Miserachs

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Miserachs
Miserachs

With reactions still not settled to the controversial exhibition at the MACBA that has finished its run, 'Miserachs Barcelona' (from the photo book 'Barcelona, blanco y negro'), brand-new gallery Ana Mas Projects strives to present, with the collaboration of the artist's heirs, a multi-sided Xavier Miserachs (1937-1998), rich in interpretations and nuances. The show, which brings together some 80 black-and-white snapshots that focus on the early years of the photographer, that is, the 1950s and 1960s. Beyond his iconic images of Barcelona at the time (highlights include those of El Born, La Rambla, Poblenou and Gràcia), the selection, which is broken down into small thematic groups, shows more of his interests and the narratives of one of the most lucid and open eyes of his time.

The exhibition travels along the coast and the countryside, throughout Spain and abroad, to architectural elements and untitled abstract works. But standing out among all these photos is the suggestive portrait 'Bettine', showing a young woman who's twisted round to stare at whoever dares stare at her. You get your farewell from 'El autorretrato en la mili', a self-portrait where Maserachs is reflected in a small mirror. It was the 1960s and the career of one of the most interesting photographers of the 20th century was just getting started.

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