Featured Events in Barcelona in March 2025 (April Updated)

The exhibition Pleas of Resistance traverses more than twenty-five years of practice by the artist Carlos Motta, who consistently engages with the body and sexual dissidence as a terrain of experimentation and political contestation. His early explorations of photographic self-portraiture are shown alongside his most recent performances and video installations. The exhibition explores the magnitude of Motta’s artistic research and its implacable rigor in relation to the archive, interrogating its violence, its silencing and its desires. Motta’s work challenges the imposition of Eurocentric epistemologies – from the time of the conquest and colonial period in the Americas to the present day – and considers the legacy of religion as a perpetrator and disturbing vehicle of coloniality.

The MNAC, at the Musée des Beaux Arts in Lyon and the Museum of Fine Arts in Boston, will be exhibiting this exhibition for the first time in the three versions of the Vision of St. Francis of Assisi by Pope Nicholas V, a masterpiece by Francisco de Zurbarán (1598-1664). The exceptional possibility of confronting the three paintings gives light on each of them. The work that preserves the MNAC has undergone a profound restoration process that has allowed it to recover its original appearance and to remove the details hidden by the passage of time. In the vision of St. Francis by Pope Nicholas V, Zurbarán depicts a legendary episode in which the Pope asked the Pope to see the mummified body of the saint in the crypt of the basi of ’Assisi. The painter condenses a complex narrative action by focusing on the essentials and shows us only the subjective vision of the Pope. Zurbarán has the figure of Saint Francis as a work of ’art in a museum, working with light, space and geometric construction. It gives him strength and a prodigious presence, making it seem that the mummy of the saint takes his own life. From the contemplation of the real, the images transport us beyond reality, or inside, their soul. This exhibition will also bring together other works by Zurbarán, among them the two twin versions, which are very different from his famous still life’atuells, the Museo del Prado and the Museu Nacional ’d’Art de Catalunya. In these paintings, Zurbarán creates an aesthetic of the emptiness, the distance and the presence, and the silence, where we do not distinguish the everyday life of the religious mystery.

A group exhibition that aims to reverse the dramaturgy of the museum by putting the artwork at the centre so we can address its will, its energy and its poetic intention. What would happen if we separated the artwork from the museographic context that surrounds it? Would it be possible to think of museography as a kind of aphasia, a loss of language? Would it be possible to break up the dramaturgy of the museum that guides us in how to move through its spaces, how to register the artistic experiences they offer us, and how to apprehend the sensations that emanate from them? If we assumed that this shift were possible, what other meanings might arise, allowing us to interpret the work in a different way, and also to reinvent the museum as an institution? If that were within the realm of possibility, could we respond directly to the will of the work, to its energy and desire, to its ‘poetic intention’? Martinican poet and philosopher Édouard Glissant states that the poem must never deny the “way of the world”: can the museum put the work of art and the ways in which it reflects the world at the centre of everything?

A group exhibition that aims to reverse the dramaturgy of the museum by putting the artwork at the centre so we can address its will, its energy and its poetic intention. What would happen if we separated the artwork from the museographic context that surrounds it? Would it be possible to think of museography as a kind of aphasia, a loss of language? Would it be possible to break up the dramaturgy of the museum that guides us in how to move through its spaces, how to register the artistic experiences they offer us, and how to apprehend the sensations that emanate from them? If we assumed that this shift were possible, what other meanings might arise, allowing us to interpret the work in a different way, and also to reinvent the museum as an institution? If that were within the realm of possibility, could we respond directly to the will of the work, to its energy and desire, to its ‘poetic intention’? Martinican poet and philosopher Édouard Glissant states that the poem must never deny the “way of the world”: can the museum put the work of art and the ways in which it reflects the world at the centre of everything?

