{"id":11917,"date":"2026-03-10T13:02:44","date_gmt":"2026-03-10T11:02:44","guid":{"rendered":"https:\/\/xarxa.museunacional.cat\/nada-es-lo-que-parece\/"},"modified":"2026-05-15T13:19:03","modified_gmt":"2026-05-15T11:19:03","slug":"nada-es-lo-que-parece","status":"publish","type":"page","link":"https:\/\/xarxa.museunacional.cat\/es\/nada-es-lo-que-parece\/","title":{"rendered":"Nada es lo que parece"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbfull_width\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb bg_type=\u00bbbg_color\u00bb z_index=\u00bb\u00bb bg_color_value=\u00bb#000000&#8243; css=\u00bb.vc_custom_1746632125762{background-color: #000000 !important;}\u00bb anchor=\u00bbhero\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbfull_width\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb][vc_column_inner][vc_empty_space height=\u00bb368px\u00bb][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb][vc_column_inner width=\u00bb2\/3&#8243;][vc_column_text css=\u00bb\u00bb el_class=\u00bbcolor-blanc m3-bottom-res\u00bb]<\/p>\n<h1>Nada es lo que parece<\/h1>\n<div id=\"gtx-trans\" style=\"position: absolute; left: 264px; top: 112.438px;\">\n<div class=\"gtx-trans-icon\"><\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbfull_width\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb][vc_column_inner][vc_empty_space height=\u00bb190px\u00bb][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbfull_width\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb bg_type=\u00bbgrad\u00bb css=\u00bb.vc_custom_1740590072551{margin-top: -95px !important;}\u00bb z_index=\u00bb\u00bb bg_grad=\u00bbbackground: -webkit-gradient(linear, left top, left bottom, color-stop(0%, #000000), color-stop(20%, #000000), color-stop(21%, #FFFFFF), color-stop(60%, #FFFFFF));background: -moz-linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);background: -webkit-linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);background: -o-linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);background: -ms-linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);background: linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);\u00bb][vc_column css=\u00bb.vc_custom_1739708113171{margin-top: -95px !important;}\u00bb]<div id=\"ult-carousel-979823376a1116e2972a4\" class=\"ult-carousel-wrapper  carrusel_comisariat_besties ult_horizontal\" data-gutter=\"10\" data-rtl=\"false\" ><div class=\"ult-carousel-35968836646a1116e2971d9 \" ><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/4.5.Nicolas-franco.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tNicola\u0301s Marti\u0301nez Lage, NIKO. &lt;em&gt;Francisco Franco&lt;\/em&gt;.1950-1981. Rotulador sobre cartulina, 31,5 x 23,4 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 1053. Donaci\u00f3n de la Familia Mart\u00ednez Andrea, 1993\t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/7.LA-CARITAT_1.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tAlexander Fisher, La Caritat, 1907, esmalte pintado sobre metal. MADB 1593 &lt;br\/&gt;Museu del Disseny-DHub\t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/1.La-Policia_Pellicer_escorcoll.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tJosep Llu\u00eds Pellicer, &lt;em&gt;Registro polic\u00edaco&lt;\/em&gt;, 1886. Museu Nacional d\u2019Art de Catalunya, Adquisici\u00f3n de la colecci\u00f3n Casellas, 1911, Dominio p\u00fablico\t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/lluitadores.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tEsther Remacha. &lt;em&gt;Luchadoras de la tierra 3&lt;\/em&gt;, 1976-1977. Fotograf\u00eda en blanco y negro, 30 x 40 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 5022. Dip\u00f2sit de la Generalitat de Catalunya. Col\u00b7lecci\u00f3 Nacional de Fotografia, 2022\t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/10.La-preso\u0301_9a_FJM-04767_1.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tJoan Mir\u00f3. &lt;em&gt;L\u2019esperan\u00e7a del condemnat a mort I,&lt;\/em&gt; 9 de febrero de 1974, acr\u00edlico sobre tela. \u00a9 Fundaci\u00f3 Joan Mir\u00f3, Barcelona\t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/kiss.png\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tRabascall, Joan. &lt;em&gt;Atomic &lt;\/em&gt;&lt;br\/&gt;Kiss (Beso at\u00f3mico), 1968. Acr\u00edlico sobre tela 162 x 97 cm. Colecci\u00f3n MACBA. Dep\u00f3sito del Ajuntament de Barcelona. \u00a9 Joan Rabascall, VEGAP, Barcelona&lt;br\/&gt;\t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/3.Lart_3_Ferrer-Miro\u0301_1.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tJoan Ferrer Mir\u00f3, &lt;em&gt;Exposici\u00f3n p\u00fablica de un cuadro&lt;\/em&gt;, c. 1888. Museu Nacional d\u2019Art de Catalunya, Aportaci\u00f3n de la Diputaci\u00f3 de Barcelona, 1906, Dominio p\u00fablico\t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/5.Loposicio\u0301_5_Pons_2.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tJ. Pons, &lt;em&gt;Lina \u00d3dena&lt;\/em&gt;, 1937. Museu Nacional d\u2019Art de Catalunya, Procedente de la \u00abExposici\u00f3 Internacional\u00bb de Par\u00eds, 1937, \u00a9 El autor o sus herederos\t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><\/div><\/div>\t\t\t<script type=\"text\/javascript\">\n\t\t\t\tjQuery(document).ready(function ($) {\n\t\t\t\t\tif( typeof jQuery('.ult-carousel-35968836646a1116e2971d9').slick == \"function\"){\n\t\t\t\t\t\t$('.ult-carousel-35968836646a1116e2971d9').slick({dots: true,autoplay: true,autoplaySpeed: \"5000\",speed: \"300\",infinite: true,arrows: true,nextArrow: '<button type=\"button\" role=\"button\" aria-label=\"Next\" style=\"color:#333333; font-size:20px;\" class=\"slick-next default\"><i class=\"ultsl-arrow-right6\"><\/i><\/button>',prevArrow: '<button type=\"button\" role=\"button\" aria-label=\"Previous\" style=\"color:#333333; font-size:20px;\" class=\"slick-prev default\"><i class=\"ultsl-arrow-left6\"><\/i><\/button>',slidesToScroll:4,slidesToShow:4,swipe: true,draggable: true,touchMove: true,pauseOnHover: true,pauseOnFocus: false,centerMode: true,adaptiveHeight: true,responsive: [\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t  breakpoint: 1026,\n\t\t\t\t\t\t\t  settings: {\n\t\t\t\t\t\t\t\tslidesToShow: 4,\n\t\t\t\t\t\t\t\tslidesToScroll: 4,  \n\t\t\t\t\t\t\t  }\n\t\t\t\t\t\t\t},\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t  breakpoint: 1025,\n\t\t\t\t\t\t\t  settings: {\n\t\t\t\t\t\t\t\tslidesToShow: 1,\n\t\t\t\t\t\t\t\tslidesToScroll: 1\n\t\t\t\t\t\t\t  }\n\t\t\t\t\t\t\t},\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t  breakpoint: 760,\n\t\t\t\t\t\t\t  settings: {\n\t\t\t\t\t\t\t\tslidesToShow: 1,\n\t\t\t\t\t\t\t\tslidesToScroll: 1\n\t\t\t\t\t\t\t  }\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t],pauseOnDotsHover: true,customPaging: function(slider, i) {\n                   return '<i type=\"button\" style= \"color:#333333;\" class=\"ultsl-radio-unchecked\" data-role=\"none\"><\/i>';\n                },});\n\t\t\t\t\t}\n\t\t\t\t});\n\t\t\t<\/script>\n\t\t\t[\/vc_column][\/vc_row][vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbgrid\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb z_index=\u00bb\u00bb][vc_column][vc_separator type=\u00bbnormal\u00bb thickness=\u00bb1&#8243; up=\u00bb94&#8243; color=\u00bb#000000&#8243; down=\u00bb64&#8243;][\/vc_column][\/vc_row][vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbgrid\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb z_index=\u00bb\u00bb css=\u00bb.vc_custom_1739778989055{margin-bottom: 94px !important;}\u00bb][vc_column width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-negro orientation-false\" style=\"\" id=\"el-museo-el-poder-y-las-disidencias\">\n        <h2 class=\"fade-in\">EL MUSEO: EL PODER Y LAS DISIDENCIAS<\/h2><\/div>    <div class=\"block_quote color-negro fade-in\">\n        <div class=\"image_holder\">\n                    <img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/05\/josepmariaminguet.png\" alt=\"Joan Maria Minguet\">\n                <\/div>\n        <div class=\"block_quote_content\">\n                            <p class=\"title\">Joan Maria Minguet<\/p>\n                                        <p>Profesor retirado del Departamento de Arte y Musicolog\u00eda de la Universidad Aut\u00f3noma de Barcelona. Cr\u00edtico de arte y comisario de exposiciones.