation holdings, drawings from the collectionsof the Museum of L’Hospitalet, portfolios of previously unseen works on paper from the Monteiro Soares collection in Brazil and, finally, contemporary works on paper made by Arranz-Bravo for the occasion. A full symphony of productions on paper that aims to position Arranz-Bravo in the place that, in the view of many art crítics and historians, he deserves as one of the greatest living draftsmen on the contemporary Catalan art scene

  • Arranz-Talo. Los extremeños

    The exhibition Arranz-Talo. Los Extremeños’ is an artistic project developed by Eduard Arranz-Bravo (Barcelona, 1942) and Felipe Talo (Barcelona, 1979).

    For ten months, Talo and Arranz have worked closely both through the mail and in the study of Arranz-Bravo in Vallvidriera. Paintings, videos, paintings, letters, sculptures, boxes, drawings and everyday objects manipulated are the result of an intense process of ‘artistic cannibalism’. The project seeks to recover, from a contemporary point of view, the spirit of creative partnership lived by Arranz-Bravo during the seventies and eighties, with artists like Rafael Bartolozzi, Jaime Camino, Bigas Luna, Ferran Adrià or Richard Hamilton.

    The exhibition is complemented by the publication of a catalog and a critical text written by Sonia Fernández Pan.

  • Contra Arranz-Bravo

    A collective exhibition featuring works by Gerard Ballester, Lluc Baños and Natàlia Giné, curated by Aina Mercader From October 1 to December 6, the Arranz-Bravo Foundation in L’Hospitalet de Llobregat presents the collective exhibition Contra Arranz-Bravo.

    Combining the qualities of sculpture and installations, the works presented by these three artists explore the space in the broadest and “Perecian” (Georges Perec, 1936-1982) sense of the word, taking as their direct or indirect starting point the work and grammar of Eduard Arranz-Bravo.

    The curator invited the young artists to select works by Arranz-Bravo, including drawings from his youth, and paintings and etchings from various periods of his career. In this way, they make Arranz-Bravo’s work their own, presenting new interpretations of them.

    Contra Arranz-Bravo occupies the entire exhibition space of the Foundation (the room is usually divided between, along the first corridors, temporary exhibitions by emerging artists and, at the rear, the current show by Arranz-Bravo) with works by the four artists involved. In this way, the pieces by Ballester, Baños and Giné come into contact with those by the master in a more or less explicit way. At times, the former reference the latter directly, at others there is more subtle acknowledgement, or Arranz-Bravo’s work is used as the basis for creating and shaping the young artists’ own projects.

    Most of the works here are site-specific, that is to say, designed especially for this show, taking inspiration from the forms, colours and recurring themes of Arranz-Bravo.

    We say that reality is explained through time and space. However, we discover, with Perec, that space is a reality in itself. Everything happens in space (domestic, everyday exhibition) and everything can end up being reduced into space. In Contra Arranz-Bravo, the three artists are completely free to experience, occupy, explore, investigate and work with space.

    In the external space: whether in the courtyard at the Foundation (Ballester brings out of the exhibition room the modules, recreated in wood, that form walls and divide the room) or in the street, Carrer de L’Hospitalet de Llobregat (Giné is interested in measuring things. For example, she seeks to ascertain the distance between the ground and the highest point in Arranz-Bravo’s Freedom Bridge on La Rambla de Marina, taking the bridge’s height as a reference measurement bringing it, in the shape of a great vertical pole, into the Foundation courtyard).

    In the exhibition space: Ballester proposes Moving the Entrance, a large plastic curtain, long before we enter the room. And he adapts to the architecture of the space with his cardboard project Pieces for… (corner, plinth). Moreover, he makes it more difficult to see certain paintings and routes by installing translucent panels.

    In the domestic space: Baños shows his video-performance Interaccions, which splits time and space, featuring a series of actions and interactions with everyday objects and found materials. On the opening day, Baños will present the performance live, when it will be recorded and shown on a loop in the exhibition. The artist’s contribution also includes “Senyalètica”, his own sign language, which he uses to describe some of the works by Arranz-Bravo that are on show.

