{"id":9275,"date":"2025-04-09T18:17:36","date_gmt":"2025-04-09T16:17:36","guid":{"rendered":"https:\/\/xarxa.museunacional.cat\/un-recorrido-por-el-imaginario-de-la-luz\/"},"modified":"2025-05-22T09:19:27","modified_gmt":"2025-05-22T07:19:27","slug":"un-recorrido-por-el-imaginario-de-la-luz","status":"publish","type":"page","link":"https:\/\/xarxa.museunacional.cat\/es\/un-recorrido-por-el-imaginario-de-la-luz\/","title":{"rendered":"Un recorrido por el imaginario de la luz"},"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=\u00bb1\/2&#8243;][vc_column_text css=\u00bb\u00bb el_class=\u00bbcolor-blanc m3-bottom-res\u00bb]<\/p>\n<h1>Un recorrido por el imaginario de la luz<\/h1>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;]    <div class=\"block_quote color-blanco m6-bottom-res italic\">\n        <div class=\"image_holder\">\n                    <img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/avatar-lux.jpg\" alt=\"\">\n                <\/div>\n        <div class=\"block_quote_content\">\n                                        <p>LUX \u2013 Luz. Del lat\u00edn: lux, lucis.<br \/>\nTb. Unidad derivada del \u201cSistema Internacional de Unidad para la Iluminancia\u201d o nivel de iluminaci\u00f3n  <\/p>\n                        <div class=\"social-links\">\n                                                                                                                            <\/div>\n        <\/div>\n    <\/div>\n    [\/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-53453485069e7a332b57cc\" class=\"ult-carousel-wrapper   ult_horizontal\" data-gutter=\"10\" data-rtl=\"false\" ><div class=\"ult-carousel-27627264369e7a332b56e9 \" ><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\/2025\/04\/blade-runner-1982.webp\" 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\tBlade Runner, 1982, de Ridley Scott\t\t\t<\/h6>\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tLa fachada de un edificio se transforma en una pantalla que proyecta la imagen publicitaria, con m\u00fasica oriental de fondo, de una mujer tomando una pastilla. En el mismo filme, Blade Runner (1982, dirigido por Ridley Scott), el rostro del replicante Roy Batty se nos aparece, entre luces y sombras, despu\u00e9s del acto terrible y desesperado de matar a su creador, Tyrell, mientras el ascensor inicia su descenso metaf\u00f3rico hacia los infiernos. \t\t\t<\/p>\n\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\/2025\/04\/metropolis.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\tMetr\u00f2polis, 1927, de Fritz Lang\t\t\t<\/h6>\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tUn cient\u00edfico comprueba distintos aparatos que generan un circuito de l\u00edquidos y luces que activan una corriente el\u00e9ctrica y una espiral de luz que da vida a un robot. Lo mismo que incitar\u00e1 a la rebeli\u00f3n de los obreros del gueto subterr\u00e1neo frente a los poderes dominantes de la superficie \t\t\t<\/p>\n\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\/2025\/04\/nosferatu.webp\" 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\tNosferatu, 1922, de F. W. Murnau\t\t\t<\/h6>\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tLa sombra de las manos y la cabeza del vampiro Nosferatu se proyectan sobre la imagen de una chica dormida\t\t\t<\/p>\n\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\/2025\/04\/the-third-man1.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\tEl tercer hombre, 1949, de Carol Reed\t\t\t<\/h6>\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tUn personaje, encarnado por Orson Welles, camina en su huida hacia la luz de las cloacas\/el submundo de Viena en El tercer hombre.\t\t\t<\/p>\n\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\/2025\/04\/barrylyndon.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\tBarry Lyndon, 1975, Stanley Kubrick\t\t\t<\/h6>\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tEn Barry Lyndon (1975), Stanley Kubrick quiso que la luz natural entrando por las ventanas, la luz del fuego en las batallas o las velas en los espacios interiores iluminaran de forma pict\u00f3rica todas las escenas que recrean el ascenso y ca\u00edda social de un vividor del siglo XVIII, el siglo de la Ilustraci\u00f3n.\t\t\t<\/p>\n\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\/2025\/04\/caravaggio.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\tCaravaggio, 1986, Derek Jarman\t\t\t<\/h6>\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tUna iluminaci\u00f3n muy contrastada muestra a un joven Baco posando con una cesta de fruta. De repente, se da la vuelta, mira a c\u00e1mara y suelta una carcajada de complicidad con Caravaggio, el artista (en la versi\u00f3n de Derek Jarman, 1986) que lo est\u00e1 pintando. \t\t\t<\/p>\n\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\/2025\/04\/tron1982.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\tTron, 1982, Steven Lisberger\t\t\t<\/h6>\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tEn Tron (1982, dirigida por Steven Lisberger), los personajes son abducidos por unos rayos de luz l\u00e1ser y literalmente entran en los videojuegos que programan.\t\t\t<\/p>\n\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\/2025\/04\/starwars.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\tStar Wars. El Imperio contraataca, 1980, de Irvin Kershner \t\t\t<\/h6>\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tCon paso seguro y dominante, Darth Vader desenfunda su espada l\u00e1ser de color rojo, iniciando un duelo con Luke Skywalker, que lleva la espada l\u00e1ser de color azul de los caballeros Jedi. Las fuerzas del bien y del mal se ven enfrentadas en Star Wars. El Imperio contraataca  \t\t\t<\/p>\n\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 ($) {\n\t\t\t\t\tif( typeof jQuery('.ult-carousel-27627264369e7a332b56e9').slick == \"function\"){\n\t\t\t\t\t\t$('.ult-carousel-27627264369e7a332b56e9').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=\"la-luz-en-el-imaginario-cinematografico\">\n        <h2 class=\"fade-in\">La luz en el imaginario cinematogr\u00e1fico<\/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\/2025\/04\/montse-badia.jpg\" alt=\"Comisariado por Montse Badia\">\n                <\/div>\n        <div class=\"block_quote_content\">\n                            <p class=\"title\">Comisariado por Montse Badia<\/p>\n                                        <p>Cr\u00edtica de arte y comisaria de exposiciones<\/p>\n                        <div class=\"social-links\">\n                                    <a href=\"https:\/\/www.instagram.com\/montse_badia_more\/\" target=\"_blank\" rel=\"nofollow\"><i class=\"fi fi-brands-instagram\"><\/i><\/a>\n                                                    <a href=\"https:\/\/www.linkedin.com\/in\/montse-badia-b2348a33\/\" target=\"_blank\" rel=\"nofollow\"><i class=\"fi fi-brands-linkedin\"><\/i><\/a>\n                                                                    <a href=\"https:\/\/x.com\/montsebadia1\" target=\"_blank\" rel=\"nofollow\"><i class=\"fi fi-brands-twitter-alt\"><\/i><\/a>\n                                                                    <a href=\"https:\/\/es.wikipedia.org\/wiki\/Montse_Bad%C3%ADa\" target=\"_blank\" rel=\"nofollow\"><i class=\"fi fi-brands-wikipedia\"><\/i><\/a>\n                                                    <a href=\"https:\/\/montsebadia.net\/\" target=\"_blank\" rel=\"nofollow\"><i class=\"fi fi-rr-globe\"><\/i><\/a>\n                            <\/div>\n        <\/div>\n    <\/div>\n    <a  itemprop=\"url\" href=\"\" target=\"_self\"  class=\"qbutton  default expandir fade-in\" style=\"font-size: 22px; margin: 36px 0px; \">Ver m\u00e1s<\/a>[\/vc_column][vc_column width=\u00bb1\/2&#8243; el_class=\u00bbexpandir\u00bb][vc_column_text css=\u00bb\u00bb]<\/p>\n<p class=\"fade-in\">El imaginario cinematogr\u00e1fico refleja la importancia de la luz en la memoria colectiva. La luz es un elemento dotado de fuertes connotaciones simb\u00f3licas. En la Grecia cl\u00e1sica, el fuego \u2013en definitiva, la luz\u2013 se defini\u00f3 como uno de los cuatro elementos b\u00e1sicos, junto con la tierra, el agua y el aire. La luz simboliza la divinidad en varias religiones, como la cristiana, la musulmana o la budista. Tampoco es casualidad que la Era de la Ilustraci\u00f3n o <em>Siglo de las Luces<\/em> (s. XVIII) se conociera en los distintos pa\u00edses como <em>Si\u00e8cle des Lumi\u00e8res<\/em>, <em>Age of Enlightenment o Illuminismo<\/em> para denominar el viaje que tuvo lugar desde la oscuridad hacia la luz, de las supersticiones hacia una aproximaci\u00f3n cient\u00edfica a las cuestiones religiosas, sociales, pol\u00edticas y econ\u00f3micas, identificando la luz como s\u00edmbolo del conocimiento y la sabidur\u00eda.    <\/p>\n<p class=\"fade-in\">La aparici\u00f3n de la luz artificial se vincula no solamente a un proceso t\u00e9cnico, sino a un verdadero cambio social, al revolucionar democr\u00e1ticamente los entornos urbanos y hacerlos independientes de los ciclos de la luz natural. En el siglo XIX, el alumbrado p\u00fablico otorg\u00f3 a las ciudades una sensaci\u00f3n de seguridad y comodidad para sus habitantes, y tambi\u00e9n la posibilidad de utilizar las horas nocturnas para el transporte y las industrias, as\u00ed como la aparici\u00f3n de la noci\u00f3n de tiempo libre y de ocio. La electricidad se convirti\u00f3 en s\u00edmbolo de investigaci\u00f3n, modernidad y vida urbana, y a la vez tuvo su impacto en ciertos procesos industriales y de las comunicaciones. El progreso tecnol\u00f3gico que supuso el nacimiento del cine y la fotograf\u00eda tambi\u00e9n va unido de forma indisociable a la aparici\u00f3n de la electricidad y la luz artificial.   <\/p>\n<p class=\"fade-in\">Desde siempre, la luz ha jugado un papel esencial en el arte: la luz y sus opuestos, la oscuridad y la sombra, ya sea en su representaci\u00f3n, modelando los paisajes (Renacimiento); aportando dramatismo en pintura, escultura y arquitectura (Barroco); dando paso a nuevas t\u00e9cnicas (fotograf\u00eda, cine), o como herramienta inmaterial de experimentaci\u00f3n para los artistas de vanguardia (Constructivismo) y contempor\u00e1neos, entre otros.<\/p>\n<p class=\"fade-in\">La luz tambi\u00e9n define la identidad y el talante de las ciudades, ya sea por exceso, como es el caso de Las Vegas o Hong Kong, o por contenci\u00f3n, con los criterios de sostenibilidad de las ciudades que tratan de reducir su contaminaci\u00f3n lum\u00ednica.<\/p>\n<p class=\"fade-in\"><strong>LUX<\/strong> propone explorar el <strong>imaginario de la luz<\/strong> a partir de una extensa selecci\u00f3n de obras procedentes de las <strong>colecciones de la Xarxa de Museus d\u2019Art de Catalunya<\/strong>, un recorrido con banda sonora que nos ir\u00e1 introduciendo en sus distintos apartados.<\/p>\n<p class=\"fade-in\">\u00a1Empezamos!<\/p>\n<p>[\/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 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_1746632202059{padding-top: 120px !important;padding-bottom: 84px !important;background-image: url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/02\/antorcha-background.jpg?id=8792) !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][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"fuego\">\n        <h2 class=\"fade-in\">Fuego<\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/open.spotify.com\/intl-es\/track\/5uvosCdMlFdTXhoazkTI5R?si=094791fed63f43eb\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">Light My Fire<\/div><div class=\"song_artist\">The Doors<\/div><\/div><\/a><\/div><\/div>[vc_column_text css=\u00bb\u00bb el_class=\u00bbfont-gran color-blanc width-80 fade-in\u00bb]El fuego nos fascina. Es s\u00edmbolo de pasi\u00f3n, de destrucci\u00f3n, de purificaci\u00f3n, de ira, de poder y de transformaci\u00f3n.<br \/>En la prehistoria se descubre el fuego y su capacidad para vencer la oscuridad.  <\/p>\n<p>En la mitolog\u00eda griega, el fuego pertenece a los dioses hasta el momento en que Prometeo lo rob\u00f3 y se lo entreg\u00f3 a la humanidad.<br \/>Este simbolismo sigue en la actualidad y es recordado cada cuatro a\u00f1os durante la celebraci\u00f3n de los Juegos Ol\u00edmpicos. <\/p>\n<p>En Barcelona tenemos un buen ejemplo con la antorcha ol\u00edmpica dise\u00f1ada por Andr\u00e9 Ricard.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1746633644121{margin-top: 164px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-70 fade-in m1-top-res\u00bb]Andr\u00e9 Ricard Sala. Antorcha ol\u00edmpica, Barcelona\u201992. Barcelona, 1992. Referencia: MADB 135880. Museu del Disseny-DHub. Fotograf\u00eda: Estudio Rafael Vargas.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb2\/12&#8243; css=\u00bb.vc_custom_1739785784681{background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}\u00bb][\/vc_column_inner][vc_column_inner width=\u00bb2\/12&#8243;][vc_single_image image=\u00bb8958&#8243; img_size=\u00bblarge\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][\/vc_column_inner][vc_column_inner width=\u00bb2\/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][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1739802355172{padding-right: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-superior color-blanco\" style=\"height: 900px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/sant-joan-scaled-1.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    Otros rituales ancestrales en torno al fuego siguen vigentes en la actualidad, como las hogueras de San Juan, que celebran la noche m\u00e1s corta del a\u00f1o. Oriol Maspons lo reflej\u00f3 en una fotograf\u00eda para el libro Aix\u00f2 tamb\u00e9 \u00e9s Barcelona de Josep Maria Espin\u00e0s.\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Sin t\u00edtulo (Fuego de San Juan. Fotograf\u00eda para el libro \u00abEsto tambi\u00e9n es Barcelona\u00bb, de Josep M. Espin\u00e0s), hacia 1965. Fotograf\u00eda. Gelatinobromur sobre plata. Dep\u00f3sito de Oriol Maspons, 2011. \u00a9 Archivo Oriol Maspons, VEGAP, Barcelona, 2019.     Museu Nacional d\u2019Art de Catalunya.<\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1739802364324{padding-left: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-superior color-blanco\" style=\"height: 900px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/fire-child-scaled-1.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    Gordon Matta-Clark retrataba esta fascinaci\u00f3n por el fuego en el filme Fire Child (1971), en el que grababa el proceso de hacer una escultura: un peque\u00f1o muro de restos, papeles y latas recogidas en la zona del puente de Brooklyn.