<\/p>\n                        <div class=\"social-links\">\n                                    <a href=\"https:\/\/www.instagram.com\/joanm.minguet\/\" target=\"_blank\" rel=\"nofollow\"><i class=\"fi fi-brands-instagram\"><\/i><\/a>\n                                                                                    <a href=\"https:\/\/x.com\/jminguetb\" target=\"_blank\" rel=\"nofollow\"><i class=\"fi fi-brands-twitter-alt\"><\/i><\/a>\n                                                                            <\/div>\n        <\/div>\n    <\/div>\n    [\/vc_column][vc_column width=\u00bb1\/2&#8243;][vc_column_text css=\u00bb\u00bb]Las im\u00e1genes no hablan por s\u00ed mismas. Haciendo una interpretaci\u00f3n interesada de \u201cla paradoja del gato\u201d del f\u00edsico Erwin Schr\u00f6dinger, las obras de arte no existen hasta que alguien las observa y se pregunta algo al respecto. Si no hay preguntas, y aceptamos que aquella imagen tiene el poder aut\u00f3nomo de explicarse por s\u00ed misma, convertimos al observador en un ser secuestrado y el arte, en cosm\u00e9tica.<\/p>\n<p>Las im\u00e1genes no hablan por s\u00ed mismas, responden a las preguntas que les hacemos, en cada momento y en cada contexto. Y el museo es un contexto institucional que, bajo una apariencia neutral, iguala pol\u00edticamente todos los mensajes \u2014todas las interpretaciones, sucesivas y coet\u00e1neas\u2014 que las im\u00e1genes pueden ofrecer. En el museo, el tiempo se detiene y pasa a estar controlado por la instituci\u00f3n, aunque, a veces, la instituci\u00f3n no quiera.<\/p>\n<p>Este proyecto propone algunas lecturas a partir de la hip\u00f3tesis de la neutralidad imposible del museo. Un conjunto de obras procedentes de la Xarxa de Museus d\u2019Art de Catalunya que piden que el observador elija una interpretaci\u00f3n: entre el poder y la disidencia, entre el ejercicio del poder y el arte que se ha mostrado cr\u00edtico con \u00e9l. Que el observador abra la caja y decida si el gato de Schr\u00f6dinger est\u00e1 vivo o muerto.[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbgrid\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1774433770254{padding-top: 120px !important;padding-bottom: 0px !important;background-color: #000000 !important;}\u00bb z_index=\u00bb\u00bb el_class=\u00bbrow-reverse-res\u00bb][vc_column width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"el-ejercicio-del-poder-los-que-mandan-y-los-que-han-mandado\">\n        <h2 class=\"fade-in\">EL EJERCICIO DEL PODER. LOS QUE MANDAN Y LOS QUE HAN MANDADO<\/h2><\/div>[vc_column_text css=\u00bb.vc_custom_1773141562769{margin-bottom: 40px !important;}\u00bb el_class=\u00bbfont-gran color-blanc fade-in\u00bb]Los museos acumulan en sus salas rastros de aquellos que han mandado. Y de los que mandan ahora: en las salas, o, si esos mandatarios han ca\u00eddo en desgracia, en los almacenes. En realidad, algunas im\u00e1genes son confusas. \u00bfQu\u00e9 hacen all\u00ed esas obras? Algunos de los prop\u00f3sitos con los que nacieron, fuera a favor o en contra del poder, quiz\u00e1s se hayan desvanecido. La representaci\u00f3n del poder ha sido tradicionalmente sumisa, pero las im\u00e1genes dependen de la mirada del observador.<\/p>\n<p>En los almacenes de los museos catalanes encontramos, por ejemplo, monedas, bustos y retratos del dictador Franco. Algunas ideolog\u00edas quiz\u00e1s las querr\u00edan recuperar para hacer valer el fascismo al que representan. Y de aqu\u00ed para atr\u00e1s, m\u00e1s mandatarios. Y m\u00e1s mandatarios, de aqu\u00ed o de all\u00e1, reales o imaginarios. \u00bfQu\u00e9 hacemos con tanto poder man\u00edaco, con lo que representan, con los artistas que hicieron signos de ellos? \u00bfQu\u00e9 hacemos con nosotros, que lo observamos?[\/vc_column_text][\/vc_column][vc_column width=\u00bb2\/12&#8243;][\/vc_column][vc_column width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11338&#8243; img_size=\u00bb390&#215;800&#8243; css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876077766{margin-top: 20px !important;padding-bottom: 80px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in m1-top-res color-blanc\u00bb]Baldomer Gili Roig. <em>Alfonso XIII<\/em>, 1905. Oli sobre tela, 220 x 110 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 0334. Donaci\u00f3 de la Diputaci\u00f3 de Lleida, 1917[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbgrid\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1774433803195{padding-bottom: 80px !important;background-color: #000000 !important;}\u00bb z_index=\u00bb\u00bb][vc_column width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11778&#8243; img_size=\u00bblarge\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778683368970{margin-top: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in m1-top-res color-blanc\u00bb]Jordi Jov\u00e9. <em>El caballo es un buen amigo<\/em>, 1987. Pintura metalizada, acr\u00edlico y guaix sobre papel, 60 x 39 cm.\u00a0Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 0954. Cessi\u00f3n de l&#8217;Ajuntament de Lleida, 1987[\/vc_column_text][\/vc_column][vc_column width=\u00bb2\/3&#8243;][vc_single_image image=\u00bb11781&#8243; img_size=\u00bblarge\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876806521{margin-top: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in m1-top-res color-blanc\u00bb]Ignasi Prat. <em>El mundo de los vencedores<\/em> (Pazo de Meir\u00e1s, Sada), 2014. Fotografia digital color, 78 x 110 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 5009. Dip\u00f2sit de la Generalitat de Catalunya. Col\u00b7lecci\u00f3 Nacional de Fotografia, 2022[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbfull_width\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1774433826879{padding-top: 80px !important;padding-bottom: 100px !important;background-color: #000000 !important;}\u00bb z_index=\u00bb\u00bb][vc_column width=\u00bb1\/6&#8243; css=\u00bb.vc_custom_1773143221514{padding-right: 0px !important;padding-left: 0px !important;}\u00bb]<div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/4.Nicolas-Hitler.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tNicol\u00e1s Mart\u00ednez Lage, NIKO. <em>Adolf Hitler<\/em>, 1950-1981. Retolador i guaix sobre cartolina, 63,4 x 42,5 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 1041. Donaci\u00f3n de la Familia Mart\u00ednez Andrea, 1993\t\t\t<\/p>\n\t\t\t<\/div>\n\t<\/div>[\/vc_column][vc_column width=\u00bb1\/6&#8243; css=\u00bb.vc_custom_1773143618696{padding-right: 0px !important;padding-left: 0px !important;}\u00bb]<div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/4.2.Nicolas-alfonsoXIII.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tNicol\u00e1s Mart\u00ednez Lage, NIKO. <em>Alfonso XIII<\/em>, 1950-1981. Rotulador y guaix sobre cartulina, 56,2 x 49,5 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 1026. Donaci\u00f3n de la Familia Mart\u00ednez Andrea, 1993\t\t\t<\/p>\n\t\t\t<\/div>\n\t<\/div>[\/vc_column][vc_column width=\u00bb1\/6&#8243; css=\u00bb.vc_custom_1773143628872{padding-right: 0px !important;padding-left: 0px !important;}\u00bb]<div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/4.3.Nicolas-fidelcastro.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tNicol\u00e1s Mart\u00ednez Lage, NIKO. <em>Fidel Castro<\/em>, 1950-1981. L\u00e1piz y rotulador sobre cartulina, 67,2 x 40,2 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 1037. Donaci\u00f3n de la Familia Mart\u00ednez Andrea, 1993\t\t\t<\/p>\n\t\t\t<\/div>\n\t<\/div>[\/vc_column][vc_column width=\u00bb1\/6&#8243; css=\u00bb.vc_custom_1773143639435{padding-right: 0px !important;padding-left: 0px !important;}\u00bb]<div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/4.5.Nicolas-franco.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tNicol\u00e1s Mart\u00ednez Lage, NIKO. <em>Francisco Franco<\/em>, 1950-1981. Rotulador sobre cartulina, 31,5 x 23,4 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 1053. Donaci\u00f3n de la Familia Mart\u00ednez Andrea, 1993\t\t\t<\/p>\n\t\t\t<\/div>\n\t<\/div>[\/vc_column][vc_column width=\u00bb1\/6&#8243; css=\u00bb.vc_custom_1773143647144{padding-right: 0px !important;padding-left: 0px !important;}\u00bb]<div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/4.4.Nicolas-franco.