    The official opening of Contra Arranz-Bravo will take place at 8 pm on October 1, coinciding with Barcelona Gallery Weekend (October 1-4), which is taking place at several galleries in both the Catalan capital and L’Hospitalet de Llobregat.

  • David Lorente_IT

    Contra Arranz-bRAVO

    David Lorente (Barcelona, 1989), a student in his final year at the Fine Arts Faculty in Barcelona, was awarded the 2014 Arranz-Bravo Visual Arts Prize in a competition to which more than sixty artists submitted works. The jury praised the force and daring of Lorente’s art, as well as the solid personality that finds expression in his unusual, delirious, hybrid language. Although his work mainly focuses on sculpture, Lorente also experiments with other formats, techniques and practices: digital imagery, photography, video and so on. His is an explosive, eclectic imagery that takes inspiration from reality that has already been reproduced: found objects, images from magazines, found footage, etc. Using all these ingredients, Lorente mixes a “cocktail” of our hypervisual world, distilling it with the deepest critical insight. David Lorente is an engaged artist who seeks to make us think about the emptiness of so many lives lived out in the world of  consumer society. Hence the title of the show: “IT”; the commoditisation of a society that is ever more “materialised”, “capitalised”, ever more consumable and, therefore, ready to be eaten up. An edible society, because anything at all can be lowered to the point where it is offered on the consumer society’s global market.

    The exhibition was curated by David Martrat, Montse Liz and Mar Esteve, three of Professor Pilar Bonet’s Art Criticism students at the University of Barcelona. This first show curated by three young critics is the result of an agreement established between FAB and the University of Barcelona, accomplishing one of the Foundation’s founding missions: to give young artists and critics their first opportunities in the professional world. The curators strengthened the conceptual thread behind this show, seeking to answer the question as to whether David Lorente’s work goes beyond the material to explore basic features of human identity. The curators ask: “What is hidden beneath the skin of each individual? Is identity an unquestionable truth? Can art simulate new realities, even if this means questioning many of the identifying principles of our reality?” These are some of them questions that the artists suggests through the projects that form this exhibition, which revolves around the concept of “IT”, phonetically very close to the “ID” of identity, always in  opposition to the materiality of the object. The curators’ own thoughts are reflected in the texts published in the exhibition catalogue, in which they mention the theories of Walter Benjamin, Jean Baudrillard and so on.

  • Arranz-Bravo. Magnus

    Arranz Bravo Magnus

    Organised in cooperation with Terrassa Cultural Centre, the Arranz-Bravo Foundation in L’Hospitalet and the Tecla Sala Cultural Centre, the exhibition Arranz-Bravo. Magnus presents a selection of the sixty finest large works produced over the last ten years by the Catalan artist Eduard Arranz-Bravo (Barcelona, 1941). This last decade in his career is marked by the new artistic challenges that Arranz-Bravo has taken on, including that of creating large canvases: triptychs, polyptychs, large painterly squares that reflect the classical symbology of the Barcelonan artist as seen through the prism of his latest revision. Hands, crosses, fragmented human bodies, forms inserted into the fresh, electrical surfaces that characterise Arranz-Bravo’s colour palette. Many of the pieces shown here were painted at his new studio in Vallvidrera, designed by the architect Jordi Garcés and winner of a FAD prize in 2014. This is a fertile, ambitious period that, in part due to the artist’s increasing international projection (in China, the United States and Russia), has received less attention than it deserves in our own country. However, the quality and scope of Arranz-Bravo’s latest projects make this a truly unusual and exceptional exhibition.

    Tecla Sala Cultural Center + AB Foundation.
    From 26 march to 31 may 2015

  • Arranz-Bravo Foundation. 5 years.

    A selection of 10 artist wich has exhibited at Arranz Brave Foundation since 2009: Miquel Gelabert, Martí Cormand, German Consetti, Sergi Mesa, J. Abelló, Diego Tampanelli, Xavier Gonzàlez Arnau, Laura Ariño, Arranz-Bravo and Albert Arribas.

