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Contra l'atzar
Contra l’atzar, 1989

Against chance, 1989
Graphic work (editions), 49.9 x 38 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.

They’re the origin and also a possible salvation.

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.


Technical details

Original title:
Contra l'atzar Contra l’atzar
Registration number:
4522
Artist:
Brossa, Joan
Date created:
1989
Date acquired:
2011
Fonds:
MACBA Collection. MACBA Consortium
Object type:
Graphic work (editions)
Media:
Lithography on paper
Dimensions:
49.9 x 38 cm (height x width)
Edition number:
DT.2012.0263
Credits:
MACBA Collection. MACBA Consortium. Joan Brossa Fund. Long-term loan of Fundació Joan Brossa
Copyright:
© Fundació Joan Brossa, VEGAP, Barcelona
It has accessibility resources:
No

The MACBA Collection features Catalan, Spanish and international art and, although it includes works from the 1920s onwards, its primary focus is on the period between the 1960s and the present.

For more information on the work or the artist, please consult MACBA's Library. To request a loan of the work, please write to colleccio [at] macba.cat.

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While there are ideas about psychological and emotional developmental processes held within the sculptures I make, the things themselves are actual physical explorations into thinking, feeling, communicating and relating.
Karla Black