\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Gordon Matta-Clark. Ni\u00f1o de fuego, 1971. Pel\u00edcula super 8 mm transferida a v\u00eddeo, color, sin sonido, 9 min 47 s. R.2963, Colecci\u00f3n MACBA. Consorci MACBA. \u00a9 Estate of Gordon Matta-Clark, VEGAP, Barcelona. Fotograf\u00eda: Tony Coll.      <\/p>\n                <\/div>\n            <\/div>\n        <\/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 angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1741615775356{margin-top: 94px !important;margin-bottom: 94px !important;}\u00bb z_index=\u00bb\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb8967&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbm1-bottom-res\u00bb][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_column_text css=\u00bb.vc_custom_1746633892637{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in m1-bottom-res\u00bb]Otros artistas contempor\u00e1neos incorporan este tema desde otras perspectivas. Es el caso de <em>Cerillas<\/em>, la escultura p\u00fablica de Claes Oldenburg y Coosje van Bruggen ubicada en la Vall d\u2019Hebron, frente al Pabell\u00f3n de la Rep\u00fablica, de las cuales el MACBA conserva una maqueta. As\u00ed lo explicaba Coosje van Bruggen en 2006: \u00abSolo una cerilla en llamas, como un faro, con el contorno transform\u00e1ndose en una lanza o pluma de fuego, recordando las palabras del Quijote de la Mancha de Cervantes: \u201cNunca la lanza embot\u00f3 la pluma, ni la pluma la lanza\u201d. Con el paso de los a\u00f1os, la caja de cerillas, como la cinta de borrar de las m\u00e1quinas de escribir, se ha convertido en un objeto arquet\u00edpico a punto de desaparecer, sometido a una perspectiva telesc\u00f3pica que se desplaza del objeto de mano, \u00edntimo y emotivo, al proyecto a gran escala, aut\u00f3nomo y casi abstracto, con una estructura y unas proporciones arquitect\u00f3nicas.\u00bb[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]Claes Oldenburg &#8211; Coosje van Bruggen. Cerillas, 1992. Pintura sobre cartulina, metal y madera, 14,5 x 13,5 x 10 cm. R.0817, Colecci\u00f3n MACBA. Dep\u00f3sito del Ayuntamiento de Barcelona. \u00a9 Claes Oldenburg \u00a9 Coosje van Bruggen. Fotograf\u00eda: Gasull.[\/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_1741615758224{margin-top: 94px !important;margin-bottom: 94px !important;}\u00bb z_index=\u00bb\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb el_class=\u00bbrow-reverse-res\u00bb][vc_column_inner width=\u00bb1\/3&#8243;][vc_column_text css=\u00bb.vc_custom_1746633883676{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in m1-bottom-res\u00bb]Fina Miralles realiza una serie de acciones de exploraci\u00f3n de las conexiones entre el cuerpo humano y distintas materias, como en la serie de trabajos <i>Relaci\u00f3n del cuerpo con elementos naturales en acciones cotidianas (1975) y, m\u00e1s concretamente, en Relaciones. Relaci\u00f3n del cuerpo con el fuego. Encender fuego   <\/i>(1975\/2020).[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]Fina Miralles. Relaciones. Relaci\u00f3n del cuerpo con el fuego. Encender fuego, 1975\/2020. Impresi\u00f3n por chorro de tinta sobre papel. 2 fotograf\u00edas, 42 x 42 cm c\/u. R.5883, Colecci\u00f3n MACBA. Consorci MACBA. Donaci\u00f3n de la artista. \u00a9 Fina Miralles.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb2\/3&#8243;][vc_single_image image=\u00bb8970&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbm1-bottom-res\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 css=\u00bb.vc_custom_1741615786976{margin-top: 94px !important;}\u00bb z_index=\u00bb\u00bb][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1739802355172{padding-right: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 900px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/grup-treball.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    En el <i>Film colectivo<\/i> (1974) del Grup de Treball, Francesc Abad contribuye con <i>Experiencias con la luz<\/i>, en la que, delante y detr\u00e1s de una vela encendida, el artista va situando lentes c\u00f3ncavas, convexas, transparentes, transl\u00facidas y opacas.\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Grup de Treball. Film colectivo, 1974. Pel\u00edcula de 16 mm transferida a v\u00eddeo, b\/n, sin sonido, 42 min. R.1466, Colecci\u00f3n MACBA. Consorci MACBA. Donaci\u00f3n Grup de Treball. \u00a9 Grup de Treball. Fotograf\u00eda: Rocco Ricci.       <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1739802364324{padding-left: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-superior color-negro\" style=\"height: 900px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/poetics.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    Po\u00e9ticos y anal\u00edticos son los dos versos de Joan Brossa:<br \/>\n\u00abDesprendida de calor y luz<br \/>\nproducida por la combusti\u00f3n de un cuerpo\u00bb\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Joan Brossa. Fuego. En: Olla\u00f3!, 1975. 28,7 x 14 cm. Hoja 14 de un juego de galeradas de la edici\u00f3n de 1989 (Barcelona: Alta Fulla). R. A.JBR.00498.108. Colecci\u00f3n MACBA. Centro de Estudios y Documentaci\u00f3n. Fondo Joan Brossa. Dep\u00f3sito Fundaci\u00f3 Joan Brossa.<\/p>\n                <\/div>\n            <\/div>\n        <\/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 angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1741615830920{padding-top: 120px !important;padding-bottom: 120px !important;background-color: #D5D7E3 !important;}\u00bb z_index=\u00bb\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_1739803274022{background-color: #D5D7E3 !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-negro orientation-false\" style=\"\" id=\"el-sol\">\n        <h2 class=\"fade-in\">El sol<\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/open.spotify.com\/intl-es\/track\/1k1Bqnv2R0uJXQN4u6LKYt\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">Ain\u2019t No Sunshine<\/div><div class=\"song_artist\">Bill Withers<\/div><\/div><\/a><\/div><\/div>[vc_column_text css=\u00bb.vc_custom_1741628320851{margin-top: 48px !important;}\u00bb el_class=\u00bbfade-in font-gran\u00bb]El sol, la fuente de luz m\u00e1s potente, era un dios en muchas culturas, y algunos pa\u00edses recogen esta referencia en sus monedas. En el reverso de las monedas cubanas de diez y veinte centavos aparece una estrella de cinco puntas con rayos de luz.[\/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_1739804158447{margin-top: 46px !important;background-color: #D5D7E3 !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb8980&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1746529832355{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda fade-in\u00bb]Rep\u00fablica de Cuba, moneda de 10 *c\u00e9ntimos, 1949. Museo Nacional de Arte de Catalu\u00f1a; *donaci\u00f3n de Arturo God\u00f3, 2018. Dominio p\u00fablico.  Dominio p\u00fablico[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb8983&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1746529844696{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda fade-in\u00bb]Rep\u00fablica de Cuba, moneda de 20 c\u00e9ntimos, 1948. Museo Nacional de Arte de Catalu\u00f1a; donaci\u00f3n de Arturo God\u00f3, 2018. 