As follows we will give you a summary of the most relevant contents of the third sessions of these laboratories:

The Law of Art compared with the Law of Patronage and other rules
Isidoro Valcárcel went over some of the most notable articles related to the Law of Art and the Law of Patronage so as to highlight the difficulty of legislating about economic aspects in the artistic field and to make evident the legal gaps that appear.  One should therefore bring into question the law of heritage and that of intellectual property.  The economic factors are dealt with from the perspective of profitability and productivity, but never from a position of rationality in terms of expenditure and exploitation.

Isidro Valcárcel Medina

A realistic picture of our situation: symbolic price zero
Isaías Griñolo presented us in the documentary “A realistic picture of our situation: symbolic price zero” the tragic environmental consequences caused by the actions of the business group Villar Mir. With this documentary Griñolo aimed to show in a cinematographic montage focused on the case of the Villar Mir Group, the environmental dramas caused by industry over the decades without anybody being punished. An example of destructive economy that goes unpunished.

Isaías Griñolo

Conditions of existence
Based on a historical journey marked by a theory of the economic transformations,  Juan Luis Moraza showed us the path that the value of art has travelled along from ancient times to the present, focusing on the analysis of the economic situation that the artistic world is currently living.  In the majority of the cases, art is an unsustainable business.  Around 85% of artistic creation forms part of a non-monetary economy, of a qualitative or imaginary economy, as well as an economy of gift, of the grace and gratuity of art, given that the work of the artist is one of profound generosity, both in the sense of generator, as well the sense of the fact that works are sold for a value they do not have.

Juan Luis Moraza

Economic concert
By means of a performance that brings together music and text, Oier Etxebarria created an economic concert in which a relation is established between the economy, the melody and the word.  Uisng a series of independent phrases, but each one joined with the others, Etxeberria establishes a relation between economy and music, art and culture, serving it with the ambivalence of word games such as  “dar crédito” (give credit), “hablar en plata” (speak bluntly), “los números cantan” (there’s no arguing the numbers), “canta-habilidad y contabilidad” (singing ability and accountability).

Money, collages and handcuffs in feminist reproduction
Patricia Molins, Inmaculada Salinas and Carme Nogueira (represented by Molins given that Nogueira was missing due to a delay in her flight) are presented to us through their investigation and their works of the image of the women and femininity. Molins gave a presentation about the vision of art and women and craftwork, subjects that are at the margin of canonical history.  Inmaculada Salinas presented her work centred on what was called “femininity”, the voice, and how this is reflected in the systems of representation and in painting. Molins presented us the project of Carme Nogueira about the processes of subjectivism and the normalising function of the spaces through photography and installations.

Patricia Molins and Inmaculada Salinas

The Detective
Miguel Benlloch presents us a mix between performance and poetry reading of autobiographical search for his vital experiences about the discovery of the homosexual universe and the reconstruction of the concept of the gay body throughout the past century.   Benlloch takes us on a trip of life experiences that transformed him: from when he saw for the first time the film El Detective when he was 14 years old where he takes to two transvestites, to the distinct sexual theories that are developed throughout the 20th century.

Picasso in the Hole
Manuel Delgado has treated the case of the Hole of Shame, an example of the urban planning speculation process and gentrification of the Barcelona neighbourhood of the Borne, held up by an exemplary neighbourhood fight.  The space, initially planned as a green area, was redefined for a future construction of private parking places near to the Picasso Museum.  In this case it is very important to note the role of art and culture as the legitimisation of certain urban planning transformations.  Finally, after a long battle, the Hole of Shame has become a square presided by a small fountain that carries the drawing of the symbolic tree where the whole thing started.  A clear example of how a collective neighbourhood fight won over the private, political and economic interests.

Isabel Moreno
On practical placement at the Museu Picasso from the Master’s in Cultural Heritage Management at the Universitat de Barcelona

Related links

FX Archive: from Economy zero
Exchanges Seminar
Approaches to the Interchanges Laboratory
Approaches to the Interchanges Laboratory – II

Guernica. Pablo Picasso, 1937. Oil on canvas

Although aerial bombardment had been used in previous wars, the Spanish Civil War was the first in which the civilian population was subjected to intensive and continuous attack from the air. First in Euskadi — the Basque Country — and then all over the country, the rebel General Franco’s army and its Italian and German allies systematically bombed defenceless towns and cities behind the lines. This aberrant tactic continued during World War II and culminated in the dropping of the atomic bomb, on Hiroshima and Nagasaki. Since then the bombing of the civilian population has been a common practice in almost all wars.

