Accessibility

Contemporary art in Barcelona is MACBA. The Museu d'Art Contemporani de Barcelona stands at the heart of the Catalan capital in a Richard Meier building that is itself a work of art. It is located in touching distance of the Centre de Cultura Contemporània de Barcelona (CCCB), an reference point for lovers of 20th and 21st century art and culture.

MACBA, which was started in 1995, has established itself internationally as a model in contemporary art. Its collection of 5,500 works, allows a journey to be traced through the main artistic references of today. Beginning with materic abstraction from the 1950s, incorporating works of the European pop art and of the avant-garde of the 1960s and '70s. There are also works around the photographic figurative representation and minimalist sculpture.

Among the most important pieces you can see: Dins el roig, by Albert Ràfols-Casamada; Between the Frames: The Forum, by Antoni Muntadas; La saison des pluies II, by Miquel Barceló; Rinzen, by Antoni Tàpies; Beschwingte Bindungen, by Paul Klee; Thames Circles, by Richard Long, and Atomic Kiss, by Joan Rabascall, among others.

Occupied by man since the beginning of the Middle Palaeolithic Age until the Metal Ages, the Serinyà Prehistoric Cave Park consists of several shelters or caves (the Arbreda, the Mollet and the Reclau Viver).

Studies carried out have shown that this is one of the best sites in Western Europe for discovering the progression of Neanderthal man to modern man. About 200,000 years ago (Middle Paleolithic) it was inhabited by the pre-Neanderthals (Homo heidelbergensis); later (between 90,000 and 39,000 years ago) the Neanderthals lived there and finally, during the Upper Paleolithic, the caves provided a refuge for modern man (Homo sapiens). All of them inhabited this place during the last glacial periods, when the landscape was very different to that of today.

The most important discoveries include a skull found in 1973, which is the oldest remains of modern human in Catalonia (22,300 years old).

The first archaeological excavations were started by Pere Alsius i Torrent in the second half of the 19th century. In the 20th century, they were continued by Dr. Josep Maria Corominas (1943) and today, work is being carried out by researchers from the University of Girona and the Archaeological Museum of Catalonia-Girona. In 1996, the County Council of Pla de l'Estany started on the construction of the current Park.

Devoted to the culture of the object, the Museu del Disseny de Barcelona (Design Museum of Barcelona) offers visitors unique collections formed of more than 70,000 pieces which cover, in chronological order, items from the 4th century BC to the present day. The object and all that it means to society is the common denominator of all collections: from its conception, creation and production up to its use according to the period.

Contemplating many of the pieces of the museum is to return, often, to the everyday environment: the Montesa Impala motorcycle, the poster of the opening of the Camp Nou or the Olympic mascot Cobi, among many others, are objects that appeal directly to the sentimental memory of the spectator.

The vast wealth of the new museum in Barcelona is formed by the merger of the collections of the Museu de les Arts Decoratives (decorative arts), the Museu de Ceràmica (ceramics), the Museu Tèxtil i d'Indumentària (textiles and clothing), and the Gabinet de les Arts Gràfiques (graphic arts).

But if the content is outstanding, its container, the Museu del Disseny itself, is not far behind: the building, designed by the MBM team of architects and popularly known as the la grapadora (the stapler), is already a new icon of the contemporary architecture of the city.

Built in 1847 on the Rambla of Barcelona, the Gran Teatre del Liceu was converted from its beginnings into a symbol of the emerging bourgeoisie of Barcelona and Catalonia.

The origin of the Liceu must be situated in the "Liceo Filarmónico Dramático Barcelona de SM la Reina Isabel II" (Barcelona Dramatic and Philharmonic Lyceum of HM Queen Isabel II), an organisation created to fill the need for a music conservatory in the city. The success of the initiative resulted in the construction of a new theatre, which was financed through commercial efforts: the boxes and seats were owned.

In its more than 150 years of history, it has seen three tragic events: the fire of 1861, the anarchist bomb of 1893, and the devastating fire of 1994. The last reconstruction, which lasted five years, has modernised the building, retaining as much as possible of its original essence. Notable is the Hall of Mirrors and its decoration of gilded and polychrome plaster mouldings.

With 2,292 seats, it is currently one of the largest opera houses in the world, and each year puts on more than forty opera performances, as well as dance, recitals, concerts and children's shows.

As a result of the confiscations in the 19th century, a large part of the artistic heritage of the church was dispersed or privatised.With the Catalan Renaixença (Catalonia's cultural renaissance) efforts were made to recover and protect this entire legacy through initiatives such as the Museu de Lleida Diocesà i Comarcal, (Diocesan and Regional Museum of Lleida), founded in 1893, following the example of the Museu Episcopal de Vic. Today, the museum manages an important artistic legacy from the lands of the West and from the ancient Diocese of Lleida, which covers the period from prehistory to the modern age.

In 2007 the new branch was opened that set out the criteria of the site.There are certain outstanding exhibits that must not be missed during the tour of the museum. These include the head of a Roman satyr, altar frontals from the 13th century and sculptural fragments of the Seu Vella. From the Renaissance and Baroque, works by the painter Pere Nunyes, sculptures by Gabriel Joly and Damià Forment and several works by the painter Antonio Viladomat.

