Featured Events in Barcelona in May 2025 (April Updated)

準備好見證未來汽車的盛宴了嗎？2025 年巴塞羅那汽車展將在加泰羅尼亞的心臟地帶 — Fira Barcelona Montjuic 隆重舉行。於 2025 年 5 月 10 日，這裏將匯聚全球汽車愛好者，展示頂尖的創新技術和最新車型。無論是對汽車工業的專業人士還是尋求激動人心駕駛體驗的車迷，2025 年巴塞羅那汽車展都是一場不容錯過的盛會。現在就標記您的日曆，親臨這個在秀麗的西班牙城市舉行的世界級汽車展覽，探索汽車未來的無限可能。

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.

探尋海洋奧秘，品味全球美饌。2025年全球海鮮博覽會，定於5月6日在西班牙巴塞羅那Fira Barcelona Gran Via展覽館隆重登場。此盛會將集結來自世界各地的海鮮獨特佳餚與新奇烹飪技巧，提供給海鮮愛好者與業界專業人士一個國際交流的平台。位於加泰羅尼亞的Fira Barcelona Gran Via，是一個萬眾矚目的地標性場地，擁有卓越的設施與便利的交通，是舉辦2025年全球海鮮博覽會的理想之選。屆時，會場將匯聚眾多海鮮供應商、餐飲企業、食品製造商及相關領域專家，共同分享他們對海洋珍寶的熱愛和專業見解。不論您是尋求創新靈感，抑或欲與同業交流心得，這都是一場不容錯過的盛會。

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.

"I learned to swim on dry Land" is an exhibition by the artist and essayist Coco Fusco, which explores the confrontation between art and power in post-revolutionary Cuba. Through poetry, performance, and activism, the exhibition recovers the voices of dissident creators such as Virgilio Piñera and Luis Manuel Otero Alcántara. With unpublished documentation and references to the U.S. and its policies, Fusco offers a reflection on language, censorship, and cultural resistance.

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.

¡Ven a ver la mejor Lucha Libre en Directo de Barcelona! Después de un fin de semana histórico para el wrestling español, RIOT Wrestling presenta RIOT Wrestling: MayDay, donde nuestro Campeón Absoluto TJ Charles se enfrentará al miembro del Bullet Club, Robbie X. También tendremos a nuestro Campeón Condal Pedrolo,que defenderá su campeonato frente al famoso Iker Navarro, el Administrador César Bravo buscara venganza contra el Ninfómano en proceso de deconstrucción Guillermo, y mucha más acción el 3 de mayo en el Casinet de Hostafrancs. Las entradas son limitadas y los asientos numerados, ¡Consigue tu entrada ahora! Information Source: Resist Pro Wrestling | eventbrite

Francesc Galí i Fabra (Barcelona, 1880-1965), the author of the paintings of the dome that crowned the Palau Nacional, was one of the most important figures of Catalan art in the first half of the 20th century. Together with Pompeu Fabra, he refurbishd the Catalan artistic pedagogy during the Noucentisme period, becoming the master of a generation of artists from his School of Art, where he formed Joan Miró or Llorens Artigas, and the Escola Superior de Bells de la Mancomunitat de Catalunya. Galí also developed a fruitful artistic career as a painter, cartoonist, muralist, posterist and illustrator. His work goes through all Catalan modernism: Modernism, symbolism, Noucentisme and the avant-garde. Despite his merits, Galí chose to play an invisible role: to be an artist, to work in the shadow of his disciples and to take care of his legacy. This exhibition aims to make visible what was hidden. I want to see the footprint of the person who didn’t want to leave a trace. At the same time, the exhibition explores a chapter of the origins of the museum, in the context of the great expansion project that has the centenary of the International Exhibition of 1929.

Francesc Galí i Fabra (Barcelona, 1880-1965), the author of the paintings of the dome that crowned the Palau Nacional, was one of the most important figures of Catalan art in the first half of the 20th century. Together with Pompeu Fabra, he refurbishd the Catalan artistic pedagogy during the Noucentisme period, becoming the master of a generation of artists from his School of Art, where he formed Joan Miró or Llorens Artigas, and the Escola Superior de Bells de la Mancomunitat de Catalunya. Galí also developed a fruitful artistic career as a painter, cartoonist, muralist, posterist and illustrator. His work goes through all Catalan modernism: Modernism, symbolism, Noucentisme and the avant-garde. Despite his merits, Galí chose to play an invisible role: to be an artist, to work in the shadow of his disciples and to take care of his legacy. This exhibition aims to make visible what was hidden. I want to see the footprint of the person who didn’t want to leave a trace. At the same time, the exhibition explores a chapter of the origins of the museum, in the context of the great expansion project that has the centenary of the International Exhibition of 1929.

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.

🎨 Café, Cerámica y Conexión: Un Taller Creativo para Conocer Personas 🌟** Únete a nosotros en una experiencia única donde la creatividad y la conexión toman protagonismo. En este taller, tendrás la oportunidad de crear y pintar tu propia pieza de cerámica mientras disfrutas de un café y deliciosos snacks en un ambiente relajado y acogedor. **¿Qué incluye?** - Todo el material necesario para crear y pintar tu pieza de cerámica. - Café y snacks para deleitarte mientras trabajas. - Una actividad creativa diseñada para romper el hielo y fomentar nuevas amistades. - La guía de expertos en cerámica para que tu obra sea espectacular. -Hazla a tu manera y recuerda que solo tiene que ser perfecto para ti ❤️ **Preguntas frecuentes:** 1. **¿Cuántas personas participan?** El grupo está limitado a 12 personas para garantizar una experiencia personalizada. 2. **¿Necesito experiencia previa en cerámica?** ¡No! Este taller está diseñado para principiantes y para quienes ya aman el arte Y quieren desconectar ❤️ 3. **¿Qué pasa con mi pieza de cerámica una vez terminada?** Podrás llevártela como recuerdo de esta experiencia única. Después de 2 semanas 4. **¿Cuál es el ambiente del evento?** Será relajado, amigable y perfecto para conectar con otros mientras disfrutas creando. ---Que tus Domingos sean diferentes Este taller no solo es una oportunidad para explorar tu lado creativo, sino también para disfrutar de buenos momentos y hacer nuevas amistades. ¡Nos encantaría verte ahí! ¿Qué te parece? 😊 Information Source: Barcelona | eventbrite

This photography exhibition by Joaquim Gomis brings together a selection from the extensive reportage that the great friend of Joan Miró and Joan Prats made of the Prats family's hat shop on Rambla de Catalunya. The Prats hat shop became an improvised cultural center and a magical creative center where anything was possible. The shop windows were transformed into exhibition spaces.

"I learned to swim on dry Land" is an exhibition by the artist and essayist Coco Fusco, which explores the confrontation between art and power in post-revolutionary Cuba. Through poetry, performance, and activism, the exhibition recovers the voices of dissident creators such as Virgilio Piñera and Luis Manuel Otero Alcántara. With unpublished documentation and references to the U.S. and its policies, Fusco offers a reflection on language, censorship, and cultural resistance.

Este año volvemos con más diseño, más ganas y más movimiento que nunca, en una nueva edición del FESesDESIGN. Un evento dedicado al diseño que tiene como objetivo reunir a profesionales y entusiastas del sector para compartir conocimientos, experiencias y promover el intercambio creativo. Conferencias, workshops, mesas redondas e invitados de primer nivel. Los próximos 30 y 31 de mayo de 2025 tienes una cita con el diseño en la Antiga Fàbrica Estrella Damm. Information Source: ESDESIGN, escuela superior de diseño de Barcelona | eventbrite