To commemorate the 75th anniversary of those horrific events, the Generalitat de Catalunya’s Memorial Democràtic has organized the exhibition “Catalunya bombardejada” in the Castle of Montjuïc, and a series of talks and panel discussions to consider the consequences of the devastating attacks and the resistance of the civilian population.

Memorial Democràtic’s Education Service asked the Museu Picasso to take part in explaining to 3rd- and 4th-year Secondary School students the impact that the bombing of the Basque town of Gernika had on European intellectuals and artists and on Picasso in particular.

Aerial view of the Castle of Montjuïc

We were delighted to accept the invitation, and on 26 April, the anniversary of the bombing of Gernika in 1937, we tried to explain to the students Pablo Picasso’s position in relation to the Spanish Civil War and how he came to paint Guernica, which was to become a symbol of peace. Picasso, who in January that year had been commissioned by the government of the Spanish Republic to make a panel for the Spanish Pavilion at the 1937 Paris International Exposition, took several months to decide on a subject and did not start working on the panel until the first of May, the day after the French newspapers published photographs of the shattered town. We felt it would be interesting to accompany the explanation with a series of photographs of the bombedtown, alternating these with images of the artist’s creative process. Our main aim was to help the students appreciate how that process fitted into history and how any artistic activity can bear witness to the past and at the same time contribute to the struggle against injustice.

At the end of the dissertation, we invited our young listeners to talk about what they felt when they looked at the Picasso mural. After a minute or two of silence, some of the girls started to express their views and analyse the painting. Some of these girls (none of the boys was willing to speak) saw the picture as a powerful representation of suffering, helplessness and despair, a snapshot of the madness and confusion during and after the bombing. The grey tones symbolize the loss of hope and the onset of darkness, both in the outside world and inside of people. Others then commented on the formal aspects of the work and the way it was made. They were struck by the superposing of different planes and the expressionism of the figures, detecting the presence of pages of newsprint in the body of the horse, and talked about how the sun that features in the earliest version becomes increasingly stylizedand transformed into the electric bulb that lights the scene.

Through their observations, the young people confirmed that Picasso’s Guernica is still today an emblematic protest against the horror of war. The dialogue with the students and their teachers was a genuinely enriching and rewarding experience, and we would like to thank Memorial Democràtic for including the Museu Picasso in the commemoration of one of the most tragic periods of our history.

Malén Gual
Museum curator

• Quality measurement, differentiating between expectations prior to the visit and the quality perceived after the visit.
• Visitor profile, in order to see the type of people who visit the museum (gender, age, nationality, residence, education and career).
• Visiting habits, determining the frequency of visits, the reasons, time of stay and the composition of the visiting group.

Visitors in the museum rooms

With regards to quality measurement, the visitors interviewed at the entrance of the museum have positive expectations about their visit, which represents a score of 8.5 points (score before entering). This gives an idea of the level of visitors’ prior knowledge though information gathered from different sources, similar experiences, etc. The global score after the visit to the museum is slightly lower than the expectations (average of 8.4 points) and represents a degree of satisfaction of 97%.

In order to know the assessment on matters of quality, questions were asked in the survey on aspects relative to the museum (exterior signposting, signage inside the centre, mobility inside the centre, maintenance and cleanliness, the building, etc.), the service (timetable, quality-price ratio, discounts, prices, the temporary exhibition and the collection), and finally on information (information on works / exhibition, customer service, information provided by the staff and the guided visit).

With reference to the visitor profile, the survey asks visitors for information on those people who are accompanying them, which allows us to make an evaluation of the groups visiting the Picasso Museum.

Among the visitors, we find proportionally more women than men and the most frequent age group is that of 25 to 34 years ( 26.1%), followed by groups from 35 to 44 years ( 19.4%), 16 to 24 years (17.4%), 45 to 54 years (16.9%) and 55 to 64 ( 10.8%).

Age groups

The museum attracts a largely foreign public and residents of countries in the European Union (52.8%). The country with more visitors to the Picasso Museum is the United States, followed by France, Italy, Great Britain, Germany and Canada. This study includes only individual visitors and does not include public tours, educational visits or attendees at the museum’s activities, which are mostly local audiences.