The exhibition Pleas of Resistance traverses more than twenty-five years of practice by the artist Carlos Motta, who consistently engages with the body and sexual dissidence as a terrain of experimentation and political contestation. His early explorations of photographic self-portraiture are shown alongside his most recent performances and video installations. The exhibition explores the magnitude of Motta’s artistic research and its implacable rigor in relation to the archive, interrogating its violence, its silencing and its desires. Motta’s work challenges the imposition of Eurocentric epistemologies – from the time of the conquest and colonial period in the Americas to the present day – and considers the legacy of religion as a perpetrator and disturbing vehicle of coloniality.

The MNAC, at the Musée des Beaux Arts in Lyon and the Museum of Fine Arts in Boston, will be exhibiting this exhibition for the first time in the three versions of the Vision of St. Francis of Assisi by Pope Nicholas V, a masterpiece by Francisco de Zurbarán (1598-1664). The exceptional possibility of confronting the three paintings gives light on each of them. The work that preserves the MNAC has undergone a profound restoration process that has allowed it to recover its original appearance and to remove the details hidden by the passage of time. In the vision of St. Francis by Pope Nicholas V, Zurbarán depicts a legendary episode in which the Pope asked the Pope to see the mummified body of the saint in the crypt of the basi of ’Assisi. The painter condenses a complex narrative action by focusing on the essentials and shows us only the subjective vision of the Pope. Zurbarán has the figure of Saint Francis as a work of ’art in a museum, working with light, space and geometric construction. It gives him strength and a prodigious presence, making it seem that the mummy of the saint takes his own life. From the contemplation of the real, the images transport us beyond reality, or inside, their soul. This exhibition will also bring together other works by Zurbarán, among them the two twin versions, which are very different from his famous still life’atuells, the Museo del Prado and the Museu Nacional ’d’Art de Catalunya. In these paintings, Zurbarán creates an aesthetic of the emptiness, the distance and the presence, and the silence, where we do not distinguish the everyday life of the religious mystery.

The creation of Joan Miró would not be properly understood without the large number of drawings, sketches, annotations and preliminary studies that he kept over the years. Miró's methodical character finds in the drawing an ideal instrument, always within reach, that allows him to retain embryonic ideas and visualize them. In some cases the works are faithful transpositions of preparatory drawings, with references to colors, measurements, the title or the technique. However, support is not always a conventional role. Sometimes an ad stimulates irony or a newspaper article provides a context or set to figures and signs, evoking how distressing or desolate the representation might be. Other times it's just a snippet to set up a fleeting mental connection. The support never disguises what it is: a ticket, a sheet of an agenda or a calendar, the back of a typed letter or the closing of an envelope. Then Miró's manual dating contradicts the printed date on the page torn from the agenda, the typed text that translutes claims to be read and the envelope leaves its folds intersecting.

A group exhibition that aims to reverse the dramaturgy of the museum by putting the artwork at the centre so we can address its will, its energy and its poetic intention. What would happen if we separated the artwork from the museographic context that surrounds it? Would it be possible to think of museography as a kind of aphasia, a loss of language? Would it be possible to break up the dramaturgy of the museum that guides us in how to move through its spaces, how to register the artistic experiences they offer us, and how to apprehend the sensations that emanate from them? If we assumed that this shift were possible, what other meanings might arise, allowing us to interpret the work in a different way, and also to reinvent the museum as an institution? If that were within the realm of possibility, could we respond directly to the will of the work, to its energy and desire, to its ‘poetic intention’? Martinican poet and philosopher Édouard Glissant states that the poem must never deny the “way of the world”: can the museum put the work of art and the ways in which it reflects the world at the centre of everything?

The exhibition is the result of exhaustive research and study focused on a work by Joan Miró, Painting (c. 1925), which is part of the Foundation's Collection. The analysis and conclusions of this project were developed by the Department of Preventive Conservation and Restoration, in collaboration with the CRBMC and the Pablo de Olavide University of Seville. The study, carried out primarily using non-invasive techniques, allows us to understand in detail the types of pigments and binders used in the creation of the work. It also provides a surprising new insight into the history of the painting before Miró's intervention and reveals previously unknown aspects of its conservation and evolution.