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tNicol\u00e1s Mart\u00ednez Lage, NIKO. <em>Francisco Franco<\/em>, 1950-1981. Rotulador sobre cartulina, 31,5 x 23,4 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 1053. Donaci\u00f3n de la Familia Mart\u00ednez Andrea, 1993\t\t\t<\/p>\n\t\t\t<\/div>\n\t<\/div>[\/vc_column][vc_column width=\u00bb1\/6&#8243; css=\u00bb.vc_custom_1773143654457{padding-right: 0px !important;padding-left: 0px !important;}\u00bb]<div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/4.6.Nicolas-lenin.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tNicol\u00e1s Mart\u00ednez Lage, NIKO. <em>Lenin<\/em>, 1950-1981. Retolador i guaix sobre cartolina, 65,6 x 49,6 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 1033 Donaci\u00f3 de la Fam\u00edlia Mart\u00ednez Andrea, 1993\t\t\t<\/p>\n\t\t\t<\/div>\n\t<\/div>[\/vc_column][\/vc_row][vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbfull_width\u00bb header_style=\u00bblight\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb z_index=\u00bb\u00bb css=\u00bb.vc_custom_1774433841492{padding-top: 80px !important;padding-bottom: 80px !important;background-color: #000000 !important;}\u00bb anchor=\u00bbfoc_section\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1773225325802{padding-bottom: 40px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb11370&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876607609{margin-top: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in m1-top-res color-blanc\u00bb]Toni Prim. <em>Prohibido pegar carteles. Lleida <\/em>, 1976. Fotografia en blanc i negre. C\u00f2pia moderna del negatiu original, 18 x 28 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 4840. Dip\u00f2sit de la Generalitat de Catalunya. Col\u00b7lecci\u00f3 Nacional de Fotografia, 2020[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb11397&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774875916528{margin-top: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in m1-top-res color-blanc\u00bb]Vilanova, Oriol, <em>Forjadores de Imperio, <\/em>2009. Fotografies de Jal\u00f3n \u00c1ngel, ca. 1939. Litograf\u00eda sobre papel. 30 postales: 14,3 x 9 cm c\/u. Colecci\u00f3n MACBA. Consorcio MACBA<br \/>\n\u00a9 Oriol Vilanova<\/p>\n<div id=\"gtx-trans\" style=\"position: absolute; left: -46px; top: -10px;\">\n<div class=\"gtx-trans-icon\"><\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774433433011{margin-bottom: 120px !important;}\u00bb][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11390&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778683389025{margin-top: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in m1-top-res color-blanc\u00bb]<em>La <\/em>Serenidad, <em>Lambert Escaler<\/em>, 1874 &#8211; 1957, terracota policromada Reg. 4223. Museu Abell\u00f3 . Mollet del Vall\u00e8s<\/p>\n<div id=\"gtx-trans\" style=\"position: absolute; left: 48px; top: -10px;\">\n<div class=\"gtx-trans-icon\"><\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11384&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876562739{margin-top: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in m1-top-res color-blanc\u00bb]Primitivo Mart\u00edn. <em>Aspirina Mao<\/em>, 1979. Fotograf\u00eda dentro de pl\u00e1stico Aspirina, 1,8 x 1,8 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 4438. Donaci\u00f3 de Luc\u00eda Mart\u00edn Carrero, 2019[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11387&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778683380834{margin-top: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in m1-top-res color-blanc\u00bb]Evarist Vall\u00e8s. <em>Nadal 71734, 1965<\/em>. T\u00e9cnica mixta. ME 1609. Museu de l\u2019Empord\u00e0[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbfull_width\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1774348099233{background: #000000 url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/sessiopobresa.jpg?id=11398) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}\u00bb z_index=\u00bb\u00bb el_class=\u00bbbackground-top-center\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1773393915131{margin-top: 0px !important;padding-top: 120px !important;padding-bottom: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"el-ejercicio-del-poder-pobreza-y-caridad\">\n        <h2 class=\"fade-in\">EL EJERCICIO DEL PODER. POBREZA Y CARIDAD<\/h2><\/div>[vc_column_text css=\u00bb.vc_custom_1773225947567{margin-top: 24px !important;margin-bottom: 40px !important;}\u00bb el_class=\u00bbfont-gran color-blanc fade-in\u00bb]La m\u00e1xima expresi\u00f3n del poder es la riqueza, la ostentaci\u00f3n econ\u00f3mica. Es en el lujo, en la desigualdad, que el poder se manifiesta; por ejemplo, en la decoraci\u00f3n de palacios e iglesias. Fuera de aqu\u00ed, la exuberancia econ\u00f3mica no es f\u00e1cil de encontrar en la historia del arte, especialmente en \u00e9poca contempor\u00e1nea.<\/p>\n<p>En cambio, hay muchas im\u00e1genes que representan la otra cara de la riqueza: la pobreza, dando sentido al dicho de Samuel Beckett, \u00abA quien nada tiene le est\u00e1 prohibido no aceptar con gusto la mierda\u00bb. Otra expresi\u00f3n tem\u00e1tica de la riqueza es la caridad, porque la caridad solo se entiende desde la desigualdad de la sociedad: quien tiene se desprende de sus sobras.<\/p>\n<p>El arte ha acudido muy a menudo a la pobreza (y a la caridad), pero los pobres casi nunca han sido los que se han representado a s\u00ed mismos.<\/p>\n<div id=\"gtx-trans\" style=\"position: absolute; left: 353px; top: 182px;\">\n<div class=\"gtx-trans-icon\"><\/div>\n<\/div>\n<p>[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1778673177461{margin-bottom: 60px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in\u00bb]Josep Sancho Piqu\u00e9. <em>Caritat Cristiana<\/em>, 1898, \u00f3leo sobre tela. MAMT NIG 163 Museu d\u2019Art Modern de Tarragona[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1769682637810{padding-top: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb11404&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1773226836292{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778673487145{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc\u00bb]Bernat Martorell, <em>Santa Luc\u00eda repartiendo limosna<\/em>, c. 1435. Museu Nacional d\u2019Art de Catalunya, Dep\u00f3sito de Antonio Gallardo Ballart, 2015, Dominio p\u00fablico[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb11407&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1773226856850{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774875948044{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc\u00bb]Clemente Salazar. <em>Bohemio<\/em>, 1926. Oli sobre tela, 195 x 96 cm.<br \/>\nColecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 0315<br \/>\nDonaci\u00f3n de Clemente Salazar, 1926[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb11410&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1773226920441{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778673368463{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc\u00bb]Alexander Fisher, <em>La Caritat,<\/em> 1907, esmalte pintado sobre metal. MADB 1593. Museu del Disseny-DHub[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb11413&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1773226964964{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778673526127{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc\u00bb]Feliu Elias, <em>La caridad cristiana<\/em>, 1910. Museu Nacional d\u2019Art de Catalunya, Adquisici\u00f3n de la colecci\u00f3n Agell, 1963, \u00a9 El autor o sus herederos[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1769682637810{padding-top: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11416&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1773227238032{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778673194488{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc\u00bb]Josep Sancho Piqu\u00e9. <em>Comiendo de basuras<\/em>, 1942, dibujo a la tinta y l\u00e1piz sobre papel blanco. MAMT NIG 903 Museu d\u2019Art Modern de Tarragona<\/p>\n<div id=\"gtx-trans\" style=\"position: absolute; left: 259px; top: 166px;\">\n<div class=\"gtx-trans-icon\"><\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11419&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1773227265986{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778673501452{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc\u00bb]Isidre