Download Barcelona: Visual Culture, Space and Power by Helena Buffery, Carlota Caulfield PDF

By Helena Buffery, Carlota Caulfield

This richly illustrated quantity brings jointly clean insights into the altering city area of Barcelona from the start of the 20th century to the current day. the gathering focuses totally on the advanced dating among surroundings, id, and function as they have been obvious, explored, and portrayed by means of countercultural and avant-garde artists and groups from the Sixties to this day. Drawing the most important hyperlinks among thought and perform, aesthetics and environment—and paying specific realization to the function of the avant-garde in demanding and disrupting dominant paintings kinds and makes use of of city space—Barcelona offers a number of views and techniques, drawing on artwork historical past, cultural geography, functionality reports, and institutional critique.

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Extra info for Barcelona: Visual Culture, Space and Power

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The first retrospective exhibition of conceptual art in Catalonia was held in 1992 at the Centre d’Art Santa Mònica, entitled ‘Idees i Actituds. Entorn de l’art conceptual a Catalunya, 1964–80’. The 1970s were characterized not only by great creative and imaginative energy, but also by the strong links that were forged with avant-garde movements from around the world. It was a decade that saw a new awareness of the spirit of the avant-garde, and, in particular, a renewal of interest in Dadaism. In this period the Catalan artistic community rediscovered Marcel Duchamp (1887–1968), who had been extraordinarily influential on the international artistic community during the 1950s.

Many Modernista artists expressed explicitly their aspirations to achieve a Catalan national style. The best known exponent of Modernisme internationally – now one of the central symbols of the Barcelona brand – is Antoni Gaudí, who continued to work in Barcelona until his death in 1926, even though he had by then fallen out of favour with the changing aesthetic tastes of the times. Later he would be reclaimed by the surrealists for what Salvador Dalí described as his ‘edible architecture’ (1933, p.

Position: 4 / Date: 29/3 JOBNAME: Barcelona PAGE: 7 SESS: 13 OUTPUT: Tue May 15 14:14:06 2012 Breaking Boundaries: A Journey through the Catalan Avant-Garde 15 and 1924 (see also Bohn, 1986, pp. 17–18, 85–145; Hart, 1998; Díaz-Plaja, 1932; Higgins, 1987). The Italian writer Marinetti took the term coined by Alomar and published his First Futurist Manifesto in Le Figaro in 1909. As Catalan writers reacted against the political hegemony of Castile by seeking to strengthen ties with Italy and France, it is, perhaps, unsurprising that they ‘experimented with Italian Futurism and drew heavily on French literary Cubism’ (Bohn, 1986, p.

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