() Les narratives històriques sorgides de la Transició de vegades han ignorat el paper dels moviments socials i, més encara, el pes de les dones en les lluites veïnals i obreres. Les quatres històries de vida que presentem exemplifiquen la invisibilització de la dona combativa per pertànyer a la classe treballadora, per ser dones i, en el seu cas, a més, per ser migrants.
Barcelona’s is a city with one of the most important photographic heritages of any city in Europe. Public and private archives, antique dealers and collectors, journalists and historians, publishing houses and, in particular, families themselves are all part of the system that makes it possible to preserve and disseminate this valuable documentary heritage.
() L’Ajuntament va aprovar fa uns mesos un nou marc normatiu per permetre a bars, cafeteries i restaurants programar música amplificada en directe sempre que s’atinguin a uns requisits de seguretat i a un control estricte del nivell sonor. És l’avançament d’un ambiciós pla per impulsar el circuit de la música en viu de petit format, a partir del reconeixement del valor cultural i social d’aquesta oferta de lleure.
Barcelona is currently the scene of a battle between its exportable symbols, the ones that make it a consumer product, and its communitarian symbols, which are threatened with extinction due to from the impact of tourism. A colonial past and international image also play a part in the debate.
Photography as a language of portrayal cannot be decoupled from a city’s symbols: neither the image it projects to the outside world nor the image that the public builds of its own city through the media. The exhibition ‘Barcelona. The metropolis in the age of photography’ becomes a history of the self-portrayal of Barcelona.
Barcelona is experiencing a blossoming of group initiatives and citizen selfmanagement. This begs the question of whether these initiatives are replacing the obligations of the public administration.
Under the prohibitions of the dictatorship, new cultural codes were forged that finally came to full fruition after the death of Franco and the return to democracy. The pioneers of the 1950s laid the foundations for this cultural boom.
During his internal exile in Madrid, Agustí Calvet prepared two anthologies of articles written after the First World War, one on Catalan politics that was published recently, and another on Barcelona, still unpublished. These articles reveal a city turning from a provincial capital into a great metropolis.
If you ask anyone from Barcelona if they know about the city’s Museu Roca, the answer will be no. After the war, it faded into the shadows of an old warehouse on Paral·lel without a trace. It is only now that we are able to evoke the history of this anatomical and fair phenomena museum, which had been active during the 1920s and 30s.
The Musketeers, the ghosts that help you to be yourself, to mark your own territory, to live in it, are not one, or two, or three, like the three musketeers (of which there were four): they are countless. What matters
When Franco’s forces crossed the River Ebro, everyone believed that the Civil War was lost. In accordance with the scorched earth policy ordered by Moscow, the Communists decided to destroy everything that was still under their control. In Barcelona they planned to blow up factories, roads, underground train tunnels, energy supply points and drinking water pipes. The city was saved at the eleventh hour because the plan was sabotaged by the leader who was supposed to carry it out, Miquel Serra i Pàmies.