Nonell, <em>Dos gitanas<\/em>, 1903. Museu Nacional d\u2019Art de Catalunya, Adquisici\u00f3n de la colecci\u00f3n Plandiura, 1932, Dominio p\u00fablico[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11422&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1773227302221{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774875562040{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc\u00bb]Abad, Francesc. <em>El Campo de la Bota<\/em>, 2004, Materiales diversos. Dimensiones variables. Colecci\u00f3n MACBA. Consorcio MACBA. Donaci\u00f3n del artista<br \/>\n\u00a9 Francesc Abad, VEGAP, Barcelona. \u00a9 De la fotograf\u00eda: Joan Roca de Vi\u00f1als<br \/>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774434085854{padding-top: 80px !important;padding-bottom: 120px !important;}\u00bb][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11787&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774434050311{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778673540479{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc\u00bb]Josep Bernat Flaugier, <em>Un santo distribuye limosna<\/em>, c. 1800-1812. Nacional d\u2019Art de Catalunya, Legado de Francesc Esteve Sans, 1907, Dominio p\u00fablico[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb2\/3&#8243;][vc_single_image image=\u00bb11434&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1773227621533{margin-bottom: 20px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876418588{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc\u00bb]Ton Sirera. <em>El Canyeret<\/em>, Lleida, c. 1950. Fotograf\u00eda en blanco y negro, copia de \u00e9poca, 30 x 40 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 3490. Donaci\u00f3 de Pere Sirera, 2013 \u00a9Arxiu Ton Sirera, Lleida.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbfull_width\u00bb header_style=\u00bblight\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb bg_type=\u00bbgrad\u00bb z_index=\u00bb\u00bb css=\u00bb.vc_custom_1770799622189{padding-top: 120px !important;padding-bottom: 94px !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}\u00bb background_color=\u00bb#B3B3B300&#8243; bg_grad=\u00bbbackground: -webkit-gradient(linear, left top, left bottom, color-stop(0%, #E3E3E3), color-stop(100%, #FFFFFF));background: -moz-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: -webkit-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: -o-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: -ms-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1773239566081{padding-bottom: 00px !important;}\u00bb][vc_column_inner width=\u00bb2\/3&#8243;]<div class=\"comissionariat-title color-negro orientation-false\" style=\"\" id=\"los-instrumentos-del-poder-la-policia\">\n        <h2 class=\"fade-in\">LOS INSTRUMENTOS DEL PODER. LA POLIC\u00cdA<\/h2><\/div>[vc_column_text css=\u00bb.vc_custom_1774434239052{margin-bottom: 40px !important;}\u00bb el_class=\u00bbfont-gran fade-in width-80&#8243;]La representaci\u00f3n visual de la polic\u00eda, de todas las polic\u00edas del mundo, de lo que el poder llama \u201clas fuerzas del orden\u201d, no genera la misma reacci\u00f3n en todos los que la miran. Todo depende de la predisposici\u00f3n ideol\u00f3gica del observador. Aqu\u00ed debemos tener en cuenta la alerta del fil\u00f3sofo franc\u00e9s Jacques Ranci\u00e8re: para ver injusticia en una imagen, esto es, en una representaci\u00f3n, antes es necesario que el individuo sea consciente de aquella injusticia en la vida real.<\/p>\n<p>Quien no vea represi\u00f3n injusta en las obras de Eul\u00e0lia Grau o de Esther Remacha; quien no se incomode con un cacheo policial representado a finales del siglo XIX; quien no se estremezca con los guardias a caballo de Samarra\u2026 tendr\u00e1 una mirada donde el arte se pondr\u00e1 por delante de la vida. La fotograf\u00eda de Paula Art\u00e9s de una comisar\u00eda de la Guardia Civil espa\u00f1ola nos sit\u00faa en la ambivalencia de la imagen: puede ser asumida, tambi\u00e9n, por las ideolog\u00edas m\u00e1s ultraderechistas. No, las im\u00e1genes no hablan por s\u00ed solas.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11439&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1773227955686{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778673560104{padding-bottom: 10px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Josep Llu\u00eds Pellicer, <em>Registro polic\u00edaco<\/em>, 1886. Museu Nacional d\u2019Art de Catalunya, Adquisici\u00f3n de la colecci\u00f3n Casellas, 1911, Dominio p\u00fablico[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1769682637810{padding-top: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb11450&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774274929731{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876096791{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Antoni Samarra. <em>Gu\u00e0rdies<\/em>, c. 1913. Carb\u00f3 sobre paper, 21 x 31 cm.<br \/>\nColecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 0347<br \/>\nDonaci\u00f3n de Francisca i Maria Samarra, 1929[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb11453&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1773229022095{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774875871767{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Grau, Eul\u00e0lia, <em>Public Order<\/em>, 1978. R.5061\/ R.2794. Impresi\u00f3n \u00f3fset sobre papel<br \/>\n88,5 x 63,5 cm. Colecci\u00f3n MACBA. Consorcio MACBA. Dep\u00f3sito del artista. \u00a9 Eul\u00e0lia Grau, VEGAP, Barcelona<\/p>\n<p>&nbsp;<\/p>\n<div id=\"gtx-trans\" style=\"position: absolute; left: 205px; top: 38px;\">\n<div class=\"gtx-trans-icon\"><\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1769682637810{padding-top: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11790&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774875380681{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Maniqu\u00ed de cabeza con sombrero de Guardia Civil 4604. Museu Abell\u00f3. Mollet del Vall\u00e8s[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb2\/3&#8243;][vc_single_image image=\u00bb11445&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876694294{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Paula Art\u00e9s. <em>Fuerzas y Cuerpos: 41\u00ba24\u201920.9\u2019\u2019N 2\u00ba09\u201952.5\u2019\u2019E<\/em>, 2016. Fotografia color, 47 x 40 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 4877. Dip\u00f2sit de la Generalitat de Catalunya. Col\u00b7lecci\u00f3 Nacional de Fotografia, 2021[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1773230931469{padding-top: 60px !important;}\u00bb][vc_column_inner width=\u00bb2\/3&#8243;][vc_single_image image=\u00bb11579&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774256546852{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876889606{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Esther Remacha. <em>Luchadoras por la tierra 3<\/em>, 1976-1977. Fotograf\u00eda blanco y negro, 30 x 40 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 5022. Dip\u00f2sit de la Generalitat de Catalunya. Col\u00b7lecci\u00f3 Nacional de Fotografia, 2022[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11442&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778682186609{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Francesc Catal\u00e0-Roca, \u00ab<em>Publicitat Barcelona<\/em>\u00ab, 1953. Museu de Valls[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbfull_width\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1774435421106{background: #000000 url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/preso-bg-4.jpg?id=11806) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}\u00bb z_index=\u00bb\u00bb el_class=\u00bbbackground-top-center\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1773393915131{margin-top: 0px !important;padding-top: 120px !important;padding-bottom: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"los-instrumentos-del-poder-la-carcel\">\n        <h2 class=\"fade-in\">LOS INSTRUMENTOS DEL PODER. LA C\u00c1RCEL<\/h2><\/div>[vc_column_text css=\u00bb.vc_custom_1774434979814{margin-top: 24px !important;margin-bottom: 40px !important;}\u00bb el_class=\u00bbfont-gran color-blanc fade-in\u00bb]La c\u00e1rcel es una instancia coercitiva que han utilizado todos los poderes. Y que lo utilizan todav\u00eda. Es un dispositivo punitivo donde la libertad del individuo queda cancelada.