Another characteristic of the visitor profile is their degree of education. 79.1% of the total number of visitors surveyed has received a university education.

The reasons given for visiting the museum are related to the theme of the museum, and thus, 97% of those interviewed are going to visit the collection, 13.1% are going to visit the temporary exhibition and other reasons, such as: curiosity or personal interest in the artist, interest in the building and the museum in general, to accompany someone or for a specific activity (seminar, workshop, course, etc.).

Regardless of the reason for the visit to the museum, the average time dedicated to the visit is one hour and forty minutes. 76.4% of the visitors surveyed spends between one and three hours in the museum and 18.5% dedicates one hour or less to visiting the museum.

Deirdre Haughey
Visitor Services

Related links
How do you look after more than 900,000 visitors a year? Taking care of Visitor Services at the Museu Picasso

Opening the seminar. ICA Malaga / Photo: Fotos: Spiral, Agencia Fotográfica

Marisa Moreno, board member of the Malaga Bar, monitored the general organization and Carlos F. López Abadín was the scientific coordinator. The international dimension was greatly enhanced by the presence not only of the Barcelona and Paris Bars board members , but also of Berlin and Padua, as well as attendees from the USA, Japan and Luxembourg.

Round table dedicated to museums | Lluís Bagunyà during his speech. ICA Málaga / Photos: Spiral, Agencia Fotográfica

This year, the main topic was ‘Law, New Technologies and Art’. New technologies are creating new challenges in every sector of the art/law interface, and giving rise to situations never envisaged in the past, which in some cases will soon be a source of conflicts of interest (if they are not already):

• Example 1: auctions online, rather than in traditional auction houses with a definite physical location, are offering works of art without the possibility of prior visual inspection by the bidders. This results in the contradiction that those general online auction platforms selling art objects are being governed by the laws of consumer rights, which entitle him to return and be reimbursed for unsatisfactory goods. The whole concept of auction is thus called into question.
• Example 2: the very definition of what constitutes an artwork in the context of intellectual property law is no longer adequate for fractal art (always in movement on the Internet), robotic art (machines-cum-sculptures), genetic or transgenic art, etc.
• Example 3: the question of the international pirating of video games, ranging from the situation in Japan, where they receive the fullest protection and are treated like films, to the problems of even by defining them as collective works, as they are in French law.

Carlos F. López Abadín during the session about intellectual property and new technologies. ICA Málaga / Photo: Spiral, Agencia Fotográfica

There was also a panel discussion centred on the changes that the new technologies are creating for museums. Taking part were Pepe Lebrero, the director of the Museo Picasso Málaga; Lourdes Moreno, the director of the Fundación Carmen Thyssen, and Lluís Bagunyà, representing the Museu Picasso in Barcelona. The new technologies greatly facilitate the running of our museums, but they also call for far greater rigour in the fields of copyright, the protection of individual’s image and the establishment of contracts.

In addition, there were also papers not directly related to new technologies, such as those dealing with the current state of the right of artists or their heirs to a share in the proceeds from successive sales of their work, or the treatment of architecture as a work of art in light of the legislation on intellectual property and trademarks.

Lluís Bagunyà
Contracting and Institutional Affairs

Images: ICA Málaga/Foto: Spiral. Agencia Fotográfica

As in previous years we have selected a number of works by Picasso which we hope will inspire you to write a short story of 1,500 characters. The pictures we have chosen this year are: Portrait of Aunt Pepa, 1896; Fairground Stall, 1900; Blanquita Suárez, 1917, and Las Meninas (Infanta Margarita Maria), 1957.

Portrait of Aunt Pepa, 1896 | Las Meninas (Infanta Margarita Maria), 1957 | Blanquita Suárez, 1917 | Fairground Stall, 1900 | © Reproductions of Picasso’s work: Successió Picasso. VEGAP. Barcelona 2012

What we’d like you to do is choose a Picasso and write a story inspired by that particular piece. Think, imagine, create: you’re welcome to follow any narrative thread that the picture suggests. And you have until Friday 25 May to send us your stories!

Museum’s newsroom

Related Links

Competition rules 2012

By way of a series of actions, shows, performances and discussions with artists, previous iterations of BarriBrossa have reviewed and reappraised the work of movements such as Oulipo and of creative artists such as the composer Josep Maria Mestres Quadreny, the playwright Valère Novarina or the writer Palau i Fabre, among others.