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_1739804290219{margin-top: 94px !important;background-color: #D5D7E3 !important;}\u00bb][vc_column_inner width=\u00bb6\/12&#8243;][vc_single_image image=\u00bb8986&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1740588583533{margin-top: 48px !important;margin-bottom: 0px !important;padding-bottom: 0px !important;}\u00bb el_class=\u00bbfade-in\u00bb]El sol es tambi\u00e9n una referencia para medir el tiempo.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1740588588952{margin-top: 20px !important;}\u00bb el_class=\u00bbllegenda width-60 fade-in\u00bb]Reloj de sol. Europa, principios del siglo XX. MADB 135.0001. Museu del Disseny-DHub. Fotograf\u00eda: CRBMC_Roser Casas.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb6\/12&#8243;][vc_single_image image=\u00bb8992&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbm2-top-res\u00bb][vc_column_text css=\u00bb.vc_custom_1740588595237{margin-top: 48px !important;margin-bottom: 0px !important;padding-bottom: 0px !important;}\u00bb el_class=\u00bbfade-in\u00bb]En la entrada del Museu de Cerdanyola, Tom Carr instala Sol, con 69 discos de vidrio de color laminados que reproducen la partitura de la <a href=\"https:\/\/www.youtube.com\/watch?v=lIJ0lBvZ2R8&amp;ab_channel=JesusAcebedoPiano\">composici\u00f3n Ad Libitum de Jes\u00fas Acebedo<\/a>.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1740588601741{margin-top: 20px !important;}\u00bb el_class=\u00bbllegenda fade-in\u00bb]TCteamwork: Tom Carr &#8211; Lidia Carrera &#8211; Xema Vidal. Sol, 2022. Instalaci\u00f3n. 69 discos de vidrio de color laminados. Sol reproduce la composici\u00f3n musical Ad Libitum de Jes\u00fas Acebedo. Producci\u00f3n: Amics del Museu de Cerdanyola. Museu de Cerdanyola.[\/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_1741615879022{padding-top: 120px !important;padding-bottom: 94px !important;background: #000000 url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/02\/nit-dia-background.jpg?id=8877) !important;background-position: 0 0 !important;background-repeat: no-repeat !important;}\u00bb z_index=\u00bb\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"dia-y-noche\">\n        <h2 class=\"fade-in\">D\u00eda y noche<\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/open.spotify.com\/intl-es\/track\/5hByDDVyr6pfRAutehCAYa?si=cc18e00cba3c400b\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">Night And Day<\/div><div class=\"song_artist\">Ella Fitzgerald<\/div><\/div><\/a><\/div><\/div>[vc_column_text css=\u00bb.vc_custom_1742463281837{margin-top: 24px !important;}\u00bb el_class=\u00bbfont-gran color-blanc fade-in width-60&#8243;]La noche, la oscuridad, se asocia con lo desconocido, con el peligro, tal y como nos recuerdan las alegor\u00edas del siglo XIX, representando el triunfo del d\u00eda sobre la noche.<\/p>\n<p>[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1746529860861{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-60 fade-in\u00bb]Antoni Caba Casamitjana. <em>El triunfo del D\u00eda sobre la Noche precedido de la Aurora, <\/em>1882. Museu Nacional d\u2019Art de Catalunya. Adquisici\u00f3n, 1992; 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 el_class=\u00bbhide-res\u00bb][vc_column_inner][vc_empty_space height=\u00bb500px\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=\u00bb1\/3&#8243;][vc_single_image image=\u00bb8996&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbm1-top-res\u00bb][vc_column_text css=\u00bb.vc_custom_1740588623004{margin-top: 36px !important;margin-bottom: 26px !important;}\u00bb el_class=\u00bbcolor-blanc fade-in\u00bb]De un modo m\u00e1s naif, el sol y la luna se personifican en este dibujo de Josep Llu\u00eds Pellicer.[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda color-blanc fade-in\u00bb]Josep Llu\u00eds Pellicer Feny\u00e9. Vi\u00f1eta con el sol y la luna, segunda mitad del siglo XIX. 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;][vc_single_image image=\u00bb8999&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbm1-top-res\u00bb][vc_column_text css=\u00bb.vc_custom_1740588636459{margin-top: 36px !important;margin-bottom: 26px !important;}\u00bb el_class=\u00bbcolor-blanc fade-in\u00bb]Y tambi\u00e9n, con una iron\u00eda casi brossiana, por Perejaume.[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda color-blanc fade-in\u00bb]Perejaume. [La luna], s. d. Metal, pl\u00e1stico y papel, 8 x 8 x 0,3 cm. R.4787, Colecci\u00f3n MACBA. Consorci MACBA. Fondo Joan Brossa. Dep\u00f3sito Fundaci\u00f3 Joan Brossa. \u00a9 Perejaume, VEGAP, Barcelona.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][\/vc_column_inner][\/vc_row_inner][vc_column_inner width=\u00bb1\/3&#8243;][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][\/vc_column_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_1739805488717{padding-top: 94px !important;padding-bottom: 94px !important;background: #000000 url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/02\/la-lluna-scaled.jpg?id=8887) !important;background-position: 0 0 !important;background-repeat: no-repeat !important;}\u00bb z_index=\u00bb\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=\u00bb500px\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=\u00bb5\/12&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"la-luna\">\n        <h2 class=\"fade-in\">La luna<\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/open.spotify.com\/intl-es\/track\/5K332iLCB0C8SRZ9776E0z\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">Claro de Luna<\/div><div class=\"song_artist\">Ludwig van Beethoven<\/div><\/div><\/a><\/div><\/div>[vc_column_text css=\u00bb.vc_custom_1742464084540{margin-top: 24px !important;}\u00bb el_class=\u00bbfont-gran color-blanc fade-in\u00bb]La inmensidad del mar y el dramatismo de un cielo en el que se refleja la luz de la luna fueron pintados por Antoni Fabr\u00e9s a finales del siglo XIX.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1746529903284{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Antoni Fabr\u00e9s Costa. Noche de luna sobre mar, sobre el 1880.  Museu Nacional d\u2019Art de Catalunya. Donaci\u00f3n de artista, 1925; dominio p\u00fablico.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb7\/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_1742467637102{margin-bottom: 90px !important;}\u00bb z_index=\u00bb\u00bb][vc_column width=\u00bb1\/5&#8243; css=\u00bb.vc_custom_1739805694782{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9008&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744272006224{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1746693801131{margin-right: 20px !important;margin-bottom: 46px !important;margin-left: 80px !important;}\u00bb el_class=\u00bbfade-in m2-left-res m2-right-res m1-bottom-res\u00bb]Una obra que dialoga con los Nocturnos de Mercedes Mangran\u00e9.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1746693774503{margin-right: 20px !important;margin-left: 80px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]Mercedes Mangran\u00e9. Nocturnos, 2014. \u00d3leo sobre lienzo, 22 x 27 cm. Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida. Adquisici\u00f3n, IX Bienal Leandre Crist\u00f2fol, 2015.