The collection of paintings, drawings, sculptures, and works on paper on display at the Fundació is one of the most comprehensive collections of Joan Miró's works and provides a comprehensive overview of all stages of his life and artistic chronology. Through a series of areas, visitors can explore the work and highly personal language of one of the most influential artists of the 20th century. These thematic areas illustrate key concepts in Miró's thought and work and demonstrate the artist's desire to transcend conventional painting. Due to their artistic and poetic significance, the paintings associated with Surrealism and the works depicting the Spanish Civil War deserve special attention. Also noteworthy are the large canvases he created from the 1960s onward, characterized by their broad fields of color and liberated gestures. The works that currently make up the Joan Miró Collection come from the donation made by the artist himself at the time of the museum's opening in 1975. Over the years, donations and deposits have been added from his wife, Pilar Juncosa, his friend and cultural activist Joan Prats, various members of the Miró family, and other public and private collections.

The collection of paintings, drawings, sculptures, and works on paper on display at the Fundació is one of the most comprehensive collections of Joan Miró's works and provides a comprehensive overview of all stages of his life and artistic chronology. Through a series of areas, visitors can explore the work and highly personal language of one of the most influential artists of the 20th century. These thematic areas illustrate key concepts in Miró's thought and work and demonstrate the artist's desire to transcend conventional painting. Due to their artistic and poetic significance, the paintings associated with Surrealism and the works depicting the Spanish Civil War deserve special attention. Also noteworthy are the large canvases he created from the 1960s onward, characterized by their broad fields of color and liberated gestures. The works that currently make up the Joan Miró Collection come from the donation made by the artist himself at the time of the museum's opening in 1975. Over the years, donations and deposits have been added from his wife, Pilar Juncosa, his friend and cultural activist Joan Prats, various members of the Miró family, and other public and private collections.

The collection of paintings, drawings, sculptures, and works on paper on display at the Fundació is one of the most comprehensive collections of Joan Miró's works and provides a comprehensive overview of all stages of his life and artistic chronology. Through a series of areas, visitors can explore the work and highly personal language of one of the most influential artists of the 20th century. These thematic areas illustrate key concepts in Miró's thought and work and demonstrate the artist's desire to transcend conventional painting. Due to their artistic and poetic significance, the paintings associated with Surrealism and the works depicting the Spanish Civil War deserve special attention. Also noteworthy are the large canvases he created from the 1960s onward, characterized by their broad fields of color and liberated gestures. The works that currently make up the Joan Miró Collection come from the donation made by the artist himself at the time of the museum's opening in 1975. Over the years, donations and deposits have been added from his wife, Pilar Juncosa, his friend and cultural activist Joan Prats, various members of the Miró family, and other public and private collections.

Malaysian visual anthropologist Weiyan Low is interested in the intersection of technology and everyday materialism. In his fieldwork, Low collaborated with Rumah Kosong, a local film collective, on a documentary about the Kelantan Match Factory. Founded in 1933 and staffed by a predominantly female workforce, it is the last functioning match factory in Malaysia. The memories of the workforce paint a story of productive decline and aging that contrasts with, and also fits with, the careful maintenance of the machinery and the bond that the workers feel for their work. The humble matchstick, a functional object evocative of bygone customs that increasingly has fewer users, has become a symbol of its resistance to obsolescence.

Malaysian visual anthropologist Weiyan Low is interested in the intersection of technology and everyday materialism. In his fieldwork, Low collaborated with Rumah Kosong, a local film collective, on a documentary about the Kelantan Match Factory. Founded in 1933 and staffed by a predominantly female workforce, it is the last functioning match factory in Malaysia. The memories of the workforce paint a story of productive decline and aging that contrasts with, and also fits with, the careful maintenance of the machinery and the bond that the workers feel for their work. The humble matchstick, a functional object evocative of bygone customs that increasingly has fewer users, has become a symbol of its resistance to obsolescence.

