SPECIALS

The Specials programs focus on projects by artists and curators who have some kind of connection to the Museum's programming and the MACBA Collection. As a means of documenting the MACBA Collection, the FONS ÀUDIO series contextualises works in the Collection through conversations with the artists. At the same time, "Taking to the Streets. An audiotour through Barcelona's underground scene of the 1970s" takes up one of the projects produced as part of the Research Workshop within the MACBA Independent Studies Program (PEI).

This section also features an in-depth interview with John Baldessari, two musical selections by Armando Andrade Tudela, two Specials related to the work of John Cage, a long, humorous look at certain of modernity's "guilty pleasures" by Kenneth Goldsmith, the radio works of Juan Muñoz, a monograph on the Tropicália movement and collaborations with Asier Mendizabal, and Serge Guilbaut.

Lawrence Abu Hamdan explores into the contemporary politics of listening and the role of the voice in law.

Jordi Colomer ponders the uses of writing, architecture and representation, and takes us through his works in the MACBA Collection.

Cuts, folds, scales, sound objects, charts, chimeras. Artists Erick Beltrán and Florian Hecker discuss different theories about objects in relation to their respective artistic practices.

Francesc Abad takes us on a tour spanning the last four decades of Spanish and Catalan art, through an analysis of his works in the MACBA Collection.

To coincide with the exhibition 'Before Our Eyes', Javier Calvo and Victor Nubla have created a piece based on Brion Gyin's Dream Machine.

Eulàlia Valldosera talks about the early stages of her career, about her use of light, her status as a woman, her creative processes, and about some of her works in the MACBA Collection.

Antoni Abad charts a course that begins with his early sculptural works and ends with his current community-based mobile communication projects, by way of his video installations and net.art.

Oriol Vilanova works with materials from flea markets: postcards, books and other documents which he collects, sorts and recomposes to create new mental journeys.

The photographs of Xavier Ribas analyse processes of transformation of contemporary metropolises, and the ways of life and habitability that these changes bring about.

OBJECTHOOD is a series of podcasts about new perspectives on the role of the object in contemporary art and philosophy. The first interviews in this series were conducted during the seminar "Expanded Choreography. Situations, Movements, Objects...", which took place at the MACBA in March 2012.

Born in Salt Lake City but based in Paris, Eric Baudelaire uses various formats to explore politically-charged historical events and documents. In FONS ÀUDIO #21 he discusses the background and context of the ideas and procedures behind 'The Anabasis of May and Fusako Shigenobu, Masao Adachi, and 27 Years Without Images'.

Presented in the galleries of the Museum on 23 February 2013 within the programme Experience MACBA, 'Cascando. Variations for another dramatic piece' is part of a radio play by Samuel Beckett, adapted and produced by Joan Morey.

Sandra Balsells has spent more than twenty years using her camera to document and denounce the impact that military, natural and social catastrophes have on people. She practices a humanist, combative, poetic photojournalism that lays bare the conflicts of our time, offering us images with which to construct critical discourses and organise our visual memory.

Overwhelmed by the institutionalised discourse of politics and economists, we invite artists, philosophers, researchers and poets to share their ideas about what is happening to us, to comment on the positive and negative implications of this structural crisis, and to imagine an uncertain future.

Part avant-garde artist and part activist, Eulàlia Grau is considered to be one of the most combative voices of a generation that fought for a profound change of values during the final years of Franco’s dictatorship and the early years of the Transition. Using images taken from the media, the artist draws attention to the perversions and injustices of the capitalist system and its mechanisms of control, repression and persistence.

In his work, Mexican artist Erick Beltrán reflects on the ways in which information is legitimised by manipulating and using discourses from published material.

Overwhelmed by the institutionalised discourse of politics and economists, we invite artists, philosophers, researchers and poets to share their ideas about what is happening to us, to comment on the positive and negative implications of this structural crisis, and to imagine an uncertain future.

Overwhelmed by the institutionalised discourse of politics and economists, we invite artists, philosophers, researchers and poets to share their ideas about what is happening to us, to comment on the positive and negative implications of this structural crisis, and to imagine an uncertain future.

The ICSID in Eivissa was much more than an ordinary congress. It was an experience of socialisation that changed the artistic, intellectual and behavioural mindsets of a whole generation of creative workers. In the words of the critic Daniel Giralt-Miracle, what we saw at the ICSID was “the burial of Noucentisme and the birth of the design generation.”

Judith Barry's installations can be considered to be an intersection of different disciplines (architecture, sculpture, film, video, performance) forged in the seventies when postmodern theories first arrived on the art scene. A substantial part of Barry's work, which is closely linked to feminism, revolves around issues of gender identity and the relationship between individuals and the urban environment.

"UTOPIA IS POSSIBLE. ICSID. EIVISSA, 1971" is a three-part miniseries based on the research carried out for the exhibition of the same name. It brings together the testimonies of some of the participants who took part in the 7th Congress of the International Council of Societies of Industrial Design (ICSID), in an ensemble portrait of this collective experience.

"UTOPIA IS POSSIBLE. ICSID. EIVISSA, 1971" is a three-part miniseries based on the research carried out for the exhibition of the same name. It brings together the testimonies of some of the participants who took part in the 7th Congress of the International Council of Societies of Industrial Design (ICSID), in an ensemble portrait of this collective experience.

Perejaume has a long-standing fascination with the shamanic power of mimesis. And writing, artistic practice and endless walks through his natural surroundings have been the means by which the artist has shaped his personal landscape narratives, which lie somewhere between figuration, imagination and theoretical reflection.