[\/vc_column_text][\/vc_column][vc_column width=\u00bb1\/5&#8243; css=\u00bb.vc_custom_1739805670650{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9002&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744272014324{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1746693806119{margin-right: 20px !important;margin-bottom: 46px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbfade-in m2-left-res m2-right-res m1-bottom-res\u00bb]El atardecer es tambi\u00e9n momento de reflexi\u00f3n. Modest Urgell pint\u00f3 paisajes llenos de una melancol\u00eda casi n\u00f3rdica.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1746693779546{margin-right: 20px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]Modest Urgell Inglada. Atardecer, hacia 1875-1900. Museu Nacional d\u2019Art de Catalunya. Aportaci\u00f3n de la Diputaci\u00f3n de Barcelona, 1906; Dominio p\u00fablico.[\/vc_column_text][\/vc_column][vc_column width=\u00bb1\/5&#8243; css=\u00bb.vc_custom_1742467780617{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9005&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744272021707{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1746693811209{margin-right: 20px !important;margin-bottom: 46px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbfade-in m2-left-res m2-right-res m1-bottom-res\u00bb]Y Joan Mir\u00f3 pint\u00f3 su m\u00fasica.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1746693785721{margin-right: 20px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]Joan Mir\u00f3. Musique du cr\u00e9puscule V, 1966. \u00d3leo sobre tela, 19 x 33 cm. FJM 4696. Fundaci\u00f3 Joan Mir\u00f3, Barcelona. \u00a9 Successi\u00f3 Mir\u00f3, 2024.[\/vc_column_text][\/vc_column][vc_column width=\u00bb1\/5&#8243; css=\u00bb.vc_custom_1739805687394{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9011&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744272030669{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1746693816178{margin-right: 20px !important;margin-bottom: 46px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbfade-in m2-left-res m2-right-res m1-bottom-res\u00bb]Los artistas de Dau al Set, herederos del Surrealismo, crearon escenas llenas de referencias a mundos m\u00e1gicos y fant\u00e1sticos, como los paisajes nocturnos e inquietantes de T\u00e0pies o las escenas fant\u00e1sticas y perturbadoras de Joan Pon\u00e7, el artista nocturno por excelencia.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1746693790456{margin-right: 20px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]Antoni T\u00e0pies. (Mixta), 1949. Acuarela, tinta china y pastel sobre papel,<br \/>18,8 x 25 cm. R.4680, Colecci\u00f3n MACBA. Consorci MACBA. Fondo Joan Brossa. Dep\u00f3sito del Ayuntamiento de Barcelona. \u00a9 Comissi\u00f3 T\u00e0pies, VEGAP, Barcelona.[\/vc_column_text][\/vc_column][vc_column width=\u00bb1\/5&#8243; css=\u00bb.vc_custom_1739805905012{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9014&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744272037851{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1746693796527{margin-right: 80px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]<span style=\"font-weight: 400;\">Joan Pon\u00e7 Bonet. <\/span><i><span style=\"font-weight: 400;\">Viaje nocturno, n\u00fam. 1<\/span><\/i><span style=\"font-weight: 400;\">, 1982. Museu Nacional d\u2019Art de Catalunya. Legado de Manuel Maria Bosch Puig, 2016. \u00a9 Joan *Pon\u00e7, *VEGAP, Barcelona, a\u00f1o en curso. <\/span>[\/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 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_1741615915642{padding-top: 120px !important;padding-bottom: 94px !important;background-image: url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/02\/background-2.jpg?id=8938) !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][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-negro orientation-false\" style=\"\" id=\"fiat-lux\">\n        <h2 class=\"fade-in\">Fiat Lux<\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/open.spotify.com\/intl-es\/track\/4U2VwNJoYOqGMDvVO5SLhx\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">Fiat Lux<\/div><div class=\"song_artist\">Th\u00e9odore Dubois<\/div><\/div><\/a><\/div><\/div>[vc_column_text css=\u00bb\u00bb el_class=\u00bbfont-gran width-80 fade-in\u00bb]Desde hace milenios, la luz y su reverso, la oscuridad, han sido referidas por distintas religiones como un elemento de car\u00e1cter m\u00edtico y arquet\u00edpico. As\u00ed, el fin \u00faltimo del budismo es alcanzar la iluminaci\u00f3n o satori. A partir del siglo I, en la Iglesia cat\u00f3lica la luz se transforma en un elemento metaf\u00edsico vinculado a la verdad infundida por Dios. En el islam, Al\u00e1 es la luz del cielo y de la tierra. El juda\u00edsmo tiene la luz como elemento central de su liturgia. Antorchas, velas, l\u00e1mparas y candelabros se integran en las ceremonias de las distintas religiones, que a menudo empiezan en cuanto se encienden velas y l\u00e1mparas.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1740736586258{margin-top: 64px !important;}\u00bb el_class=\u00bbllegenda width-70 fade-in\u00bb]Candelabro, siglo XV. Hierro. Procedente de Sant Vicen\u00e7 de Rus (Castellar de n\u2019Hug, el Bergued\u00e0). N\u00famero de inventario MDCS 640. Museu Dioces\u00e0 i Comarcal de Solsona.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/12&#8243; css=\u00bb.vc_custom_1739785784681{background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}\u00bb][\/vc_column_inner][vc_column_inner width=\u00bb3\/12&#8243;][vc_single_image image=\u00bb9017&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][\/vc_column_inner][vc_column_inner width=\u00bb2\/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][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9023&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744272135221{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda\u00bb]Desconocido. L\u00e1mpara o corona de luz, siglo XII-XIII. Museu d\u2019Art de Girona, n\u00fam. reg.    131.558. Fondo de la Diputaci\u00f3n de Girona. Fotograf\u00eda: Rafel Bosch.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9026&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744272143258{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda\u00bb]L\u00e1mpara de aceite, siglo XIX. 23,5 x 9,5 x 9,5 cm. Ref. MFM 14444. Museu Frederic Mar\u00e8s. \u00a9 Foto: Pep Herrero.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9020&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744272153747{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda\u00bb]L\u00e1mpara del siglo XIX con motivo religioso (ref. 2556). Museu de Granollers.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#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][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1739802355172{padding-right: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 900px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/5248_001_pub_low.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    Las setenta y siete l\u00e1mparas que Youn\u00e8s Rahmoun incluye en su instalaci\u00f3n representan las setenta y siete ramas o caminos de la fe dentro del islam, pero tambi\u00e9n la dimensi\u00f3n universal de la espiritualidad.\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Youn\u00e8s Rahmoun. 77, 2014. Instalaci\u00f3n lum\u00ednica. Dimensiones variables. R.5248.   