<\/p>\n<p>En su representaci\u00f3n visual, sin embargo, hay unas lecturas a menudo rom\u00e1nticas de la tragedia que supone el cautiverio: recordemos los grabados de Piranesi (o aquella R<em>onda de los presos de Van Gogh<\/em>, que reinterpretaba un grabado anterior de Gustave Dor\u00e9). Tambi\u00e9n Mari\u00e0 Fortuny y Enric C. Ricart dieron una visi\u00f3n edulcorada de la vida del preso. A menudo, el arte ha estetizado la represi\u00f3n, el castigo infligido por el poder, como en los \u201cajusticiados\u201d de Josep Sancho.<\/p>\n<p>Sin embargo, la existencia de los presos (especialmente, los pol\u00edticos) ha sido vista desde posiciones aparentemente comprometidas, como demuestran el homenaje al preso pol\u00edtico desconocido de Camil F\u00e0bregas \u2014pensada muy probablemente para participar en el concurso internacional <em>The Unknown Political Prisoner<\/em> que hab\u00eda convocado la Tate de Londres\u2014 o el tr\u00edptico <em>La esperanza del condenado a muerte<\/em>, de Joan Mir\u00f3, en homenaje al anarquista Salvador Puig Antich.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1778673576545{margin-bottom: 40px !important;padding-left: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Giovanni Battista Piranesi, <em>Prisi\u00f3n<\/em>, c. 1760. Museu Nacional d\u2019Art de Catalunya, Aportaci\u00f3n de la Diputaci\u00f3 de Barcelona, 1906, Dominio p\u00fablico[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774435549401{padding-bottom: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/3&#8243; css=\u00bb.vc_custom_1773240770463{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb11811&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774435531250{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778673597626{margin-bottom: 40px !important;padding-left: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Josep Planella, <em>Interior de una prisi\u00f3n (escenograf\u00eda)<\/em>, c. 1840-1886. Museu Nacional d\u2019Art de Catalunya, Adquisici\u00f3n de la colecci\u00f3n Casellas, 1911, Dominio p\u00fablico[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243; css=\u00bb.vc_custom_1773240757292{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb11814&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774435525501{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778675476524{margin-right: 20px !important;margin-bottom: 40px !important;padding-left: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Mari\u00e0 Fortuny, <em>Prisionero en la prisi\u00f3n (anverso) \/ Fragmento de escena y otros croquis (reverso)<\/em>, c. 1856-1858. Nacional d\u2019Art de Catalunya, Legado de Francesc Esteve Sans, 1907, Dominio p\u00fablico[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243; css=\u00bb.vc_custom_1773240726127{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb11471&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774435436125{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778666265505{margin-bottom: 40px !important;padding-left: 10px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Josep Casanovas Clerch. <em>Tormento de un prisionero<\/em>, \u00faltimo cuarto del siglo XIX. \u00d3leo sobre tela, 1,97 x 2,75 m. N\u00fam. de inv.: 948. 948. Museu d\u2019Art de Sabadell[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbcenter\u00bb css_animation=\u00bb\u00bb][vc_column_inner width=\u00bb2\/3&#8243;][vc_single_image image=\u00bb11805&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774435108656{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778673208654{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda fade-in color-blanc\u00bb]Josep Sancho Piqu\u00e9. <em>Mirando a los ajusticiados<\/em>, 1897, carb\u00f3n sobre papel. MAMT NIG 239 Museu d\u2019Art Modern de Tarragona[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11591&#8243; img_size=\u00bblarge\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774271420432{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1773241797291{margin-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Claude Arvaud Moisson, Retrat del fil\u00f3sof franc\u00e8s R. Brasillach, (c. 1944), Museu de Valls.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbcenter\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774271427149{padding-bottom: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11601&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774256931586{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778681575007{margin-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]<\/p>\n<p style=\"text-align: left;\">Camil Fa\u0300bregas Dalmau. <em>Proyecto para el monumento al preso pol\u00edtico desconocido<\/em> 1945. 1. Madera y piedra, 51 x 30 x 30 cm \/ peana 30 x 30 cm. N\u00fam. de inv.: 1930.<\/p>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11607&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774257292825{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778681578556{margin-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]<\/p>\n<p style=\"text-align: left;\">Carlos Gim\u00e9nez. <em>Espa\u00f1a, Una, Grande y Libre (Carne de c\u00e1rcel, original 1)<\/em>, 1990. Tinta xinesa sobre cartolina, 45,7 x 33 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 5015.01. Dip\u00f2sit de la Generalitat de Catalunya. Col\u00b7lecci\u00f3 Nacional del C\u00f2mic i la Il\u00b7lustraci\u00f3, 2022<\/p>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11597&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774256843569{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778681581602{margin-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]C. Ricart. <em>La vida es suen\u0303o<\/em>. Museu V\u00edctor Balaguer[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbfull_width\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774436167733{padding-bottom: 120px !important;}\u00bb][vc_column_inner width=\u00bb1\/3&#8243; css=\u00bb.vc_custom_1773240770463{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb11610&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774257332651{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778666120481{margin-bottom: 40px !important;padding-left: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Joan Mir\u00f3. <em>L\u2019esperan\u00e7a del condemnat a mort I<\/em>, 9 de febrero de 1974, acr\u00edlico sobre tela. \u00a9 Fundaci\u00f3 Joan Mir\u00f3, Barcelona[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243; css=\u00bb.vc_custom_1773240757292{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb11613&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774257338693{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778666126723{margin-bottom: 40px !important;padding-left: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Joan Mir\u00f3. <em>L\u2019esperan\u00e7a del condemnat a mort II<\/em>, 9 de febrero de 1974, acr\u00edlico sobre tela. \u00a9 Fundaci\u00f3 Joan Mir\u00f3, Barcelona[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243; css=\u00bb.vc_custom_1773240726127{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb11616&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774257455721{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778666132675{margin-bottom: 40px !important;padding-left: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Joan Mir\u00f3. <em>L\u2019esperan\u00e7a del condemnat a mort III<\/em>, 9 de febrero de 1974, acr\u00edlico sobre tela. \u00a9 Fundaci\u00f3 Joan Mir\u00f3, Barcelona[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbfull_width\u00bb header_style=\u00bblight\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb bg_type=\u00bbgrad\u00bb z_index=\u00bb\u00bb css=\u00bb.vc_custom_1774436126432{padding-bottom: 94px !