At the end of June, a new exhibition from the MACBA Collection will be presented on the first floor of the Meier Building. Like a musical prelude, this presentation anticipates what is to follow, with the opening of the new Museum building and the opportunity to offer a new vision of the Collection. Poetics and politics enter into a dialogue that reflects on the inherent relationships between the artwork and its context, the artwork and the subjects around it, and the artwork and the material culture it generates. A journey through case studies, which incorporates works that have recently been acquired or had not been exhibited until now. Works by Lúa Coderch, Ignasi Aballí, Dora García, Mirtha Dermisache, Albert Serra, Mar Arza, Rosângela Rennó and Concha Jerez, among others, will be on display.
One of the protagonists of this unwritten story is Josep Grau-Garriga (Sant Cugat del Vallès, 1929 – Angers, 2011) to whom the exhibition dedicates the significant space of the tower room. A painter and tapestry maker, Grau-Garriga is an international referent in the transformation of tapestries during the second half of the twentieth century. A contemporary of artists such as Josep Guinovart, Joan Josep Tharrats, Albert Ràfols-Casamada, Aurèlia Muñoz and María Assumpció Raventós, he worked with Joan Miró, Josep M Subirachs and Antoni Tàpies, among others. In 1964, he had his first solo exhibition of tapestries at the Sala Gaspar, Barcelona, and the following year he took part in the II Biennale Internationale de la Tapisserie Moderne in Lausanne. From that moment, his work began to be recognised internationally with exhibitions around the world, and is included in the collections of major museums such as The Metropolitan Museum of Art, New York; Musée d’Art Moderne de la Ville de Paris; Museo Rufino Tamayo, Mexico City; Museo de Arte Abstracto, Cuenca; and MACBA, Barcelona. In 2011, the year when he died, his work was featured in the 22nd Biennale of Sydney.
Grau-Garriga, who set up the foundations for the Escola Catalana del Tapís (Catalan School of Tapestry), has been recognised by traditional artistic historiography, and now, from the Museum, we wish to acknowledge his importance in the construction of contemporary art discourses.