Colecci\u00f3n MACBA. Fundaci\u00f3n MACBA. Obra adquirida gracias a la Fundaci\u00f3n Banc Sabadell. \u00a9 Youn\u00e8s Rahmoun.  <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1739802364324{padding-left: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 900px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/05\/UPPER_cadira-.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    En sus trabajos con ne\u00f3n, Jordi Benito explor\u00f3 los lenguajes de la poes\u00eda, la matem\u00e1tica y la religi\u00f3n. Su instalaci\u00f3n <em>Silla (la silla de dios)<\/em> muestra una silla suspendida hacia abajo, con una s\u00e1bana que cae hasta el suelo. En el respaldo se pueden ver escritas, a mano y en ne\u00f3n, unas letras bastante ilegibles en hebreo: \u201cYod-He-Vav-He (Yahv\u00e9)\u201d, que vibran con la luz y el sonido.\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Jordi Benito. silla (la silla de dios). Instalaci\u00f3n. \u00a9 Jordi Benito. VEGAP, Museu de Granollers.  <\/p>\n                <\/div>\n            <\/div>\n        <\/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 angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1741615987226{margin-top: 120px !important;margin-bottom: 120px !important;}\u00bb z_index=\u00bb\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb9035&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744272235836{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_column_text css=\u00bb.vc_custom_1740737635763{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]El Cristo en Majestad de Sant Climent de Ta\u00fcll, una de las obras m\u00e1s ic\u00f3nicas del Museu Nacional d\u2019Art de Catalunya, lleva en la mano izquierda un libro con la leyenda \u201cEGO SUM LUX MUNDI\u201d, en referencia al evangelio de San Juan: \u00abYo soy la luz del mundo, y el que me sigue no andar\u00e1 en tinieblas, sino que tendr\u00e1 la luz de la vida\u00bb. La luz es el verbo, la palabra que da vida y es el principio de todo.[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]Maestro de Ta\u00fcll. \u00c1bside de Sant Climent de Ta\u00fcll, hacia 1123. Museu Nacional d\u2019Art de Catalunya. Adquisici\u00f3n de la Junta de Museos en la campa\u00f1a de 1919-1923; 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_1741021429896{margin-top: 84px !important;}\u00bb][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9045&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1744272549167{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb.vc_custom_1740738227658{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]Indirectamente, tambi\u00e9n encontramos esta referencia en una l\u00e1mpara conservada en el Museu d\u2019Art Medieval. Se trata de una l\u00e1mpara de aceite, cuya superficie est\u00e1 decorada con esmaltes que dibujan tallos de lirio de los valles y presentan tambi\u00e9n el monograma de Cristo, \u201cIHS\u201d, dentro de un c\u00edrculo llameante.[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]L\u00e1mpara. Primer tercio del siglo XVII. 7,4 x 9,1 x 7,6 cm. \u00a9 Museu Episcopal de Vic.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9048&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1744272556807{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb.vc_custom_1740739976665{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]La luz, el sol, es tambi\u00e9n un elemento clave en las custodias, piezas de oro u otros materiales preciosos destinadas a mostrar la hostia sagrada a los fieles, colocada entre dos cristales, dentro del viril que representa al sol, con un rayo de plata y piedras preciosas. Un buen ejemplo es la custodia de Alfons Serrahima que encontramos en el Museu d\u2019Art de Girona.[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]Alfons Serrahima i Bofill. Custodia, 1951. Museu d\u2019Art de Girona; n\u00fam. reg. MDG2713. Fondo del Bisbat de Girona. Fotograf\u00eda: Rafel Bosch.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9039&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1744272565437{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb.vc_custom_1740740070705{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]Probablemente realizada entre 1700 y 1799, la escultura del Buda Amitayus que se conserva en la Biblioteca Museu V\u00edctor Balaguer nos recuerda a la simbolog\u00eda de la luz dentro del budismo como elemento de transformaci\u00f3n y autoconsciencia. La escultura llega a la biblioteca museo a trav\u00e9s de Juan Mencarini, destinado como c\u00f3nsul en Singapur y Hong Kong, el cual viaj\u00f3 a Barcelona como representante de la Isla de Formosa durante la Exposici\u00f3n Universal de 1888.[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]Buda Amitayus, 1700-1799. Escultura, 65 x 38,5 x 30,5 cm. Referencia BMVB-1283. Biblioteca Museu V\u00edctor Balaguer[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9042&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1744272573436{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb.vc_custom_1740740111165{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]En el Museu de Granollers encontramos tambi\u00e9n la escultura de la diosa Guan Yin, de la \u00e9poca de la dinast\u00eda Ming, una figura venerada por el budismo y a la que se relaciona con la compasi\u00f3n.[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]Figura de la diosa Guan Yin. Dinast\u00eda Ming. Escultura, siglo XVIII. Referencia 3091. Museu de Granollers.[\/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][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1739802355172{padding-right: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 900px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/005704-000_000380-cutt.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    <\/p>\n<div>\n<div class=\"v1elementToProof\">El contrapunto de Cristo en Majestad podr\u00eda ser el peque\u00f1o ni\u00f1o Jes\u00fas como foco de luz de la <em>Adoraci\u00f3n de los Pastores<\/em> (1773) de Carlo Giuseppe Ratti.<\/div>\n<\/div>\n<p>\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Carlo Giuseppe Ratti. Adoraci\u00f3n de los pastores, 1773. Museu Nacional d\u2019Art de Catalunya. Dep\u00f3sito de la Reial Acad\u00e8mia Catalana de Belles Arts de Sant Jordi, 1902; ingreso, 1906. Dominio p\u00fablico.<\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1739802364324{padding-left: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 900px; \"><div class=\"comissionariat-image background-top-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/UPPER_MDG0361_4-enhance-4x-faceai-1.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    <\/p>\n<div>\n<div class=\"v1elementToProof\">Naturalmente, los santos o la Virgen a menudo aparecen rodeados por este halo de luz que los glorifica, como en el Retablo del Rosario: <em>Asunci\u00f3n de la Virgen<\/em> de Juan Sanchas Galindo, que se encuentra en el Museo de Arte de Girona.