As its title implies (Infrared Barcelona. The enchanted city), it is a compilation of 170 photographs taken with analogue film, which picks up infrared light that is invisible to the naked eye.
This book presents the turbulent history of the first ten years of the 20th century, which were to guide Barcelona into the modern age.
Don’t look for any gossip in this book, as what you will find is the humble day-to-day muted routine of the inhabitants of the Barcelona of his time, the second half of the 19th century.
A good book on books. This book thus weaves a stimulating tale about how we have surrounded ourselves with these encapsulated records of memory, and about the role they have played in the city in private and public libraries, publishers, bookshops, mobile libraries, library banks (before the war, on Passeig de Sant Joan), reading campaigns and new social advances that emphasised an educated city where high culture was within reach of the majority.
This book is very well documented and contains a selection of priceless photographs It also reminds us of how many traces still exist of what was once the city’s main water course. By following El Rec, the book guides us through a thousand years of Barcelona’s history.
The Barcelona City Council has published an updated edition of the book Cops de gent. The new edition, with minimal changes, follows the same structure as the original version and expands it with seven new demonstrations that were held between 2004 and 2014.
‘Poesia Contracultura Barcelona’ enables us to enter a time and some works of writing that fought against everything, and even worked to their own detriment. This is the risk of taking on poetry as a way of life, as a form of anger, in a way that could be understood as an act of immolation.
Two recent books by journalist and historian Marc Andreu, published by Els Llibres de L’Avenç, offer a realistic view of the reality of Catalan cities in the second half of the 20th century and early 21st century.
The city transmits a wealth of information that one must know how to interpret. Urban design is amongst the transmitters: a reinterpretation of a particular understanding of the space in which we must live and make things happen. To walk around a city is to continuously decode both obvious and hidden meanings.
The writer Josep Pla said that we Catalans get lost in aesthetics. This book is testament to that. It is a collection of prints, but also an expression of the most popular aesthetics, an account of the quality of the communications professionals of the past and of the roots of Catalan graphic design.
Everything that tourism touches turns into kitsch. This may be the inevitable conclusion to be drawn from a reading of ‘Kitsch Barcelona’.
The history of Barcelona can be explained through its documents or through its people, institutions and stones. That is what has been done and presented to us through a story with over 800 pages, in which the journalist Enric Calpena interviews Barcelona.
El Hachmi had already recounted her experience in two earlier works. While El Hachmi dealt mainly with a relationship with a father in ‘The last patriarch’, in ‘La filla estrangera’ she focuses on a mother-daughter relation ship.
Barcelona City Council and Viena Edicions publish the history about the golden age of the circus in Barcelona in the 19th and 20th centuries. This is a work of Ramon Bech, investigator on circus and cofounder of the Circus Arts Foundation.
There are nearly 800 domestic tourism proposals for local travellers via buildings and places that are (in)directly linked to intellectual Barcelona, all of which are efficiently organised into three large geographical areas.
It has been 40 years since the satirical magazine Butifarra! was founded. To celebrate, Barcelona City Council and the Barcelona Federation of Residents’ Associations (FAVB) have published a collective piece of work that does justice to one of the leading graphic magazines of that period.
This is an extraordinary book. On the one hand, it is an excellent autobiographical novel, a brilliant example of the virtues attainable by the so-called self-literature of our day and age. On the other hand, it is also the most accurate portrayal of Barcelona in the essay genre to come about in the first three lustra of the 21st century.
The editors of the work were religiously intent on vindicating ‘Barcelona journalism’, a school in which Luján is a leading figure. In terms of the author’s style, they stress the influence of the great school of journalism represented by Pla, but also by Sagarra and Camba.
He will ultimately capture us as participants from Antoni Bernad’s subjective point of view, which shows us from an unexpected angle, as unknown individuals.
These are expansive stories, with hints of Carver passed through a Mediterranean filter and featuring Barcelonians from a devalued middle class: young people who have done the low-cost holiday, who go to Casa Àsia and Starbucks, less narcissistic than they seem, driven out from the city, their education at odds with the insecurity they are experiencing.