From obsessive classifications to anti-paintings, from a constant probing of the role of the spectator to imperceptible modifications, Ignasi Aballí’s work is both hermetic and accessible. A delicate balance between concept and form that draws inspiration from everyday life, literature and film in order to talk about absences, filters, fictions and limits.

The work of the Catalan composer Josep Maria Mestres Quadreny is an interesting example of an effort to break traditional moulds through an aesthetic and methodological approach, which places him at the vanguard of new music in Europe during the second half of the twentieth century.

Àngels Ribé creates works in which space, nature and the body become the articulating elements of a poetics of fragility based on de-emphasising the artistic object, the use of unconventional materials, and a defense of the ephemeral.

Kristin Oppenheim employs the dramatic properties of her own voice to articulate sound and visual installations that immerse the spectator in hypnotic environments replete with potential narratives. In FONS AUDIO #12, Oppenheim gives us some tips for approaching her installation 'Hey Joe' (1996), which is part of the MACBA Collection.

The work of Antoni Muntadas is an exhaustive study of communication processes and their numerous implications for society.

The work of Ibon Aranberri (Itziar-Deba, Guipúzcoa, 1969) explores the connections between nature and culture, and draws attention to the ideological abuses of the land by those in power at any given time.

The work of Rita McBride (Des Moines, Iowa, United States, 1969) is situated on the hybrid territory between sculpture, architecture and industrial design. Starting with the critical appropriation of everyday objects, the artist creates enigmatic pieces that force us to question the nature of the symbols on which our culture is based.

Pep Duran addresses an active viewer-actor who is willing to walk through his works bestowing on them personal, non-transferible meanings. A passionate collector of objects, his artistic production is inextricably linked with the use of materials that are discarded or found in containers.

By means of films, texts, sounds, photographs, paintings and other materials, The Otolith Group explores the nature of perception and analyses the role played by documents and images in the creation of archives in the post-colonial world.

Pere Portabella (1929) has done significant work on renewing the codes of film language since the 1960s in his dual role as director and producer.

In this show, we treat visual works as if they're audio and see what happens. In most cases, we discover that the sounds emanating from the visual works can stand on their own as great listening experiences.

Benet Rossell is difficult to classify, because he constantly invents new approaches. He uses multiple forms and distorts formats in order to infuse them with new potential: drawing becomes text, writing triggers action, film becomes poetic musings around time.

When television collides with audio arts, a new and disconcerting soundtrack emerges, one that can only have been a product of artists swiping, sampling, détourning, recycling, remixing, and mashing-up sources emanating from the television. This show rescues ten works, inspired by and taken from TV.

Jef Cornelis is one of the pioneers of research into the language of television and its relationship to video art, documentary and the reading of history from the present, and also of the analysis of what it means to make a film.

Although Gil J Wolman's seminal sound work has been largely overlooked, it was a precursor of sound poetry and is one of the key elements of Lettrist poetry. This radio show reconstructs the link between Lettrism, sound poetry, and the work of some isolated but fundamental figures.

This audiotour will take us to some of the key places where people gathered, discussed and engaged in independent, collective production during the seventies.

Narkevičius explores the perception of history and the mechanisms that transform it through utopias or ideologies. He focuses on the personal and individual, often structuring his work around forgotten or repressed testimonies and stories.

"Ombres del progrés" (Shadows of Progress) presents a selection of music that played an important role in Armando Andrade Tudela's journey to Marcahuasi, where he made a film named after this strange place.

"Ombres del progrés" (Shadows of Progress) presents a selection of music that played an important role in Armando Andrade Tudela's journey to Marcahuasi, where he made a film named after this strange place.

In his work, Armando Andrade Tudela (1975, Lima, Peru) explores concepts relating to modernity and the feeling for history.

This program surveys the work and career of John Cage in order to explore and learn more about his special relationship to radio, either as an instrument or as a means of communicating his ideas and transmitting his work.

John Baldessari reviews some key aspects of his approach to art. A look at his relationship to film, language and linguistics, and how the development of photographic reproduction techniques has affected his work.

The oeuvre of Esther Ferrer (San Sebastián, 1937) is characterized by a methodic minimalism, in which quotidian objects and her own body become the main elements in her work.

To complement the exhibition "The Anarchy of Silence. John Cage and Experimental Art" and "Ray Johnson. Please Add to & Return", this programme documents the Fluxus movement, an international network of artists which emerged in New York in the early 1960s.

This program is an audio companion to the exhibition "The Malady of Writing. A project on text and speculative imagination" that presents a pleasurable, humorous and fun version of modernism.

Often reduced to a kind of "psychedelia Made in Brazil", Tropicália was actually a reinvention of Brazilian popular music, which was able to encompass elements from the local scene and beyond, modern styles and traditional music, with all the contradictions that this implies. Curated by Raül G. Pratginestós.

Muñoz went back to patents he had found during the days he'd spent reading at the New York Public Library. The texts of the patents talk about materials and construction techniques and forms that can prevent echo inside built spaces.

Of all the works produced by Muñoz, "Will it Be a Likeness" is probably the most theatrical and less musical.

This program deals with card tricks, which are old favorites on magicians’ repertoires but also used on the streets.

In "Building for Music", Juan Muñoz, in collaboration with Alberto Iglesias, examines the ways in which architecture influences music and composition.

This project by Asier Mendizabal runs through hymns, marches, choirs and "charanga", revealing unexpected results and relationships.

A program directed and conducted by serge Guilbaut in relation with the exhibition "Be bomb" with the Be-Bop, the swing and the jazz.

A program directed and conducted by serge Guilbaut in relation with the exhibition "Be bomb" with the Be-Bop, el swing and the jazz.

A program directed and conducted by serge Guilbaut in relation with the exhibition "Be bomb" with the Be-Bop, el swing and the jazz.