<\/div>\n<\/div>\n<p>\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Joan Sanxes Galindo. Retablo del Rosario: Asunci\u00f3n de la Virgen, 1603. Museu d\u2019Art de Girona; n\u00fam. reg. MDG0361-4. Fondo del Bisbat de Girona. Fotograf\u00eda: Rafel Bosch      <\/p>\n                <\/div>\n            <\/div>\n        <\/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 angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1741616004888{margin-top: 120px !important;margin-bottom: 120px !important;}\u00bb z_index=\u00bb\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb9057&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744272715401{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_column_text css=\u00bb.vc_custom_1741021879075{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]En la <a href=\"https:\/\/biblioteca.museunacional.cat\/discovery\/fulldisplay?docid=alma991000936069706707&amp;context=L&amp;vid=34CSUC_INSTB:MNAC&amp;lang=ca&amp;search_scope=MNAC&amp;adaptor=Local%20Search%20Engine&amp;tab=MNAC&amp;query=any,contains,Luz%20Nur:%20la%20luz%20en%20el%20arte%20y%20la%20ciencia%20del%20mundo%20isl%C3%A1mico&amp;offset=0\">biblioteca del Museu Nacional<\/a>, el libro <em>Luz, Nur: la luz en el arte y la ciencia del mundo isl\u00e1mico<\/em> (2013), de Sabiha Al Khemir, recalca c\u00f3mo la luz es una met\u00e1fora compartida y unificadora en las religiones musulmana, cristiana y jud\u00eda. El libro incluye manuscritos iluminados con pigmentos dorados y tambi\u00e9n objetos relacionados con el pensamiento cient\u00edfico, como relojes solares o astrolabios.[\/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_1741616022745{padding-top: 120px !important;padding-bottom: 94px !important;background: #000000 url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/03\/011512-000_028978_d2.jpg?id=8995) !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][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-true\" style=\"\" id=\"apariciones-proyecciones\">\n        <h2 class=\"fade-in\">Apariciones \/ proyecciones<\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/open.spotify.com\/intl-es\/track\/4GXiEQhEBwcOz6G6B6bXJ1?si=13cb8fd582b04531\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">Projection<\/div><div class=\"song_artist\">DjRUM<\/div><\/div><\/a><\/div><\/div>[vc_column_text css=\u00bb.vc_custom_1741628421171{margin-top: 24px !important;}\u00bb el_class=\u00bbfont-gran color-blanc fade-in\u00bb]Entre lo material y lo inmaterial, entre la fe, la magia, la t\u00e9cnica, la ciencia y el arte, las apariciones\/proyecciones implican la posibilidad de amplificar presencias e im\u00e1genes, de mezclarlas en el espacio, sin m\u00e1rgenes ni l\u00edmites.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1746530084544{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Josep Benlliure Gil. <em>L\u2019aparici\u00f3<\/em>, 1876. Museu Nacional d\u2019Art de Catalunya. Legado de Camil Fabra, marqu\u00e8s d\u2019Alella, 1902. Dominio p\u00fablico[\/vc_column_text][vc_empty_space height=\u00bb540px\u00bb][\/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][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb9060&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1741023941122{margin-top: 24px !important;}\u00bb el_class=\u00bbcolor-blanc fade-in\u00bb]Pero no todas las proyecciones\/apariciones son positivas. En la pintura de Leonardo Alenza  <em>El diablo cojuelo. Aparici\u00f3n <\/em> (1838), esta figura se muestra de una forma entre inc\u00f3moda y traviesa.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1746530098046{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in\u00bb]Leonardo Alenza Nieto. <em>El diablo cojuelo. Aparici\u00f3n <\/em>, 1838. Museu Nacional d\u2019Art de Catalunya. Adquisici\u00f3n, 1943. Dominio p\u00fablico.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb9066&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1741024078680{margin-top: 24px !important;}\u00bb el_class=\u00bbcolor-blanc fade-in\u00bb]Las proyecciones tambi\u00e9n pueden simbolizar una situaci\u00f3n personal y contextual concreta.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1741024266914{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in\u00bb]Albert Bayona. <em>Nuit d\u2019\u00e9t\u00e9. Proyecci\u00f3n para un espacio confinado, <\/em>, 2010. Videoinstalaci\u00f3n monocanal, color, 3 h (bucle). Colecci\u00f3n MORERA. Museu d\u2019Art Modern i Contemporani de Lleida. Donaci\u00f3n de Albert Bayona, 2013.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb9063&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1741024234716{margin-top: 24px !important;}\u00bb el_class=\u00bbcolor-blanc fade-in\u00bb]O la evidencia de los mecanismos, como es el caso de <em>Enchufeproyectado<\/em>, de Luis Bisbe, en el que un enchufe recibe una imagen proyectada de s\u00ed mismo desde el proyector al que da energ\u00eda, de modo que la imagen encaja perfectamente sobre el objeto, incluyendo el cable, y se hace casi invisible.[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1741024253740{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in\u00bb]Luis Bisbe. <em>enchufeproyectado<\/em>, 2001. Diapositiva y proyector de diapositivas, 20 x 25 x 120 cm.   Colecci\u00f3n MACBA. Dip\u00f2sit de l\u2019Ajuntament de Barcelona. \u00a9 Luis Bisbe, VEGAP, 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 angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1741346385787{padding-top: 140px !important;background-color: #000000 !important;}\u00bb z_index=\u00bb\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_1741024882824{padding-top: 46px !important;padding-bottom: 94px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"sombras-proyectadas\">\n        <h2 class=\"fade-in\">Sombras proyectadas<\/h2><\/div>[vc_column_text css=\u00bb\u00bb el_class=\u00bbfont-gran color-blanc width-80 fade-in\u00bb]Los mecanismos y el poder de representaci\u00f3n de las sombras proyectadas son tambi\u00e9n objeto de exploraci\u00f3n art\u00edstica.[\/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][vc_column_inner width=\u00bb1\/4&#8243; css=\u00bb.vc_custom_1741025170863{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\/2025\/04\/1162_001_rbg__ddd.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 Pon\u00e7. Sombra luna, 1973. Aguafuerte sobre papel, 71,2 x 82,4 cm. R.1162, Colecci\u00f3n MACBA. Dep\u00f3sito de la Generalitat de Catalunya. Col\u00b7lecci\u00f3 Nacional d\u2019Art. \u00a9 Joan Pon\u00e7, VEGAP, Barcelona. Fotograf\u00eda: Tony Coll       \t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div>[\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243; css=\u00bb.vc_custom_1741025160708{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\/2025\/04\/200203-000_007634____DDDD.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\tRamon Casas Carb\u00f3. Sombras chinescas, hacia 1897. Museu Nacional d\u2019Art de Catalunya. Adquisici\u00f3n, 1992. Dominio p\u00fablico\t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div>[\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243; css=\u00bb.vc_custom_1741025180584{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\/2025\/04\/4440_001_hist_____DDD.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\tEul\u00e0lia Valldosera. Love\u2019s Sweeter than wine. Tres estados en una relaci\u00f3n. Serie: \u201cApariencias\u201d #3, 1993. Instalaci\u00f3n lum\u00ednica. Dimensiones variables. R.4440, Colecci\u00f3n MACBA. Consorci MACBA. Dep\u00f3sito de la artista. \u00a9 Eul\u00e0lia Valldosera, VEGAP, Barcelona.         \t\t\t<\/h6>\n\t\t\t\t\t\t\t<p class=\"qode-info-card-text\" >\n\t\t\t\tTampoco podemos olvidar su poder simb\u00f3lico y evocador.