The project Open All Areas is a European program of exchange of knowledge between seven organisations that are working on the development of publics in culture. The project aims to find ways of overcoming cultural exclusion and achieve access to culture for everyone. Within the project different meetings are held to discuss and above all learn from others. The entities linked to the project are Audiences Europe Network, Rotterdam Festivals, ECCOM, Danish Center for Arts&Interculture, Demos, Audiences Norway, Audiences Northern Ireland i ArticketBCN, and it has been possible to do so thanks to a Grundtvig subsidy from the European Union.
A new school course starts with all the challenges and unforgettable moments it brings with it, both for the students and for the teachers. At the Museu Picasso we are ready to welcome them in our galleries and to share the experiences of learning and aesthetic enjoyment that happen when ones deepens in the relationship with works of art.
Representing the Museu Picasso, I was were lucky enough to be able to attend the edition of MuseumNext that took place on May 13th, 14th and 15th in Amsterdam, thanks to an invitation from the organisers for having been joint organisers last year.
Now that a few days have passed, there has been time enough to put all the information, ideas and shared knowledge received in order, and I would like to highlight those concepts that seemed most relevant. However, much better than this summary, we recommend a visit to its Tumblr.
On Saturday March 9th the Museu Picasso celebrated the 50th anniversary of its inauguration. Quite a milestone, particularly if we take into account the Barcelona of 1963 and the political environment of the time.
At the end of October the exhibition “Picasso ceramics. Jacqueline’s gift to Barcelona” was presented, an exhibition that commemorates the 30th anniversary of the donation of 41 ceramic pieces from her private collection that Jacqueline gave to the Museu Picasso, Barcelona.
For the third year in a row, pencils are being sharpened in preparation for the return of the Big Draw on Sunday 21st October. This festivity is a proposal that originates from London and that little by little has spread around the world. Pencils, felt tip pens, paints, cardboard, paint brushes, pieces of paper or just bits of paper… all the materials are valid for letting your imagination fly and starting to draw, from toddlers to the oldest ones, drawing is ageless!
Very happy with the results of the previous years, this year we’re repeating the experience with more workshop leaders, spaces and collaborators. Read more »
Two years ago, the museum proposed to children and adults a new way of enjoying and looking at the works of the Collection through the tales and the stories that Patricia McGill and Ignasi Potrony, two storytellers with a long trajectory, constructed in the rooms with their imagination and that of all the participants.
Three intensive days of talks to attend, good contents and very varied – this would be a brief summary of the fourth session of Museum Next, this year held in Barcelona.
This week saw the presentation to the press of the ninth annual BarriBrossa, a festival organized by La Seca Espai Brossa that, in the words of co-director Hermann Bonnín, ‘isn’t really a festival, or an arts fair: it aims rather to be a reflection on our culture that sheds light on those avant-garde movements of the twentieth century that are still relevant the twenty-first century’.
Here at the museum we are starting a new season of ‘Seen by…’, our special programme of guided visits to the collection led by rather out-of-the-ordinary guides: we ask professional people from very different backgrounds to talk about their responses to the works on show, in terms of their particular links to their own creative endeavour and their visual and cultural imaginary. Architects, writers, circus artists, dancers, painters, photographers, scientists, poets, designers, art critics, film and theatre directors and more… a wide range of creative talents from the most varied fields have shared their perspectives and points of view, enabling us see the works with new eyes and break away from the historicist approaches that so often shape the way we engage with Pablo Picasso’s art and at times tend to alienate rather than bring us closer to it.