Highlights of the permanent collection include two unique pieces: the chess game of 10th -11th century by Sant Pere d’Àger and the Mare de Déu de Bellpuig de les Avellanes, one of the most important examples of Catalan Gothic heritage

The musical heritage of Barcelona and Catalonia is immense, and one of the institutions that has done the most to conserve, study and disseminate it has been the Museu de la Música de Barcelona. Located on the second floor of the Auditorium, it has a collection of 2,000 musical instruments from all over the world and 10,000 sound documents received from legacies and donations. It is considered one of the most important music collections in Spain.

The permanent exhibition invites visitors to experience the world of music and to understand that instruments are the living documents of our past, full of meaning and information related to our musical heritage. On display along the route of the museum are more than 500 pieces, explained through audiovisual, sound and textual resources.

The itinerary for the exhibition enables the visitor to learn about the instruments through the history of music: from ancient civilisations, progressing on to the birth and diffusion of polyphony, Baroque, Classicism and Romanticism, until reaching the new colours and industry of sound in the 19th century and the new styles and new technologies of the 20th century.

String instruments are the most widely represented in the museum, with an outstanding collection of guitars and keyboard instruments. The museum also focuses, deservedly, on wind instruments, as they reflect the important Catalan construction tradition and its use in South American and Asian cultures.

The Museu del Cinema de Girona was created from the exceptional collection of objects related to the world of pre-cinema and the films of Tomàs Mallol made up of 8,000 objects, 10,000 documents (photographs, posters, prints, drawings and paintings), 800 films and 700 books and magazines. Opened in 1998, it became the first museum of its kind in Spain and one of the few existing in Europe./p>

Entering the Museu del Cinema is to embark on a process of discovery. And the permanent exhibition has in the spectator their own point of view. This is not surprising. Throughout history, man has been fascinated by the moving image, from the primitive Chinese shadows until the early years of cinema.

This discovery process is divided into 10 sections plus an audiovisual, which serves as a prologue to the exhibition, and an epilogue that refers to amateur and children's cinema.The main discourse ends in the 1930s, with the arrival of the first televisions.

Thus the visitor gets an educational and entertaining understanding of the workings of magic lanterns, optical boxes, cameras obscura, chronophotography, gadgets for giving movement to the first images (phenakistoscopes, zoetropes, etc.…), projectors... The visitor even gets to be fooled by several optical illusions, which demonstrate that, since ancient times, the most important thing has always been to surprise

The first film exhibition in Catalonia took place on 5th May, 1895 in Barcelona. Almost a century later, in 1981, the Filmoteca de Catalunya, was born, dedicated to the conservation of film and audiovisual heritage and to the dissemination of film culture.

Today, the Filmoteca de Catalunya has a collection of more than 45,000 books, 20,000 graphic archives, 8,000 films, 5,000 sound tracks and 1,200 pieces of original film equipment. It is the result of the work of conservation, restoration, cataloguing, documentation and study of the film heritage of Catalonia carried out by this institution.

However, the best way to get to know the Filmoteca is through exhibitions, publications and film projections, nearly a thousand each year.

After acquiring a first projection room in the street Travessera de Gràcia and more than 20 years at the old Aquitània cinema in Sarrià, in 2012 the new headquarters in the district of El Raval were officially opened. This building, designed by Josep Lluís Mateo is the location for the main display and exhibition areas, a library and a bookstore.

The holdings and film collections are conserved in the other main site of the Filmoteca, the Centre de Conservació i Restauració, located in Terrassa, in the Parc Audiovisual de Catalunya.

The CaixaForum is located in the former fàbrica tèxtil Casaramona (Casaramona textile factory) in Montjuïc, which specialised in the manufacture of blankets and towels. This building designed by Josep Puig is an exceptional example of Catalan industrial "modernista" architecture of the early twentieth century. It comprises a set of single-story buildings, a horizontal construction to facilitate the transfer of goods through a system of internal streets that at the same time also served as a firewall.

The building was acquired by Obra Social "la Caixa" in 1963. In 2002, after a restoration and expansion project, it became a cultural centre for Barcelona. It offers social, cultural and educational programming that includes ongoing events such as lectures, film screenings, performances, concerts and family activities.

In addition, a quarter of the total 12,000 m2 building is occupied by ancient, modern and contemporary art exhibitions. It also has an outstanding collection of artistic and documentary art media.

Integrated into the Regional Network of the Museu de la Ciència i de la Tècnica de Catalunya, the Ecomuseu-Farinera at Castelló d'Empúries has, from 2004, explained the story of the men and women of the region dedicated to the cultivation of the wheat grain and the various uses of the flour.

The building of la Farinera offers a tour of the Catalan industrial flour heritage. The machines, tools and structures exhibited are testimony of an activity that has developed since medieval times: first in the old flour mill, and from the end of the 19th century to 2001, at the modern flour mill factory.

The visit to the Ecomuseum is completed with a route that follows, up to the Pont de la Mercè, part of the five kilometres of the Rec del Molí (mill irrigation channel). This hydraulic infrastructure drove water from the weir at Vilanova de la Muga to the flour mill, skirting around and supplying the orchards and fields. Upon arrival at the flour mill, the water turned a Francis turbine from 1905, which was responsible for generating the energy necessary for the operation of the factory.