The creation of Joan Miró would not be properly understood without the large number of drawings, sketches, annotations and preliminary studies that he kept over the years. Miró's methodical character finds in the drawing an ideal instrument, always within reach, that allows him to retain embryonic ideas and visualize them. In some cases the works are faithful transpositions of preparatory drawings, with references to colors, measurements, the title or the technique. However, support is not always a conventional role. Sometimes an ad stimulates irony or a newspaper article provides a context or set to figures and signs, evoking how distressing or desolate the representation might be. Other times it's just a snippet to set up a fleeting mental connection. The support never disguises what it is: a ticket, a sheet of an agenda or a calendar, the back of a typed letter or the closing of an envelope. Then Miró's manual dating contradicts the printed date on the page torn from the agenda, the typed text that translutes claims to be read and the envelope leaves its folds intersecting.

A group exhibition that aims to reverse the dramaturgy of the museum by putting the artwork at the centre so we can address its will, its energy and its poetic intention. What would happen if we separated the artwork from the museographic context that surrounds it? Would it be possible to think of museography as a kind of aphasia, a loss of language? Would it be possible to break up the dramaturgy of the museum that guides us in how to move through its spaces, how to register the artistic experiences they offer us, and how to apprehend the sensations that emanate from them? If we assumed that this shift were possible, what other meanings might arise, allowing us to interpret the work in a different way, and also to reinvent the museum as an institution? If that were within the realm of possibility, could we respond directly to the will of the work, to its energy and desire, to its ‘poetic intention’? Martinican poet and philosopher Édouard Glissant states that the poem must never deny the “way of the world”: can the museum put the work of art and the ways in which it reflects the world at the centre of everything?

The exhibition Pleas of Resistance traverses more than twenty-five years of practice by the artist Carlos Motta, who consistently engages with the body and sexual dissidence as a terrain of experimentation and political contestation. His early explorations of photographic self-portraiture are shown alongside his most recent performances and video installations. The exhibition explores the magnitude of Motta’s artistic research and its implacable rigor in relation to the archive, interrogating its violence, its silencing and its desires. Motta’s work challenges the imposition of Eurocentric epistemologies – from the time of the conquest and colonial period in the Americas to the present day – and considers the legacy of religion as a perpetrator and disturbing vehicle of coloniality.

To close the celebration of the forty-five years of spaces 10 and 13, and as an introduction to the commemorative exhibition of the fifty years of the Fundació Joan Miró, we will present three rebuildings of outstanding exhibitions of young female artists from the 1970s and 1980s. We have selected, in chronological order, three representative projects of the Fina Miralles exhibitions (1979), Susana Solano (1980) and Eva Lootz (1986). Between two courtyards refers to the architectural characteristics of the old Espai 10 of the Fundació Miró. Becoming today in the gift shop, the Espai 10 was a diaphanous room with large windows on both sides that overlook the Patio del Olivo and the Patio del Algarrobo.

To close the celebration of the forty-five years of spaces 10 and 13, and as an introduction to the commemorative exhibition of the fifty years of the Fundació Joan Miró, we will present three rebuildings of outstanding exhibitions of young female artists from the 1970s and 1980s. We have selected, in chronological order, three representative projects of the Fina Miralles exhibitions (1979), Susana Solano (1980) and Eva Lootz (1986). Between two courtyards refers to the architectural characteristics of the old Espai 10 of the Fundació Miró. Becoming today in the gift shop, the Espai 10 was a diaphanous room with large windows on both sides that overlook the Patio del Olivo and the Patio del Algarrobo.