  • Sergi Mesa. Cosmpographies

    Winner of the First Arranz-Bravo Visual Arts Prize, Sergi Mesa (Manresa, 1987) presented his pictorial project Cosmographies at the Foundation. Cosmographies featured
    a series of works that combined chromatic brilliance with the aesthetics of the video game and Internet. Trained at the School of Fine Arts in Barcelona and a member of the PictoBarcelona group, Mesa was selected to take part in the 2014 Biennale of Catalan Contemporary Art, was shortlisted for the Art<30 Prize awarded by Sala Parés and also presented a solo exhibition in Àlex Mitrani’s “Projections” series. Parallel to the exhibition, Mesa painted a mural with a length of more than thirty metres at the Charlie Rivel School in L’Hospitalet in cooperation with all the students there. The mural and the exhibition opened on the same day with a festive parade through the streets of La Torrassa neighbourhood.

  • Vanishing Points

    The result of a project curated by the art critics Irina Mutt and Sandra Martínez, this exhibition forms part of FAB’s “Dissidences” series. In it, emerging artists and
    curators just out of university (in this case, the University of Barcelona) are brought together to work on a completely new exhibition project. In Vanishing Point, Musach, Owens and Ibàñez react to a hostile environment with their art and challenge the structures responsible for the current systemic crisis through actions involving waste material, nature and the human body itself, calling for a return to the essence of life and to critical thinking. The exhibition catalogue was presented in the presence of the art critic Pilar Bonet and several groups of artists who discussed the slogan behind the show: Frictions, Artists, Collectives, Institutions in the Age of Self-Management. The project ended with a finissage Evening Picnic in the courtyard of the Foundation during Museum Night.

  • Laura Ariño: morphologies

    In a project curated by Bernat Puigdollers, the young sculptor Laura Ariño (Barcelona, 1991) presented the first solo exhibition in her career. The show served to encourage this artist to produce original, large-scale works that gave a new dimension to her work. The materials used were many and varied: textiles, concrete, alabaster, synthetic materials, wax… Ariño placed these materials at the service of expressing human anguish at the lack of communication around us, as well as such themes as despair, incomprehension, death and the passing of time. Time changes everything, it is metamorphosis. At the official opening, the dancer Laura Calvet performed an experimental dance inspired by the idea of metamorphosis.

  • Arranz-Bravo. Sculpture

    The first retrospective exhibition devoted to Eduard Arranz-Bravo’s facet as a sculptor. The show featured some of the most outstanding sculptures that he has made since the seventies, when he began working in this genre thanks to the patronage of the Sala Gaspar gallery in Barcelona. Over the last forty years, Arranz-Bravo has used different techniques and materials (stone, bronze, marble, poor materials…). He has also created several public monuments, such as L’Acollidora [“The Welcomer”] and El Pont de la Llibertat [“The Bridge of Freedom”] in the city of L’Hospitalet de Llobregat. The exhibition catalogue fully documents the more than two hundred sculptures that Arranz-Bravo has created over the course of his career.

  • Situart

    In a project curated by Marta S. Nacera and Georgina Parrilla, the exhibition Situart featured works by students in different disciplines at the Serra i Abella School of Art and Design in L’Hospitalet. The show was the result of a cooperation agreement between the school and the Foundation. Creation, identity and territory are key themes in the work of the painter Eduard Arranz-Bravo and are also the concepts interpreted and worked on freely by the students, guided by both teachers at the school and the Foundation’s Educational Service.

  • A collective of artists in L’Hospitalet

    The Foundation presented its first major group exhibition devoted to the artists resident at the Freixas Factory, one of the most active sites for the production of contemporary art in the city. The residents at this art factory include sculptors like German Consetti and Marcos Romero, the potters that form the La Nave collective, Francesca d’Alfonso, Sophie Thomson, Raúl Hernández and Paola Masi, the Mermeladastudio group of designers (Miguel Ángel Juárez, Laura Blasco and Álex Estévez) and artist-in-residence Quico Estivill. Their works were placed on show at both FAB and the studios at the Freixas building, and on the opening day the two exhibitions were symbolically linked by a parade of the arts led by the percussion group Batubaroa Batucada.