This year the focus is on the Dau al Set movement, and as the contents coordinator,Glòria Bordons, has noted, this year’s programme reflects a commitment to young directors who have confronted the challenge of ‘bringing to the stage words that do not easily have a place there’.

Also present at the press conference were the Ciutat Vella District Councillor Mercè Homs; Norbert Tomàs, director of CoNCA; Oriol Izquierdo, director of the Institució de les Lletres Catalanes, and yours truly, representing the Museu Picasso, as well as Josep Maria Mestres Quadreny, chair of the Fundació Joan Brossa.

Mestres Quadreny, a personal friend of the members of Dau al Set, and especially of Joan Brossa, recalled his feelings at the exhibition in Barcelona in 1951 where he first encountered the work of Dau al Set, and how he was ‘immensely’ surprised to find such work in a city in which artistic expression was so conditioned and repressed by the political situation, and how he got into conversation with a man who turned out to be Joan Ponç, through whom he got to know Joan Brossa, who ‘spent the whole afternoon reading me his poems, and I went away feeling completely exhausted but convinced that if I hadn’t understood them it was my fault’.

Here at the Museu Picasso we are delighted to be involved in this venture again, not only as neighbours but also because we are very aware that these reappraisals of twentieth-century cultural movements are related, directly or indirectly, to Picasso’s work. On the 21 and 22 April we will be hosting a round-table on the Brossian universe and presenting the play Dau al 7, by Nozomi 700 Teatre, a tribute to all of the artists in the group, and especially to Brossa, Tàpies and Ponç.

We look forward to seeing you there!

Anna Guarro
Head of Public Programmes

Below is a summary of the second sessions, highlighting the most relevant inputs from these debates, talks and performative acts that offer a variety of views and interpretations of the relations between art, work, object and economy, which will be incorporated into the discourse of the project FX File: On Economy Zero, in the context of which we will also be presenting the exhibition “Economy: Picasso”.

Richard Hamilton – Just what it that made yesterday’s homes so different, so appealing? – 1992 – 26 x 25,1 cm – Metropolitan Museum, New York – © Richard Hamilton, VEGAP, Barcelona 2011

The Producer as Producer

Joaquín Vázquez, a member of BNV producciones, has outlined the experiences over more than twenty years of this mechanism of production and cultural mediation, which was created to trigger critical thinking and generate new ways of doing things within the creative fabric.

In contrast to how things are in other artistic disciplines, the figure of the producer is not recognized in the art world or in the age of technical reproduction, although the work of most contemporary artists calls for systems of production that involve many different trades.

To date there has still been no democratization of the processes of production, distribution and exhibition, because neither the artist nor the gallery nor the museum nor the curator nor any other of the operators involved in the making, handling, sale or exhibition of the work of art is interested in this happening, as it would mean bringing the artwork closer, and to bring an image closer is also to modify the hierarchy from which it has been chosen.

The important thing is still the ‘artistic quality’ of the objects on show, rather than valorizing or acknowledging the interaction of the group responsible for producing them. But to what extent is the model that was designed to help revitalize and strengthen the sectors that make up the culture industry anything but an illusion today?

The Struggle of Thought

Marina Garcés and Santiago López Petit presented Blank Space, a collective bid to promote the struggle of thought and reconsider the possibility of moving beyond the arbitrariness of the markets and breaking out of the prison of debt that walls in our lives.

By way of example they showed images of the protests that took place around 2000 in Barcelona. The slogans featured in Blank Space included ‘Free Money’, ‘Cash Now’, ‘We Don’t Want Work, We Want Money’ and ‘Work: the Farther away, the Better’.

Marina Garcés and Santiago López Petit during the session Blank Space

The advent of the recession makes it possible to move towards a new social contract: the right — or not — to participate in the global mobilization. And in this context, undefined diseases emerge as ways of addressing the global mobilization, such as social unrest. The 15-M movement is one example.

In effect, the concept of the ‘sheet’ or the ‘blank space’ proposed is designed as a tool from which to test the current situation.

Auction House. Reducing Art Stocks. Lots

The Todoazen collective set us to reflecting on the market and the value of art, taking as a frame of reference the role of the auction houses in the art market and the economic and symbolic component that underlies every bids. To demonstrate this, the group set out a number of lots and invited the public to think about what price they should sell for.

