Exhibitions
Josep Ponsatí breaks down the museum walls
A museum outside the museum brings contemporary art to the Sala de la Pau with an audiovisual piece that recovers one of the artist's first monumental interventions.
Contemporary art can find new spaces for dialogue beyond museums and exhibition halls. With this aim in mind, the Municipal Cemetery of Lleida is hosting, from October 27 to November 15, Granollers, 1971 , an audiovisual work by Josep Ponsatí (Granollers, 1971) from the collection of the Museum of Contemporary Art of Barcelona (MACBA). The piece is installed in the Sala de la Pau as part of the project A Museum Outside the Museum , an initiative promoted by the Department of Culture in collaboration with the visual arts centers of Catalonia and MACBA.
The proposal, which is part of the celebration of the Thirtieth Year of MACBA, proposes a different way of bringing contemporary creation closer to the public, introducing works of art into spaces of everyday life and generating new contexts of perception and interpretation. In this case, the presence of a work by Ponsatí in a cemetery establishes a singular relationship between artistic experience, memory and a space traditionally linked to remembrance and silence.
Josep Ponsatí is known for his monumental and ephemeral inflatable structures, built from modular forms that link together to form large aerial installations. In October 1971, after having made a first inflatable in Granollers, the artist launched a second structure in Cala Sant Miquel in Ibiza, coinciding with the meeting of designers of the International Council of Societies of Industrial Design (ICSID).
The intervention was made up of twelve white modules, slightly curved and made of plastic. Each one measured 11 × 3.5 meters and the whole reached 41 meters in length. The monumental dimension of the proposal contrasted with the fragility of the materials and their temporary nature. The repetition of the forms, the lightness of the structure and the collective participation formed an experience that questioned the traditional limits of sculpture and its relationship with space.
The video Granollers, 1971 , 3 minutes and 24 seconds long, in color and without sound, recovers this experience and allows us to get closer to an artistic practice that found new territories of experimentation in the air, movement and inflatable structures. Its presentation in the Sala de la Pau also broadens the meaning of the project: taking the museum where it is not usually present and encouraging contemporary art to establish unexpected relationships with the spaces we inhabit.
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