  • Xavier González Arnau. The Joy of the Jump

    The Joy of the Jump was the title of the project presented by Xavier González Arnau (Terrassa, 1980), a painter who has lived between Berlin and Croatia since 2004. Gonzàlez sees painting as a frontier from which to express the deepest truths of the spirit, and he employs various liberal arts –music, thought, poetry and soon– to connect with and enrich the creative experience. With references to the philosophy of Nietzsche and Reyes Mate and the sacred texts of the Old Testament, Gonzàlez sought in this Joy of the Jump to transmit a sense of hope in a world overexposed to materialism. At the official opening of the show, Gonzàlez created a painting
    on a sheet of backlit methacrylate to the beat laid down by DJ Fra, a resident disc jockey at the Sala Apolo club in Barcelona.

  • Unstable Realities

    In an exhibition curated by the art critic Sílvia Muñoz d’Imbert, the Foundation presented a project developed by three students at the Faculty of Fine Arts in Barcelona. Selected from the exhibition Untitled’11 at the university, Ferron, Galdeano and García naturally fused different genres: engraving, drawing, painting, video and photography. All three artists understand art as a medium from which they can give expression to an unstable reality, one of contained rage, closely related to these current times of protest, injustice, disengagement and utopian disenchantment.

  • Arranz-Bravo and books

    The illustration of artists’ books has been one of the favourite artistic pursuits of Eduard Arranz-Bravo (Barcelona, 1941). He has created more than seventy such books over the course of his career, making him one of the most productive Catalan artists in this genre. Using lithography, etching and drawing, Arranz-Bravo has produced artists’ books in cooperation with novelists (Baltasar Porcel, Camilo José Cela, Paco Umbral, George Orwell, Miquel de Palol), poets (Francesc Parcerisas, J. M. Sobrer, Santos Torroella), painters (Joan Ponç, Bartolozzi) and photographers (Xavier Guardans). This exhibition sought to revisit this little-known and surprising facet of his
    art, and to showcase the various publications that he has continued to produce up to the present.

  • Josep Maria de Sucre, in memoriam

    FAB paid tribute to the figure of the writer and painter Josep Maria de Sucre (Vila de Gràcia, Barcelona 1886 – Barcelona, 1969) in five projects by two different generations of artists: firstly, Antoni Llena and Arranz-Bravo; and, secondly, emerging artists who had already exhibited work at the Foundation (Miquel Gelabert, Martí Cormand and Diego Tampanelli). Their works established dialogues with ten pastel drawings by De Sucre, all unpublished, from the collections of friends of the artist, such as the painter and goldsmith Jaume Mercadé and Eduard Arranz-Bravo himself. The catalogue published to mark the event featured a prologue by the art historian and critic Àlex Mitrani that brought studies of De Sucre’s life and work up to date.

  • German Consetti

    The Argentinian artist German Consetti (Río Cuarto, 1975) arrived in Catalonia in the middle of the last decade in pursuit of the dream of becoming a sculptor and following in the footsteps of his great reference: Julio González. For several years now, he has lived and worked in the Freixas building in L’Hospitalet de Llobregat, alongside other prominent artists such as Miquel Aparici and the La Nave collective. In his show at the Foundation, entitled The Memory of Sculpture, Consetti demonstrated an expressive and spatial interpretation of sculpture, creating huge skulls, torsos, carts and boats, welding metal and cutting wood in the manner of the great early expressionists.

  • Albert Arribas

    The painting of Albert Arribas (Blanes, 1981) fuses explosions of colour and light and intense brushstrokes with clearly expressionist influences. Having completed
    his artistic training at the Fine Arts Faculty in Barcelona and the Massana School, Arribas began to give exhibitions at leading art centres and galleries in our country. The
    paintings presented in the Foundation, made expressly for it in 2011, are a veritable explosion of colour and light and, at the same time, a demonstration of painterly courage. In these large works, Arribas shows that he is a virtuoso in the art of combining bright colours with expressive brushstrokes, a master of gesture.

  • The Hyena’s Laugh

    Parallel to his exhibition at FAB, Jordi Abelló illustrated the book La risa de la hiena [“The Hyena’s Laugh”], a text written by Rafael Argullol in one of the chapters of his essay Visión desde el fondo del mar [“Vision from the Bottom of the Sea”], Acantilado, 2010). Edited by Albert Mercadé and designed by Júlia Polbach, the book explores different nuances of laughter –cynicism, vanity, sarcasm, ambition, etc.– noticed in the faces of both dictators and international politicians in recent history, up to the present. In his study, Argullol displays his vast humanist knowledge, Abelló his thorough understanding of the modern and contemporary portrait. This is a lucid, ironic, angry book that faithfully reflects the current state of disenchantment with the political classes.