In view of their special condition as border areas — between the market and taste, between sensibility and wealth, between economics and art — auctions are narratives that, over and above their realistic aesthetic, belong to the symbolism of the twentieth-century avant-gardes. The prices fetched construct the value of art, with art auctions acting as a ritual of legitimation of private property.

Ninety Square Metres

Bulegoa z/b is a platform for art and knowledge in Bilbao. They encourage research, dialogue and reflection by means of workshops, seminars, screenings, presentations and other activities. How best to manage the resources at their disposal has been one of the main points of debate.

The platform was created to do something different to what the institutions are doing. The economy takes up a large part of their discussions, in that they have to decide how to manage their financial resources, derived entirely from public support, so as to make the best use of them. They use this presentation as exceptional moment in which to reflect on their activities.

Seminar Bulegoa z/b

Body against Capital: a Flamenco Musical against the Financial System

The Flo6×8 group from Seville illustrated for us their struggle against capitalism by means of performances and protest actions in which flamenco is the dominant element. Born out of the collapse of Lehman Brothers, the Flo6×8 collective ranges from flamenco dances featuring a single bailaor to group performances, by way of solo songs —on the subject of security cameras at night or set in the middle of office hours.

The group’s aim is to express and manifest dissatisfaction with the economic situation, not only in these times of crisis, but throughout the preceding years. They seek to make visible to those responsible the captivity of the banks and denounce our dependence on them through the medium of flamenco and the strength of the body.

Museum’s newsroom

Related links
Interchanges Laboratory

Man Leaning against a Wall

When I got round to thinking about it again, I soon found that there was no oral or written source to establish the origin of the piece, and I directed all of my efforts to analysing the drawing and the image pasted onto it.

Picasso’s output at the end of the nineteenth century is well known, so it was relatively easy to place the drawing. The standing figure of a working man lounging against a wall is one of the series of life studies that the young artist did at the Cercle Artístic de Barcelona during February and March 1899. The modern and anti-academic treatment of the form sties in with the style of the street sketches that Picasso had been doing for a year or so, and the influence of the lively, fluid language of illustrators such as Steinlen also seemed clear enough.

If the drawing did not pose any major difficulties, the pasted-on card was another story. The uniqueness of Man Leaning against a Wall stems from the dissonance of this added element. From the outset, my working hypothesis was that identifying it and, above all, bringing to light the context from which it had been taken would provide new information that would lead us to a more accurate understanding of the work.

Guided tour through the exhibition “A Collage before Collage” by Fèlix Fanés

Although not much has been written about Man Leaning against a Wall, the few authors who have been prepared to refer to it have always identified the pasted-on element as a cutting from a newspaper. At that time, however, the daily papers did not print photographs, but the illustrated magazines did. I had to find a picture of a woman who looked as if she were an actress or entertainer, young, attractive and — judging from her pose in taking off the jacket — rather daring. I then began a thorough search of Catalan, Spanish and French weeklies from around 1900 that were likely to include picture of this kinds. Before my eyes passed an endless parade of pretty and slightly coquettish girls. I spent many hours in the periodicals archives in Barcelona (Ca l’Ardiaca), Madrid (Conde Duque and Biblioteca Nacional) and Paris (Bibliothèque Nationale), but none of the pictures I saw matched the one chosen by Picasso.

Having tried the weekly magazines, I continued my search in other areas. Picture postcards, for example, were very popular around 1900, and often featured actresses and cabaret artistes, and these became the object of my second round of investigations. But again I failed to find any that matched the face pasted onto Man Leaning against a Wall. After the postcards, I embarked on a new line of research. The time had come to look at theatre programmes. From the late nineteenth century on, many of these included photographs of actresses. I now centred my researches on the archives of the Institut del Teatre de Barcelona, and it was there, after looking through literally dozens of files, that I stumbled on a box labelled ‘Foreign Actresses’. Inside this box was an album, which I later learned was of picture cards from matchboxes, and on the third or fourth page of this album I found an image identical to the one used by Picasso.