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}\u00bb background_color=\u00bb#B3B3B300&#8243; bg_grad=\u00bbbackground: -webkit-gradient(linear, left top, left bottom, color-stop(0%, #E3E3E3), color-stop(100%, #FFFFFF));background: -moz-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: -webkit-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: -o-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: -ms-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbfull_width\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774436155455{padding-top: 120px !important;padding-right: 20px !important;padding-bottom: 20px !important;padding-left: 20px !important;background: #000000 url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/guerra_2.jpg?id=11821) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}\u00bb][vc_column_inner][vc_column_text css=\u00bb.vc_custom_1774876486387{margin-top: 600px !important;padding-bottom: 40px !important;padding-left: 40px !important;}\u00bb el_class=\u00bbllegenda fade-in color-blanc\u00bb]Agust\u00ed Centelles. <em>Sin t\u00edtulo (Bombardeo de Lleida, \u00e1rboles del cementerio)<\/em>, 1937. Fotografia en blanc i negre, 23 x 34 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 4332. MECD, CDMH, Archivo Centelles, 2017[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774435655985{padding-top: 120px !important;padding-bottom: 80px !important;}\u00bb][vc_column_inner width=\u00bb2\/3&#8243;]<div class=\"comissionariat-title color-negro orientation-false\" style=\"\" id=\"los-instrumentos-del-poder-la-guerra\">\n        <h2 class=\"fade-in\">LOS INSTRUMENTOS DEL PODER. LA GUERRA<\/h2><\/div>[vc_column_text css=\u00bb.vc_custom_1773313825645{margin-bottom: 40px !important;}\u00bb el_class=\u00bbfont-gran width-80 fade-in\u00bb]La historia de la visualidad (de la pintura al cine, de la fotograf\u00eda a los juegos virtuales) ha dedicado atenci\u00f3n especial a las guerras, las reales y las de ficci\u00f3n. Y, a su vez, de forma inveros\u00edmil, ha efectuado retratos y homenajes a los impulsores de estas guerras.<\/p>\n<p>Las guerras son provocadas y alimentadas por los poderes instituidos; el sistema se retroalimenta a trav\u00e9s de los combates donde siempre mueren los inocentes. Quiz\u00e1s m\u00e1s que nunca, es aqu\u00ed donde el observador debe tomar partido, porque las guerras del pasado son las guerras de ahora, y los damnificados son los mismos.<\/p>\n<p>Las im\u00e1genes de Agust\u00ed Centelles, por aquella huella de la realidad que ofrece la fotograf\u00eda, se acompa\u00f1an de miradas hechas por medio del dibujo. La lectura del arte contempor\u00e1neo (Torres, Rabascall, Solsona\u2026) nos acerca a la lectura cr\u00edtica de la guerra desde el simbolismo del arte. \u00bfO no?[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11623&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774257664239{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876501863{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Agust\u00ed Centelles. <em>Sin t\u00edtulo (Bombardeo de Lleida, familiares al cementerio)<\/em>, 1937. Fotograf\u00eda en blanco y negro, 34 x 23 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 4337. MECD, CDMH, Archivo Centelles, 2017[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbfull_width\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb][vc_column_inner width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1773392476113{padding-right: 0px !important;padding-left: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 640px; \"><div class=\"comissionariat-image background-bottom-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/guerra_1_2.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    Josep Sancho Piqu\u00e9. <em>Horrors d&#8217;una guerra: \u00abLa gresca de la revoluci\u00f3 1936\u00bb<\/em>, dibujo a la tinta sobre papel blanco. MAMT NIG 894 Museu d\u2019Art Modern de Tarragona\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1774435587685{padding-right: 0px !important;padding-left: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 640px; \"><div class=\"comissionariat-image background-right-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/guerra_2-2.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    Ismael Smith, <em>Alegor\u00eda de la Primera Guerra Mundial,<\/em> c. 1918-1919. Museu Nacional d\u2019Art de Catalunya, Donaci\u00f3n del artista, 1955, \u00a9 El autor o sus herederos\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1769682637810{padding-top: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb11632&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774257955087{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778673113356{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Josep Bartol\u00ed. <em>Les cues de la guerra<\/em>, c.1939, tinta sobre papel. ME 1294. Museu de l\u2019Empord\u00e0<\/p>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb11635&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774257965065{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778675460947{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Josep Llu\u00eds Pellicer, <em>Toma del alto del Centinela<\/em>, 1876. Museu Nacional d\u2019Art de Catalunya, Adquisici\u00f3n, 1908, Dominio p\u00fablico[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1773393835695{padding-top: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/12&#8243;][\/vc_column_inner][vc_column_inner width=\u00bb5\/12&#8243;][vc_single_image image=\u00bb11758&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774270928476{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774875771232{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Rabascall, Joan. <em>Atomic Kiss, <\/em>1968. Acr\u00edlic sobre tela, 162 x 97 cm. Col\u00b7lecci\u00f3 MACBA. Dip\u00f2sit de l&#8217;Ajuntament de Barcelona \u00a9 Joan Rabascall, VEGAP, Barcelona[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb5\/12&#8243;][vc_single_image image=\u00bb11644&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774258035697{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774875685309{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Solsona, Alberto, <em>El arte de la guerra<\/em>, 1973, Acr\u00edlico sobre tela. 116 x 89 x 1,5 cm<br \/>\nColecci\u00f3n MACBA. Consorcio MACBA. Donaci\u00f3n Fundaci\u00f3n Almela-Solsona. \u00a9 Fundaci\u00f3n Almela-Solsona<br \/>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/12&#8243;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774350201157{padding-top: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb11827&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774436459364{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774875791471{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Torres, Francesc, <em>Newsweek Series #14, <\/em>1991. Fotograf\u00eda por blanqueo de colorantes sobre poli\u00e9ster. Tr\u00edptico. 170 x 375 cm. Colecci\u00f3n MACBA. Dep\u00f3sito del Ajuntament de Barcelona. Donaci\u00f3n Rafael Tous. \u00a9 Francesc Torres, VEGAP, Barcelona<\/p>\n<div id=\"gtx-trans\" style=\"position: absolute; left: -72px; top: -10px;\">\n<div class=\"gtx-trans-icon\"><\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb11647&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774258042749{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778666172219{padding-bottom: 40px !important;padding-left: 20px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Eneko Las Heras. <em>Di\u00e1logo vs guerra<\/em>, 2007. Impresi\u00f3n digital. ME 2883 Museu de l\u2019Empord\u00e0[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb11650&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774258049604{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778675496210{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Josep Badosa, La gloriosa Aviaci\u00f3n Republicana que tan brillantemente ha actuado en todos los frentes, 1936. Museu Nacional d\u2019Art de Catalunya, Adquisici\u00f3n, 2011, Dominio p\u00fablico[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb11653&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774258055576{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778673290241{padding-right: 20px !important;padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Jaume Sol\u00e9, <em>Retaule Homenatge a Sarajevo<\/em>, 1993, T\u00e9cnica mixta y collage sobre estructura de madera. MAMT NIG 4047 Museu d\u2019Art Modern de Tarragona[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbfull_width\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1774258125316{background: #000000 url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/2.Miquel-Viladrich.velazquez.jpg?id=11654) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}\u00bb z_index=\u00bb\u00bb el_class=\u00bbbackground-top-center\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1773393915131{margin-top: 0px !important;padding-top: 120px !important;padding-bottom: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"los-instrumentos-del-poder-el-arte\">\n        <h2 class=\"fade-in\">LOS INSTRUMENTOS DEL PODER. EL ARTE<\/h2><\/div>[vc_column_text css=\u00bb.vc_custom_1773393945835{margin-top: 24px !important;margin-bottom: 40px !important;}\u00bb el_class=\u00bbfont-gran color-blanc fade-in\u00bb]La teor\u00eda marxista ya marc\u00f3 que la religi\u00f3n, la filosof\u00eda y el arte eran las superestructuras ideol\u00f3gicas que sustentaban la sociedad de clases, el dominio de una sobre las dem\u00e1s. En una palabra: la estructura econ\u00f3mica que genera la desigualdad.