The MNAC, at the Musée des Beaux Arts in Lyon and the Museum of Fine Arts in Boston, will be exhibiting this exhibition for the first time in the three versions of the Vision of St. Francis of Assisi by Pope Nicholas V, a masterpiece by Francisco de Zurbarán (1598-1664). The exceptional possibility of confronting the three paintings gives light on each of them. The work that preserves the MNAC has undergone a profound restoration process that has allowed it to recover its original appearance and to remove the details hidden by the passage of time. In the vision of St. Francis by Pope Nicholas V, Zurbarán depicts a legendary episode in which the Pope asked the Pope to see the mummified body of the saint in the crypt of the basi of ’Assisi. The painter condenses a complex narrative action by focusing on the essentials and shows us only the subjective vision of the Pope. Zurbarán has the figure of Saint Francis as a work of ’art in a museum, working with light, space and geometric construction. It gives him strength and a prodigious presence, making it seem that the mummy of the saint takes his own life. From the contemplation of the real, the images transport us beyond reality, or inside, their soul. This exhibition will also bring together other works by Zurbarán, among them the two twin versions, which are very different from his famous still life’atuells, the Museo del Prado and the Museu Nacional ’d’Art de Catalunya. In these paintings, Zurbarán creates an aesthetic of the emptiness, the distance and the presence, and the silence, where we do not distinguish the everyday life of the religious mystery.

The exhibition is the result of exhaustive research and study focused on a work by Joan Miró, Painting (c. 1925), which is part of the Foundation's Collection. The analysis and conclusions of this project were developed by the Department of Preventive Conservation and Restoration, in collaboration with the CRBMC and the Pablo de Olavide University of Seville. The study, carried out primarily using non-invasive techniques, allows us to understand in detail the types of pigments and binders used in the creation of the work. It also provides a surprising new insight into the history of the painting before Miró's intervention and reveals previously unknown aspects of its conservation and evolution.

Barcelona Carnival is a traditional festival in Catalonia, Spain, known for its exaggerated costumes, street parades, music and dance, and community activities. The theme of 2025 is "Cosmic Carnival", which breaks the boundaries of the earth with unrestrained creativity and takes you to an immersive experience of interstellar carnival! The event will last from Shrove Thursday (2.27) to Ash Wednesday (3.5), and the whole city will be transformed into a fantasy stage. If you miss it, you will have to wait for a year! - Opening Carnival: Arribo Parade Performance Time: February 27, 17:15 Location: Sants District (Plaza de Bonet i Muixí, Cotxeres de Sants Auditorium) This year, Arribo is not only an "arrival", but also a "departure"! The Queen plans to use a rocket to bring the spirit of carnival to space, and you can also see the secretly built "interstellar spaceship" on the scene, which is full of science fiction! Community Carnival: Special activities in each district Omelet competition: Raval District (February 27, 17:30), Sant Martí District (March 1, 19:00), etc. Costume party: Gràcia District (March 1, 20:30), Sant Andreu District (March 1, 21:30), etc. Farewell feast: Sardine funeral Time: March 5 Location: Barceloneta Beach, Sants neighborhood, etc. On Ash Wednesday, the whole city staged a "Sardine funeral" parade to mourn the end of Carnival.

Barcelona Carnival is a traditional festival in Catalonia, Spain, known for its exaggerated costumes, street parades, music and dance, and community activities. The theme of 2025 is "Cosmic Carnival", which breaks the boundaries of the earth with unrestrained creativity and takes you to an immersive experience of interstellar carnival! The event will last from Shrove Thursday (2.27) to Ash Wednesday (3.5), and the whole city will be transformed into a fantasy stage. If you miss it, you will have to wait for a year! - Opening Carnival: Arribo Parade Performance Time: February 27, 17:15 Location: Sants District (Plaza de Bonet i Muixí, Cotxeres de Sants Auditorium) This year, Arribo is not only an "arrival", but also a "departure"! The Queen plans to use a rocket to bring the spirit of carnival to space, and you can also see the secretly built "interstellar spaceship" on the scene, which is full of science fiction! Community Carnival: Special activities in each district Omelet competition: Raval District (February 27, 17:30), Sant Martí District (March 1, 19:00), etc. Costume party: Gràcia District (March 1, 20:30), Sant Andreu District (March 1, 21:30), etc. Farewell feast: Sardine funeral Time: March 5 Location: Barceloneta Beach, Sants neighborhood, etc. On Ash Wednesday, the whole city staged a "Sardine funeral" parade to mourn the end of Carnival.

