Blasfèmia, 1989

Blasphemy, 1989
Graphic material, 49.9 x 37.9 cm

Most artists lie nowadays. It’s important not to lie so art can become a tool of knowledge. But there is another problem: the vehicle. Each era has a tool that, if used properly, can be a great transforming element. For example, I think visual poetry came about because of the huge importance of the image in today’s world. Society has a system of codes that can be easily understood: people see an arrow and immediately understand the message. So this language system can be applied to poetry. In fact, it’s like going back to pictograms. The principle of writing leads to pictograms and ideograms. We must find, in the image of a letter, the traces of a lost figuration.

Magic and trickery are an integral part of your work. Does that mean a return to the original sources?

They’re the origin and also a possible salvation.

Poetry and magic, are they identifiable?

Poetry and magic are the same. Art is basically a metamorphosis, and so is magic at another level. But sadly, neither the magicians nor the poets are aware of it.

Nadal, Marta: ‘Joan Brossa: un poeta atípic’, Serra d’or, no. 373 (January 1991), p. 14

Technical details

Original title:
Registration number:
Brossa, Joan
Date created:
Date acquired:
MACBA Collection. MACBA Consortium
Object type:
Graphic material
Lithography on paper
49.9 x 37.9 cm (height x width)
Edition number:
P.A. I/X
MACBA Collection. MACBA Consortium. Joan Brossa Fund. Long-term loan of Fundació Joan Brossa
© Fundació Joan Brossa, VEGAP, Barcelona
It has accessibility resources:

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