Few months ago I have visited Barcelona. It was a perfectly chaotic weekend with both good and not-so-good experiences, but with some great people (and that is what counts).
On a hot touristy Saturday I had no choice but to hit MACBA and I can’t say I regretted it. The building itself has been designed by Richard Meier and its design is an antidote to the city’s Gaudi/gothic architecture. It is very bright, open, minimalistic and urban and its huge triple-floor ramp-hall reminds me a bit of Centre Pompidue’s.
MACBA, inside out view
At that time, temporary exhibitions involved spanish photographs and contemporary art works, which I did not have much background about I must admit, aside from Antoni Tapies’ works. What I liked a lot were films from Aleksandr Sokurov, a Russian director, who has been awarded with several awards, one of them being Golden Lion in Venice International Film Festival in 2011. I found the monotony in life or Russian solders in “Confession: From the Commander’s Diary” and their confinement and limitness in their activities but also space very strong and thoughts-provoking. However, “Elegy of a Voyage” from 2001 is what really kept me siting there for long time. (Both may be found in e.g. YouTube.) This seems to be an infinite voyage, ‘told’ to us by a nameless narrator, which we can easily identify with and see it from his own eyes: no matter how much dreamlike it may seem and not related to reality, it ends with narrator finding its identity.
Other work, also as video art shown, was Samuel Beckett’s “Not I” from 1972, showing disembodied lips of a woman telling us about dramatic incidents in her life in high-pitched voice. It is very intense for audience, hinting a big trauma and detesting for self – which one does not feel comfortable listening to and seeing.
There was another interesting Bruce Naumann there, combining both video and installation, “Shit on Your Hat – Head on a Chair”, from 1990,
Bruce Nauman, “Shit on Your Hat – Head on a Chair”, 1990
as well as Pierre Bismuth’s “Postscript – The Passenger”, from 1996-2010.
Pierre Bismuth, “Postscript – The Passenger”, 1996-2010
Both are being somewhat humorous, tricky and also experimental in interpreting reality and suggesting (and controlling?) the course of events and our perception.
What is left for me to do next time when I am there would be Fundacio Antoni Tapies. This time I can also admire its outer look, work of Lluís Domènech i Montaner.
Fundacio Antoni Tapies