Fèlix Fanés, curator of the exhibition

Having made this discovery, the whole process became easier. The picture cards led me to picture albums, and in these picture albums I detected a widespread social trend. In order to fill their leisure hours in the drawing rooms of the fin-de-siècle, people cut and pasted. The scissors and the glue were in constant use on advertisements, trade cards, postcards, photographs, cartoons and popular prints, forming a dense network of images. This finding opened up new perspectives, and in the magazines, postcards and theatre programmes I sensed a thriving popular visuality that had gone almost unstudied. This period context, together with the vogue for cutting and pasting, explained Picasso’s gesture. Rather than inventing a new artistic process, what the young artist had done with a dab of paste was to appropriate part of the visual culture around him. My long investigation, often along lines that led me nowhere, had not been in vain. In fact, it could be said that the setbacks had not closed doors but opened them for me. The abundance of free and inexpensive images and the mania for cutting and pasting supplied the key to understanding what Man Leaning against a Wall really was. A collage, yes, but a collage before collage.

Fèlix Fanés
Curator of the exhibition “A Collage before Collage”

Motherhood. Pablo Picasso, 1903

The technique of hanging the work at an angle was used for the first time in 2003, coinciding with a redesign of the permanent exhibition. The work was found to have lost colour in several areas as a result of the deterioration produced by external agents. To limit the risk of further loss of material and reduce unnecessary tension in the work, the Department of Preventive Conservation and Restoration devised its own system for conserving the picture. The innovative solution was to construct an inclined plane solid enough to support the work. The support structure was securely mounted on and painted the same colour as the wall in order to give uniformity to the discourse. This effectively prevents the pigment from falling off as a result of gravity and ensures that the paper does not have to bear so much weight and become even more fragile.

Inclined plane of the work Motherhood

In order to implement the full protocol of preventive conservation, a sheet of conservation glass was placed over the work and, at first, when the work was displayed for a while in a different location, it was installed in a special display cabinet with passive climate control.

The mounting of an artwork at an inclined plane is a rather unusual form of presentation only used in certain cases. Motherhood has been hung in this position for nine years now. In that time, other works have been displayed using this pioneering technique, as circumstances required. The experience of these years has shown this to be a simple but effective system, so much so that the lenders of a number of fragile works for temporary exhibitions at the Museu Picasso have requested that they be displayed in this way.

Isabel Moreno
On practical placement at the Museu Picasso from the Master’s in Cultural Heritage Management at the Universitat de Barcelona

Seen by… Sol Picó: a vision from the world of dance

The Museu Picasso’s ‘Seen by…’ programme was launched five years ago, during which time it has been developed and modified in response to the needs and wishes of both public and museum: originally run during the spring and autumn, we subsequently decided to concentrate on the spring; in some cases we have applied the format to a temporary exhibition as well as to the permanent collection; while in the past sessions were sometimes held in the lecture room, they always take place now in the exhibition rooms; tired of competing with football on Wednesdays, we have switched to Thursdays. However, what has not changed since the first day is the spirit of the programme, centred on dialogue and the sharing of fresh readings of the artworks right in front of us.

Seen by… Mita Casacuberta: a vision from the world of philology | Seen by… Perejaume: a vision from the world of art

This last point is especially important, summing up as it does a crucial aspect of the philosophy of the museum, which underpins so much of what we do, namely that nothing can take the place of direct observation of the artworks, sharing in dialogue in front of them and enjoying them, and the fact that all of us, from our own viewpoints, can contribute new insights that enhance our appreciation of them. So, for the Museu Picasso, talking in the exhibition rooms, debating interpretations and embracing new perspectives add up to a constant enrichment of our understanding of the collection — an enrichment that comes from the contributions both of the invited guides and of the participating public.

Seen by… ESMUC: a vision from the world of music | Seen by… Lluís Reales: a vision from the world of science

The special guest guides for this new season will be Pedro Azara, aesthetic theorist and exhibition curator (now 15 March); Rosa Amorós, ceramist (28 March); Carlota Subirós, theatre director (12 April, in place of Ignasi Aballí); Marcel Escolano, circus performer (26 April); Jaume Ollé, doctor (10 May); Guillamino, musician (31 May), and Ignasi Aballí, artist (7 June). A special thanks to all of them for agreeing to come along and do something very different from usual in carrying out the demanding task of standing up in front of the public and artwork and sharing their perceptions, and to all of the guest guides who took part in previous seasons.

Anna Guarro
Public Programmes

Related links

Photo Album ‘Seen by…”