  • Jordi Abelló: Crime trilogy

    Jordi Abelló’s Crime Trilogy project consisted of three series of works on paper that adopt the format of the storyboard (Interiors, Street and Crime). In them, the painter, born in Reus in 1971, explored, in dark, tragic style, the complex existential relationship between humans and their domestic and spatial environment.

  • Nicolas Ortigosa

    This was the first major solo exhibition by Nicolás Ortigosa (Logroño, La Rioja, 1982), an artist trained at the Fine Arts Faculty in Barcelona. In the show, Ortigosa presented a series of large murals made using drawing and painting techniques in an eminently gestural work instilled with enormous aesthetic tenacity.

  • Arranz-Bravo. The Enigma of Light

    The exhibition The Enigma of Light featured one of the last installations created by Eduard Arranz-Bravo, in 2011. In a work that brought together painting, sculpture and engraving, the artist created a subtle intervention on one of the central themes in art history: the representation of light and its relationship to form, space and colour.

  • Honda National Prize for Painting 1999-2010

    This exhibition brought together the winning works at the twelve editions of the Honda Prizes, one of the most important painting competitions in Catalonia over the last two decades. The prize, awarded on the basis of an open call to painters in the Spanish art scene, has achieved high levels of participation in all twelve editions, attracting more than 1,650 artists and 2,797 works. Amongst the winners whose works featured in the exhibition were such artists as Jordi Isern, Pep Montoya, Ruth Morán and Jordi Martoranno.

  • Diego Tampanelli

    Diego Tampanelli (Sunchales, Santa Fe, Argentina, 1970) has lived and worked in L’Hospitalet since 2004, where he forms part of the TPK-Art i Pensament Contemporani (“TPK-Art and Contemporary Thought”) collective. Tampanelli is a multidisciplinary artist who works interchangeably with the image, painting, video
    and performance to meditate on the idea of memory and nostalgia in relation to his homeland. Parallel to the exhibition at the Foundation, the most important in his career so far, a seminar entitled “The Vanishing Image” was given by Gep21, a collective engaged in 21st-century thought and politics.

  • Arranz-Bravo. Self-Portraits

    This exhibition was devoted to the more than fifty self-portraits that Arranz-Bravo has done in the course of his artistic career. Arranz-Bravo has cultivated a deep, obsessive relationship with this genre and has become one of the artists on the Peninsula that have most engaged with the European tradition of the existential self-portrait. Like Dürer, Rembrandt, Van Gogh, Artaud, Francis Bacon and so on, the Barcelonan artist understands the self-portrait as a means of introspective exploration and, at the same time, as a medium for pursuing some of his main aesthetic concerns, such as the intensity of the gaze, organic expressiveness and chromatic effusion.

  • Hospitalitart

    Hospitalart was a project curated by the art critic Luis Casado to present the work of five young artists linked to L’Hospitalet de Llobregat: Diego Tampanelli, Lusesita, Hanamaro Chaqui, Sergio Mora and Ismael Florenciano. In this initiative, the Foundation engaged with the values of hospitality and welcome that have historically characterised the city of L’Hospitalet.

  • Martí Cormand

    Martí Cormand (Barcelona, 1970) invents a hidden, abstract world that becomes visible in its representation. This world infiltrates the realistic version of the world, causing it to disintegrate. Cormand’s work is imbued with the qualities of transparency, density, light, shadows and extreme precision, in the manner of the Dutch School. These qualities are fused with references to digital technologies for image reproduction. Here, then, the artist creates a world where the artificial infiltrates the natural.

  • Miquel Gelabert. Landscapes

    Trained at Barcelona School of Arts, Miquel Gelabert (Blanes, 1979) is one of the emerging Catalan painters who have best managed to grasp the transition to contemporary landscape painting. In his work, Gelabert recovers and renews attitudes that are affected by a deep crisis: the domain of technique; the praise of transcendence, poetry, magic, mystery; and, finally, the vindication of a tradition of modern art that falls somewhere between abstraction and poetic landscape painting.