Chronicle of a night.
The night of the museums in Barcelona
Barcelona - MAY 22, 2013
Exiting the subway with the hustle of someone who is running late, I approach the MACBA. There, I meet up with a friend from Valencia and his partner that, eager for art knowledge, had asked me to accompany them to the Night of the Museums. Upon entering, we see that although it had been free all day long, the people of Barcelona has made sure and had arrived like us, from seven o'clock, at which time officially begins the night of the museums. The lobby filled, everybody with cameras (MACBA building invites take them out) and visitors filled the seats surrendered by the lack of comfort in their shoes. With the young couple we began the visit through the permanent collection, where my friend asked me repeatedly about how he should interpret the works, to which I answered, that he only has to contemplate them, later he could find the meaning if he was interested. It seemed that the advice worked and he began to enjoy the pictures. A joy in contemplation interrupted only by the river of visitors that flooded the rooms. Many of these paying more attention to being where they were and not to seeing the works on display.

Leaving the MACBA, we decided to go to the Museum of the square Villa de Madrid, where the Roman sepulchral path of Iulia Augusta Faventia Paterna Barcino, better known as Barcino, is situated. Here the public changes drastically; if in the MACBA the young and modern people stood out, here I see families with their children, taking alternative routes to avoid endless lines. Children take in their own way the necropolis, as they see the graves more as hideouts to play in that as rooms for the eternal rest. Inside the museum the audience is divided into small groups in which one exercises as an amateur guide, discovering Roman life in the city. We leave, impressed by the antiquity of graves, and the young couple decides to carry on on their own and I call another friend.
Chronicle of a night.
The night of the museums in Barcelona
CCCB
It is about time for dinner and exhaustion surfaces, so I take shelter in a friend's house, to later go with him to the CCCB (Centre of Contemporary Culture of Barcelona), which hosts the Poetry Slam Barcelona! If the MACBA had a large representation of the hipster movement, I now find myself at its headquarters. The session begins with a poem by Marc Kelly Smith, which allegorically portrays different animals, walking among the public and causing great furor. After this, the host of the contest continued with more or less veiled allusions to change the status quo of our society, explains the rules of the game. With a blazer of Sala and Martin, he animates the recital. Here stands out Diego Mattarucco's poem, full of alliterations about the Spanish State, "Spain you precipitate yourself", said one of the verses, at some point, by playing both with the sonority of the words and by speaking Spanish with an Argentinian Accent, almost seemed like one of the Les Luthiers speaking seriously. Other one that stands out, is Alfa Leonis, a young poet who, with a poem that emphasized the political present in the city, that won the audience, passing on to the end of the contest, where Dani Orviz imposed himself, interpretating a poem made to win the contest, with enough witty and political concerns to seem fit to a large audience.

It is remarkable the number of people who were there, even the lobby was packed, and with an average age well below the average of the most orthodox poetry readings. It seems that with the format change they have attracted a young and enthusiastic public, as well as international, since part of poems were read in French, and entirely in Spanish, in addition to the presentation ceremony conducted by Marc Kelly Smith, in English.

The recital ends and the public takes shelter in the bares of the Raval. The Night of the Museums ends promptly at one and everyone returns to their normal ocupations on a Saturday night. The contest of Eurovisión has not been able to hide this cultural event, that year after year consolidates itself in the agendas of the cultural circles of the city.

A night when the museum opens to the general public taking away the economic excuse, we see it is truly the same audience that assiduously approaches those centers that attends. Speaking with the people that visits them I confirm it. This grand event, tha with good intentions opens up the museums, does so for the usuals. Without wanting to the classicist, I do not find within my route, people that truly cannot pay the ticket or that does not have have in thie labor chores to take this opportunity. These iniciatives help, but the cultural world, the majority of the times, the cultural world often solves its major shortcomings with these events not with profound reflections.


ArtDiscover
Joan Vila i Boix

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