<\/p>\n<p>El poder siempre ha utilizado el arte para hacer valer su propio poder: retratos presuntamente mayest\u00e1ticos (los retratos ecuestres son la m\u00e1xima expresi\u00f3n de la autocomplacencia y del uso de los artistas serviles), escenas religiosas destinadas a expandir el miedo de los feligreses, el presunto glamur de todo lo relacionado con el arte\u2026<\/p>\n<p>En el siglo XIX se empieza a poner en cuesti\u00f3n este paradigma. Y, sin embargo, el sistema capitalista lo fagocita todo. Los museos, as\u00ed, encapsulan dentro de sus salas tanto el arte hecho a mayor gloria de los poderes como aquellas obras que hab\u00edan nacido para oponerse a \u00e9l.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1774876052234{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda fade-in color-blanc\u00bb]Miquel Viladrich. <em>El Conde-Duque de Olivares<\/em>, 1908. Oli sobre tela, 154 x 156 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 0326. Proced\u00e8ncia desconeguda[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774258433581{padding-bottom: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/3&#8243; css=\u00bb.vc_custom_1774258467044{padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb11659&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774258408802{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778675521005{margin-right: 20px !important;margin-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Mestre de Ta\u00fcll, <em>\u00c1bside de Sant Climent de Ta\u00fcll<\/em>, c.<br \/>\n1123. Museu Nacional d\u2019Art de Catalunya, Adquisici\u00f3n de la Junta de Museus a la campa\u00f1a de 1919-1923, Dominio p\u00fablico<\/p>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb2\/3&#8243; css=\u00bb.vc_custom_1774258462958{padding-right: 0px !important;}\u00bb][vc_single_image image=\u00bb11662&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774258415088{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778675573177{margin-bottom: 40px !important;padding-left: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Joan Ferrer Mir\u00f3, <em>Exposici\u00f3n p\u00fablica de un cuadro<\/em>, c. 1888. Museu Nacional d\u2019Art de Catalunya, Aportaci\u00f3n de la Diputaci\u00f3 de Barcelona, 1906, Dominio p\u00fablico[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1773313451095{padding-bottom: 80px !important;}\u00bb][vc_column_inner width=\u00bb5\/12&#8243;][vc_single_image image=\u00bb11677&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778675590350{margin-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Josep Llu\u00eds Pellicer, <em>Exposici\u00f3n de arte de 1787<\/em>, segunda mitad del siglo XIX. Museu Nacional d\u2019Art de Catalunya, Adquisici\u00f3n a la \u00abExposici\u00f3 Pellicer\u00bb de Barcelona, 1902, Dominio p\u00fablico[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb3\/12&#8243;][vc_single_image image=\u00bb11668&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1774258878771{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778675600568{margin-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Ramon Mart\u00ed i Alsina, <em>Una sala de exposiciones<\/em>, 1878. Museu Nacional d\u2019Art de Catalunya, Adquisici\u00f3n de la colecci\u00f3n Casellas, 1911, Dominio p\u00fablico[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb4\/12&#8243;][vc_single_image image=\u00bb11671&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774258885585{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778666195025{margin-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Jos\u00e9 Gonz\u00e1lez Bande. <em>El cam\u00ed de la gl\u00f2ria art\u00edstica<\/em>, 1885, \u00f3leo sobre tela. ME 638 \/ Dep\u00f3sito del Museo Nacional del Prado. Museu de l\u2019Empord\u00e0[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbfull_width\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb][vc_column_inner width=\u00bb1\/3&#8243; css=\u00bb.vc_custom_1774259536252{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb11690&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774259998146{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876365122{margin-bottom: 40px !important;padding-left: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Antoni Garcia Lamolla. <em>Cartel<\/em>, c. 1936. T\u00e8mpera sobre paper, 59 x 37,5 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 1513. Donaci\u00f3 de Francisco Crist\u00f2fol, 1999[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243; css=\u00bb.vc_custom_1774259542824{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb11693&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774259992894{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774875497405{margin-bottom: 40px !important;padding-left: 10px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Club 49 (Grup d&#8217;artistes), Borr\u00e0s, Maria Llu\u00efsa. <em>Linterna m\u00e1gica Gomis-Prats: proyecci\u00f3n del Fotoscop: visita a la exposici\u00f3n Mir\u00f3 en la \u201cTate Gallery\u201d de Londres organizada por Roland Penrose<\/em>. 1965. 15,8 x 12,7 cm. Colecci\u00f3n MACBA. Centre d&#8217;Estudis i Documentaci\u00f3. Fondo Maria Llu\u00efsa Borr\u00e0s<br \/>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243; css=\u00bb.vc_custom_1774260140672{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb11686&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774259653300{margin-bottom: 15px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778683442862{margin-bottom: 40px !important;padding-right: 20px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Xifra, Jaume.<em> Morceau d&#8217;art pas encore reconnu <\/em>(Fragmento de arte a\u00fan no reconocido) 1967. Ladrillo y hierro montados sobre estructura de tela y madera. 74 x 63 x 7 cm. Colecci\u00f3n MACBA. Dep\u00f3sito del Ajuntament de Barcelona. \u00a9 Jaume Xifra, VEGAP, Barcelona[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774344462523{margin-bottom: 120px !important;padding-top: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/12&#8243;][\/vc_column_inner][vc_column_inner width=\u00bb10\/12&#8243;][vc_single_image image=\u00bb11696&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774260090431{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778673406667{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda fade-in color-blanc\u00bb]Perejaume, <em>Migdia a Valls<\/em>, 2009. Museu de Valls.<\/p>\n<div id=\"gtx-trans\" style=\"position: absolute; left: -72px; top: -10px;\">\n<div class=\"gtx-trans-icon\"><\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/12&#8243;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbfull_width\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1778666466372{background-image: url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/1.Antoni-Estruch.-Una-manifestacio\u0301-obrera-_-Manifestacio\u0301.jpg?id=11698) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}\u00bb z_index=\u00bb\u00bb el_class=\u00bbbackground-top-center\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1778666460600{margin-top: 0px !important;padding-top: 120px !important;padding-bottom: 110px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"la-oposicion-al-poder\">\n        <h2 class=\"fade-in\">LA OPOSICI\u00d3N AL PODER<\/h2><\/div>[vc_column_text css=\u00bb.vc_custom_1774345259126{margin-top: 24px !important;margin-bottom: 40px !important;}\u00bb el_class=\u00bbfont-gran color-blanc fade-in\u00bb]Quienes han ostentado el poder a lo largo de la historia no han dado permiso para mostrar la oposici\u00f3n a su mandato: si existe esa visualidad disidente es porque, en un momento determinado, esa mirada cr\u00edtica estaba permitida, o viv\u00eda en la clandestinidad y, m\u00e1s tarde, fue asimilada por las instituciones, entre las cuales est\u00e1n los museos.