Bonart magazine #199: A tribute to Joan Brossa

Bonart magazine pays tribute to the work of Joan Brossa, a symbol of commitment to transgression for an entire generation

Bonart magazine #199: A tribute to Joan Brossa
bonart barcelona - 19/03/24

Issue 198 of the bonart magazine – corresponding to the months of March to August 2024 – is now on sale, available at newsstands.

In this issue, bonart magazine dedicates the pages of the central monograph to censorship and forms of expression in art. Under the title Who's Afraid of Contemporary Art? Censorship and battles of a cultural war , we examine how censorship runs through contemporary art and its creators manifest themselves through the withdrawal of works or the cancellation of exhibitions among other actions. The monograph has the texts of Maria Muñoz, Montse Badia, Joan M. Batllori and a special space dedicated to the Museum of Prohibited Art in Barcelona by Aina Mercader and an interview with Tatxo Benet, director of the Museum of Prohibited Art, made by Jordi Grau .

Bonart magazine also dedicates special coverage in this issue to Antoni Vila Casas and Arranz-Bravo and the impact of their legacy with texts by Natàlia Chocarro and Jordi Garrido . Lleida and the Morera Museum , in a text written by Conxita Oliver , prepares for the next opening of the museum. We also claim the role of INSPAI, the Image Center of the Girona County Council, which dedicates its efforts to preserving and promoting the visual wealth of the past and present, all the while betting on the conservation of visual heritage. This is just part of the contents of this issue which also has the usual sections of Opinió – Xavier Barral, Natalia Lloreta, Albert Mercadé, Ferran Mascarell, David G. Torres, Lídia Penelo ...– Art market and critical articles of the exhibitions held in Catalonia.

Bonart magazine #199: A tribute to Joan Brossa

The cover of Bonart is the work of Cesc Abad , a self-taught and multidisciplinary artist who is nourished by the principles of the best Catalan artists, as well as renowned international artists. His creations are directly linked to nature, especially to the landscape of the Catalan Pyrenees. His ability to master various disciplines allows him to work with ceramics in a highly personal and identifiable way.


On the other hand, the monograph in this issue of Malart is dedicated to a very special tribute to Joan Brossa. A monograph that has had the important collaboration of gallerist Miguel Marcos . Joan Brossa is the symbol of commitment to the transgression of an entire generation which is analyzed in this monograph by Rosa Gutiérrez Herranz and Juan Manuel Bonet . To complete the story about Brossa, Ricard Planas Camps interviews Miguel Marcos to analyze the validity of Brossa's work in the national and international context.

The International section collects the work of MARCO de VIGO by Rosa Gutiérrez Herranz , Carlos Casas and his Bestiary at the next Venice Biennale, by Beatriz García or the Surrealisms of Pilar Parcerisas. In addition to many more exhibitions at the national level such as Art and emotion at the Frederic Marés Museum, The domestic camera and Consuelo Kanaga at the KBr Fundación Mapfre , Miquel Barceló at the Fundació Catalunya La Pedrera , Suzanne Valadon at the MNAC , Susana Solano at the Fundación Vila Casas , Mari Chordà at the MAMT or Juan de Andrés at the Tecla Sala Art Center, among many other exhibitions.

The cover of Malart is by Joan Brossa, poet , playwright and plastic artist. In the 1940s he met the poet JV Foix, one of his literary references, and also the philosopher Arnau Puig and the artists Modest Cuixart, Joan Ponç, Antoni Tàpies and Joan-Josep Tharrats. With them he founded the avant-garde group and magazine Dau al Set (1948), in which he collaborated with surrealist texts that consisted of the writing of dreamlike and hypnagogic images close to psychic automatism. It was the beginning of a very broad literary work that used language as a means of experimentation and that led its author to visual poetry, dramaturgy, sculpture and performance.

The typography used for the header of this issue is Berthart de Berta Casas Pol within the project with the Escola d'Olot coordinated by Gemma Reixach.


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