Exhibitions
Toni Giró or the solidity of thought in times of dissolution
“Solid that melts in the air”, at the Espais Volart of the Vila Casas Foundation, proposes a critical journey through thirty years of expanded sculpture, between spatial devices, philosophical interrogation and resistant poetry.
At the Espais Volart of the Vila Casas Foundation, Toni Giró's Solid that Melts in the Air dialogues and coexists with Ramon Calsina's Misèries humanes in an exhibition that, far from being diluted, mutually reinforces itself until March 15, 2026. Giró's project never ceases to surprise—and in a clearly positive way—from beginning to end, tracing a path that functions as a true alpha and omega: from Self-portrait with a mask to Bibliogeometry II . The Door to the Noses , a 2002 piece that closes the story with a force that is as physical as it is conceptual.
Solid that Melts in the Air brings together works from the last thirty years of Toni Giró's career. However, it is not presented as a retrospective anthology or a chronological inventory, but rather as an open system of relationships that are constantly updated. The pieces, despite the temporal distance, establish new connections and unfold multiple layers of meaning.
Rooted in the field of expanded sculpture, Giró's practice demonstrates a persistent interest in the image located in space, activated through three-dimensional devices that directly challenge the body and gaze of the viewer. This formal investigation is always accompanied by a critical reading of the present, from which the artist addresses various historical, social and cultural impasses.
Throughout the tour, the viewer is invited to reflect on the construction of meaning and the materiality of the work based on a heterogeneous set of installations, photographs and drawings. Yellow Trap can function as a starting point for a journey that crosses three decades of creation, a journey of dialogue with the gaze but also with critical thinking. Giró raises constant questions about our position in an accelerated world, where everyday life traps us, dissolves us and pushes us to travel along often inextricable paths, as Jordi Font Agulló points out in his text in the catalogue of the exhibition at the Fundació Vila Casas.
Multitudo marks the entrance to a second, more immersive and dense exhibition level, where the visitor enters a series of installations and sculptural ensembles with a strong visual and conceptual impact. Pieces such as El coll al peu , L'escultura és un forat or Biga II intensify this experience, until reaching a final section that does not leave anyone indifferent. Blister Suite , with that table full of pieces that impresses both by its accumulation and by its fragility, condenses many of the tensions present in Giró's work: between solidity and precariousness, between structure and decomposition.
The tour closes with Bibliogeometry II and The Door to the Noses , which mark the omega of the exhibition project. Far from being a conclusive end, the sins leave open an essential question: where does poetics lie in contemporary art? In this sense, Toni Giró finds in sculpture not so much an answer as a device for philosophical thought, a space from which to formulate doubts, activate contradictions and, even, resist the accelerated dissolution of meaning.