<\/p>\n<p>El arte es ideolog\u00eda. O, dicho de otra forma, los museos no son neutrales. Una vez m\u00e1s, todo acaba dependiendo de la mirada del observador, necesariamente suspicaz, atenta a las manipulaciones de todo orden que se hacen por medio de las representaciones.<\/p>\n<p>Los museos de arte catalanes est\u00e1n llenos de obras que necesitan ser interpretadas por saber de qu\u00e9 lado de la democracia est\u00e1n. \u00bfJugamos?[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1778673415554{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda fade-in color-blanc\u00bb]Antoni Estruch. <em>Una manifestacio\u0301n obrera \/ Manifestacio\u0301n por la Repu\u0301blica<\/em> , 1904. \u00d3leo sobre tela, 141,5 x 201,5 cm. N\u00fam. de inv.:: 1104. Museu d\u2019Art de Sabadell[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbfull_width\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1778666455263{margin-top: 0px !important;padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_column_inner width=\u00bb1\/4&#8243; css=\u00bb.vc_custom_1773392476113{padding-right: 0px !important;padding-left: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 640px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/2.Cardona-Torrandell-manifestacio\u0301_3.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    Cardona Torrendell. <em>Manifestacio\u0301n<\/em>, 1968. Biblioteca-Museu V\u00edctor Balaguer\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243; css=\u00bb.vc_custom_1773392470065{padding-right: 0px !important;padding-left: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 640px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/3.JOAN-ABELLO\u0301-LA-DIADA-1977_3.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    <em>D\u00eda Nacional de Catalu\u00f1a<\/em>, 1977, Joan Abell\u00f3 i Prat, 1922-2008. \u00f3leo sobre tela<br \/>\nReg. D-0003 Familia Abell\u00f3. Museu Abell\u00f3. Mollet del Vall\u00e8s\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243; css=\u00bb.vc_custom_1774437079399{padding-right: 0px !important;padding-left: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 640px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/4.Loposicio\u0301_4_Edo_3.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    Manuel Edo Mosquera, <em>Mineros<\/em>, c 1937. . Museu Nacional d\u2019Art de Catalunya, Procedente de la \u00abExposici\u00f3 Trimestral d&#8217;Arts Pl\u00e0stiques\u00bb de Barcelona, 1938, \u00a9 El autor o sus herederos\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243; css=\u00bb.vc_custom_1774437103001{padding-right: 0px !important;padding-left: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 640px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2026\/03\/9.Joan-Rabascall.-Cultura-de-la-se\u0300rie-Spain-is-different-1975.-MACBA_3.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    Rabascall, Joan. <em>Cultura<\/em> (de la serie Spain is different). 1975, Emulsi\u00f3n fotogr\u00e1fica sobre tela. 102 x 102 x 3 cm, Colecci\u00f3n MACBA. Fundaci\u00f3n MACBA. \u00a9 Joan Rabascall, VEGAP, Barcelona\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774261156859{padding-top: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11842&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bb\u00bb][vc_column_text css=\u00bb.vc_custom_1774263619106{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Miquel Garc\u00eda Membrado. <em>53 Revoluciones<\/em>. Museu d\u2019Art Modern de Tarragona[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11716&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774261641072{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876461505{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]N\u00faria G\u00fcell. <em>Ap\u00e1trida por voluntat propia<\/em>, 2015-2016. Fotografia color, 148,7 x 42 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 4324. Dip\u00f2sit de la Generalitat de Catalunya. Col\u00b7lecci\u00f3 Nacional de Art Contemporani, 2018[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb11719&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774261649535{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876530188{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Primitivo Mart\u00edn. <em>Trilogia Mao<\/em>, 1979. Fotomontaje, 9 x 15 cm.<br \/>\nColecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 4413<br \/>\nDonaci\u00f3n de Luc\u00eda Mart\u00edn Carrero, 2019[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774344511924{padding-top: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb11722&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774262284047{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876652240{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Toni Prim. <em>Primer refer\u00e9ndum. <\/em>Lleida, 1976. Fotografia en blanc i negre. C\u00f2pia moderna del negatiu original, 18 x 28 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 4842. Dip\u00f2sit de la Generalitat de Catalunya. Col\u00b7lecci\u00f3 Nacional de Fotografia, 2020[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb11725&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774262291092{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876442447{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Alfons L\u00f3pez. <em>Centrales nucleares. El Papus <\/em>, 1979. Tinta china sobre papel, 16,3 x 26 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 4012. Donaci\u00f3 d&#8217;Alfons L\u00f3pez, 2016[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774263771722{padding-top: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb11713&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774261133328{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778675657916{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]J. Pons, <em>Lina \u00d3dena,<\/em> 1937. Museu Nacional d\u2019Art de Catalunya, Procedente de la \u00abExposici\u00f3 Internacional\u00bb de Par\u00eds, 1937, \u00a9 El autor o sus herederos[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb11743&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774263307204{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778666304391{padding-bottom: 40px !important;padding-left: 10px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Daniel Argimon. <em>Cartel para la revoluci\u00f3n<\/em>, 1971, \u00f3leo sobre tela. ME1440 Museu de l\u2019Empord\u00e0[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb11737&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774263312622{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1774876772122{padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Alfons L\u00f3pez. <em>En algunos lugares estoy de un \u00abcamp\u00bb permanente<\/em>, 1971. Collage i tinta sobre cartolina, 25,7 x 20,5 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida, 4983. Donaci\u00f3 d&#8217;Alfons L\u00f3pez, 2022[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb11740&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1774263317961{margin-bottom: 10px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1778843934020{padding-right: 10px !important;padding-bottom: 40px !important;}\u00bb el_class=\u00bbllegenda\u00bb]Francesc Vidal, <em>sense t\u00edtol [Contra l\u2019abocador de For\u00e8s]<\/em>, c. 1990, Museu de Valls.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb css=\u00bb.vc_custom_1774262402721{padding-top: 80px !important;}\u00bb][vc_column_inner width=\u00bb1\/6&#8243;][\/vc_column_inner][vc_column_inner width=\u00bb2\/3&#8243;][\/vc_column_inner][vc_column_inner width=\u00bb1\/6&#8243;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>[vc_row css_animation=\u00bb\u00bb row_type=\u00bbrow\u00bb use_row_as_full_screen_section=\u00bbno\u00bb type=\u00bbfull_width\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb bg_type=\u00bbbg_color\u00bb z_index=\u00bb\u00bb bg_color_value=\u00bb#000000&#8243; 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