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.
Recently two fragments of sculptural elements from the architectural heritage collection of the museum have been restored. They were placed on the ground of the courtyard of the Palau Aguilar, it is not known exactly when, and they have been testimony over the years to the different renovations of the buildings by their successive owners. Even though their origin is still to be determined, due to their formal and decorative characteristics they are perfectly compatible with their whole setting and we can therefore situate them around the 16th century.
Few testimonial voices remain from the inauguration of the Museu Picasso, back then on March 9th 1963, a date that went on to form part of the history of our city, of our country.
Assumpta Escudero Ribot (1931) didn’t attend the opening event: however her professional and personal situation made her an exceptional witness.
One of the most habitual ways of thinking about a work or about an author is to link them to their surroundings, something which often ends up being a reflection about the city in which these works were produced. It’s not a triviality, modern art has shown itself to be inseparable from the fate of its cities, be it Paris, or New York, or…. But, what are we saying when we say city? Are we merely referring to an organisation of spaces and areas? Or, rather, are we pointing towards a secret emotional mapping? To what extent is a city made up of words – said, listened, repeated, and not the type of places that fill the guidebooks?
We have asked Montse Morales to write a text about the Big Draw. As someone who has known the Big Draw since its early days in London, she had been looking for an institution that wanted to bring the Big Draw to the city, and it was she that offered us the idea, made us understand it, and encouraged us to go ahead with it.
Montse is a psychologist and professor of Visual and Plastic Arts Education; responsible for the art section of the children’s and youth’s magazine Cavall Fort and coordinator of the Urban Culture blog of the Master’s Degree in Environmental Intervention from the University of Barcelona, from where she has carried out numerous studies about topics related to childhood and the city.
Having La Vie in Barcelona is a privilege for the city. The return of this work to the physical space in which it was painted in 1903 takes us back to a period and a setting of creation where the bases of modernity were established.
But as it tends to happen with majorworks, the media reaction of the time eclipsed other more modest creations that remained in second place, far from the critical look. The painting Barcelona Rooftops is a good example of this, and in spite of this oversight it has been a fundamental piece for the conception of this exhibition.
On 21 September 2012, David Douglas Duncan called me to tell me he would like to donate a number of his photographs on Picasso. I suggested he could present the donation on the same day that the Museum was to celebrate our fiftieth anniversary, on 9 March 2013. We continued to talk over the phone and send each other faxes, DDD’s usual mode of communication. On the following 5 October, after DDD had discussed the production of these new prints with the Harry Ransom Center of the University of Texas in Austin, the archive to which he had donated the negatives of his works in the 1990s, he postponed the presentation date to 25 October, Picasso’s birthday.
Last Thursday we started the fourth season of the Reading Club of the museum. This year we have incorporated a new coordinator, the writer Borja Bagunyà, with whom we will dwell into a carefully chosen selection of readings based around the world of Picasso, the collection and exhibitions of the museum and the relationship of Picasso with Barcelona. As follows we present the impressions of Borja Bagunyà about this season’s first session:
Pencils ready! The “Big Draw, la Festa del Dibuix” has arrived! For the fourth year in a row the museum is celebrating this festa dedicated to drawing. Initially organised by The Campaign for Drawing, the project has become spread all over the world. Next Sunday, October 20th, you will be able to enjoy 25 free workshops from 11am to 7pm. For sure you won’t stop drawing!
From October 11th onwards you can see in the galleries of the museum the exhibition “Journey through the blue: La Vie” organised by the Museu Picasso of Barcelona in collaboration with the Cleveland Museum of Art.