CERCLE 1

20 MuseudelModernismedeBarcelona. Foto/PhotoAna Isabel Estriche accolades. What kind of criteria do you use to decide which pieces are for sale andwhich should stay in themuseum’s collections? (answer by Gabriel Pinós). Until 2008, whenwe started themuseum project, the process was as follows: therewasamonographicor collectiveexhibition inGothsland, and when this finished, we decided if any of the works were worthy of being included in the collection for being highly representative of the style or artist, and so they were consequently removed from commercial circles.Thisdoesn’tmean that thecollectionwasexpanded after every exhibition with some artwork or other, although it’s true that this long, carefully-meditatedprocess has goneon for almost four decades. This is the fruit of this passionate, careful hobby that our parents startedand, in spiteof someoffers thatwehad forpartsof the collection, we were able to open theMuseum of Modernism in 2010. Since then, there is always thedebatearoundwhenanewwork comes in, andwithoutbeingable toexplain it objectivelyat all,wealways find abalancebetween seny (sensibleness) and rauxa (impulse) What’s happening with good taste? Is it something timeless, or is it no longer in fashion? (answerbyGabriel Pinós). Asenseofaesthetics ispresent inartisticcreation, toagreateror lesser degree. But this is true not just about creation. In our daily lives, in our taking of decisions this sense of aesthetics is also present, either consciouslyorunconsciously.With that, Imean that thecanons change and evolve andyou tend to findpoints in common in societies that are in theoryantagonistic. Beautyhasnoage, timeorborders Is therebeauty in today’sart? (answerbyGabriel Pinós) There isbeauty ineverything surroundingus. Too many current artist make use of the hackneyed expression ‘a conversationwith...’ to tryandmake theirworks valuablewithina frame of reference such as a contemporary art museum. Don’t you think that current art should talk less with the great masters and innovatemore? (answerbyGabriel Pinós). Maybe pairings are in fashion in practically all areas. I find the opportunity tobeable to seeand feel different, lessorthodoxpointsof view fromother fields of knowledge tobevery interesting. Experience in itself ismuchmore enriching and, of course, we can’t ignore having the great classics as referents. The day that artists stop being curious thenyes,we shouldworry; until then letusallowcreativity to flow. The most outstanding parts of our culture and art tend to be better thought of (unfortunately) beyond our own borders. Does the museum have any kind of strategies to publicise their important role to an audiencebeyond the city? (answerbyGemaLosa) Twowords: The Internet. It’s abasic tool, thenewmeans of communi- cations forrecentgenerations, andsooneofourstrategies is to focuson technology tobeable touse themaccording to the timeswe live in. Ifwe adapt to thenewdemandsof communication,wewill alwaysbeonline notonlywithapotential audience, butalsowithpastandreturningvis- itors, andsowecancreateaconstantdialogue thatmakesourmuseum moredynamic,withmuchmoreparticipation.Byremoving thephysical distance, the Internetputsus intocontactwithamuchwiderpublic. Inaddition, ourmuseumopens itselfup,with theresourcesavailable to us, tonot onlypreserveModernism and spread it beyondour borders, butalso toenrichandproposenewculturalexperiences foranyone that wants togo indepth intowhoweareand theculture that characterises us.█