Barcelona Carnival is a traditional festival in Catalonia, Spain, known for its exaggerated costumes, street parades, music and dance, and community activities. The theme of 2025 is "Cosmic Carnival", which breaks the boundaries of the earth with unrestrained creativity and takes you to an immersive experience of interstellar carnival! The event will last from Shrove Thursday (2.27) to Ash Wednesday (3.5), and the whole city will be transformed into a fantasy stage. If you miss it, you will have to wait for a year! - Opening Carnival: Arribo Parade Performance Time: February 27, 17:15 Location: Sants District (Plaza de Bonet i Muixí, Cotxeres de Sants Auditorium) This year, Arribo is not only an "arrival", but also a "departure"! The Queen plans to use a rocket to bring the spirit of carnival to space, and you can also see the secretly built "interstellar spaceship" on the scene, which is full of science fiction! Community Carnival: Special activities in each district Omelet competition: Raval District (February 27, 17:30), Sant Martí District (March 1, 19:00), etc. Costume party: Gràcia District (March 1, 20:30), Sant Andreu District (March 1, 21:30), etc. Farewell feast: Sardine funeral Time: March 5 Location: Barceloneta Beach, Sants neighborhood, etc. On Ash Wednesday, the whole city staged a "Sardine funeral" parade to mourn the end of Carnival.

Barcelona Carnival is a traditional festival in Catalonia, Spain, known for its exaggerated costumes, street parades, music and dance, and community activities. The theme of 2025 is "Cosmic Carnival", which breaks the boundaries of the earth with unrestrained creativity and takes you to an immersive experience of interstellar carnival! The event will last from Shrove Thursday (2.27) to Ash Wednesday (3.5), and the whole city will be transformed into a fantasy stage. If you miss it, you will have to wait for a year! - Opening Carnival: Arribo Parade Performance Time: February 27, 17:15 Location: Sants District (Plaza de Bonet i Muixí, Cotxeres de Sants Auditorium) This year, Arribo is not only an "arrival", but also a "departure"! The Queen plans to use a rocket to bring the spirit of carnival to space, and you can also see the secretly built "interstellar spaceship" on the scene, which is full of science fiction! Community Carnival: Special activities in each district Omelet competition: Raval District (February 27, 17:30), Sant Martí District (March 1, 19:00), etc. Costume party: Gràcia District (March 1, 20:30), Sant Andreu District (March 1, 21:30), etc. Farewell feast: Sardine funeral Time: March 5 Location: Barceloneta Beach, Sants neighborhood, etc. On Ash Wednesday, the whole city staged a "Sardine funeral" parade to mourn the end of Carnival.

Dirigido por el cantautor Álvaro Roy, los jueves 6 y 27 de marzo tendremos un micro abierto especial en nuestra coctelería underground Apotheke, a entrada libre - tu oportunidad de descubrir nuevos talentos locales… ¡o mostrar el tuyo! Information Source: Ocaña en Vivo | eventbrite

[contra]panorama is the second edition of the triennial Panorama. It is intended as an extended exercise that interprets the title of the project literally in order to question both the relevance of the triennial (or biennial) format and its ability to offer a panoramic image of the present.There is a desperate optimism in biennials’ and triennials’ repeated attempts to define the present and plant their flag in the future. Somehow, they are always late to the party. The accelerated pace at which the art system picks up and discards its chosen themes of interest only exacerbates that feeling that everything is getting old prematurely. Now that the future has ceased to be the repository of all the unfulfilled promises of modernity and become instead the source of our planetary anxieties, what is the point of continuing to organise biennials? As an institution that serves to arrange the modern and make it legible, does the museum have any legitimacy left?

The resistance of language and the morphology of speech are two characteristics of the work of Teresa Solar Abboud(Madrid, 1985). Her work is based on a continuous search for multiple concepts presented as enormous sculptural installations that, in recent years, have become more complex through forms related to resistance, hollowness, the body and bone structure. The artist began using drawing and video as her fundamental work tools, but over time her production has come to focus on sculpture, exploring new materials with which she articulates forms that refer to elements related to the organic and lead to a world of metaphors that hint at the flow of currents, voids and the connectivity between orifices and gaps.