By Helena Buffery, Carlota Caulfield
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Extra info for Barcelona: Visual Culture, Space and Power
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.