\t\t\t<\/p>\n\t\t\t<\/div>\n\t<\/div>[\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243; css=\u00bb.vc_custom_1741025188709{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\/2025\/04\/1162_001_rbg.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\tLas luces y las sombras proyectadas de los religiosos, sabiamente captadas por el fot\u00f3grafo Antoni Campa\u00f1\u00e0, nos acercan a los a\u00f1os treinta, justo antes de que estallara la Guerra Civil, y nos recuerdan el papel interesado de la Iglesia en este conflicto.\t\t\t<\/p>\n\t\t\t<\/div>\n\t<\/div>[\/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_1741270417158{padding-top: 94px !important;padding-bottom: 94px !important;background: #000000 url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/03\/teatre_religio.jpg?id=9286) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}\u00bb z_index=\u00bb\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=\u00bb300px\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=\u00bb5\/12&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"teatro-y-religion-vitrales-y-escenografias\">\n        <h2 class=\"fade-in\">Teatro y religi\u00f3n, vitrales y escenograf\u00edas<\/h2><\/div>[vc_column_text css=\u00bb.vc_custom_1741628478628{margin-top: 24px !important;}\u00bb el_class=\u00bbfont-gran color-blanc fade-in\u00bb]<span style=\"font-weight: 400;\">El efecto amplificador de la luz de los vitrales ha sido un recurso utilizado por la religi\u00f3n para enfatizar sus aspectos teatrales y escenogr\u00e1ficos.<\/span>[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1746530150148{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]<span style=\"font-weight: 400;\">Joan Busquets Jan\u00e9, Josep Pey Farriol (dibujo de los \u00e1ngeles y pinturas de las sargas) <\/span><i><span style=\"font-weight: 400;\">Vitral del oratorio Cendoya<\/span><\/i><span style=\"font-weight: 400;\">, 1905. Museu Nacional d\u2019Art de Catalunya. Donaci\u00f3n de la fam\u00edlia Cendoya, 1973. \u00a9 El autor o sus herederos<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb7\/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 header_style=\u00bblight\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 css=\u00bb.vc_custom_1741616046277{margin-top: 120px !important;margin-bottom: 250px !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}\u00bb background_color=\u00bb#B3B3B300&#8243;][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb9082&#8243; img_size=\u00bb800&#215;1000&#8243; css=\u00bb.vc_custom_1744273198107{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1741185742522{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">En el Museu de Cerdanyola encontramos las vidrieras modernistas de la Torre L\u00f3pez de Eduard Maria Balcells.<\/span>[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Eduard Maria Balcells. Puerta corredera de la galer\u00eda de la Torre L\u00f3pez, emplazamiento original, Barcelona, ca.  1906. Madera y vitral emplomado con vidrio estirado decorado al \u00e1cido, vidrio catedral y vidrio impreso florentine. Dep\u00f3sito Montserrat, Maria Isabel, Carles, Ricard y Blanca Dom\u00e8nech Sagu\u00e9. Museu de Cerdanyola.  <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;]<div id=\"ult-carousel-324788138769e7a332b7c61\" class=\"ult-carousel-wrapper   ult_horizontal\" data-gutter=\"15\" data-rtl=\"false\" ><div class=\"ult-carousel-142951331069e7a332b7c43 \" >[vc_single_image image=\u00bb9085&#8243; img_size=\u00bb800&#215;1000&#8243; css=\u00bb\u00bb qode_css_animation=\u00bb\u00bb][vc_single_image image=\u00bb9088&#8243; img_size=\u00bb800&#215;1000&#8243; css=\u00bb\u00bb qode_css_animation=\u00bb\u00bb][vc_single_image image=\u00bb9091&#8243; img_size=\u00bb800&#215;1000&#8243; css=\u00bb\u00bb qode_css_animation=\u00bb\u00bb][vc_single_image image=\u00bb9094&#8243; img_size=\u00bb800&#215;1000&#8243; css=\u00bb\u00bb qode_css_animation=\u00bb\u00bb][vc_single_image image=\u00bb9097&#8243; img_size=\u00bb800&#215;1000&#8243; css=\u00bb\u00bb qode_css_animation=\u00bb\u00bb][vc_single_image image=\u00bb9100&#8243; img_size=\u00bb800&#215;1000&#8243; css=\u00bb\u00bb qode_css_animation=\u00bb\u00bb][vc_single_image image=\u00bb9103&#8243; img_size=\u00bb800&#215;1000&#8243; css=\u00bb\u00bb qode_css_animation=\u00bb\u00bb]<\/div><\/div>\t\t\t<script type=\"text\/javascript\">\n\t\t\t\tjQuery(document).ready(function ($) {\n\t\t\t\t\tif( typeof jQuery('.ult-carousel-142951331069e7a332b7c43').slick == \"function\"){\n\t\t\t\t\t\t$('.ult-carousel-142951331069e7a332b7c43').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-right4\"><\/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-left4\"><\/i><\/button>',slidesToScroll:1,slidesToShow:1,swipe: true,draggable: true,touchMove: true,pauseOnHover: true,pauseOnFocus: false,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: 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: 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-record\" 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_text css=\u00bb.vc_custom_1741350628193{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">Si los vitrales tienen algo de teatralidad, <\/span><i><span style=\"font-weight: 400;\">Auca de la Llum<\/span><\/i><span style=\"font-weight: 400;\"> parece una suerte de <\/span><i><span style=\"font-weight: 400;\">storyboard<\/span><\/i><span style=\"font-weight: 400;\"> <\/span> <span style=\"font-weight: 400;\">compuesto por un total de 87 vi\u00f1etas conservadas en 3 cuadros. Se acompa\u00f1an de los pareados escritos por Ramon Albareda y Garriga.  <\/span><i><span style=\"font-weight: 400;\">El Auca de la Llum<\/span><\/i><span style=\"font-weight: 400;\"> es un elemento de referencia en la conformaci\u00f3n de un cierto imaginario de la ciudad de Manresa en los primeros a\u00f1os de la segunda mitad del siglo XX. Cada vi\u00f1eta es un compendio de referencias a datos y personajes hist\u00f3ricos, an\u00e9cdotas y folclore manresano. <\/span>[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Joan Vilanova i Roset. <\/span><i><span style=\"font-weight: 400;\">Auca de la Llum,<\/span><\/i><span style=\"font-weight: 400;\">  1953-1959. Tinta sobre papel. MCM11260. Museu de Manresa.  <\/span>[\/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_1741616068878{margin-top: 120px !important;padding-bottom: 64px !important;background-image: url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/03\/sapereaude-1.jpg?id=9294) !important;}\u00bb z_index=\u00bb\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_1741620038459{margin-bottom: 64px !important;padding-top: 94px !important;}\u00bb][vc_column_inner width=\u00bb7\/12&#8243; css=\u00bb.vc_custom_1741620622074{margin-bottom: 64px !important;}\u00bb]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"sapere-aude\">\n        <h2 class=\"fade-in\">Sapere Aude!<\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/open.spotify.com\/intl-es\/track\/6Bzm7y5jZmHhAPaV7w3NZU?si=7ac895e412c14994\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">Haydn: Cuarteto de cuerda, Opus 76, N\u00fam. 2-4 2-4<\/div><div class=\"song_artist\">Joseph Haydn \/ Alban Berg Quartett<\/div><\/div><\/a><\/div><\/div>[vc_column_text css=\u00bb.vc_custom_1741628514303{margin-top: 24px !important;}\u00bb el_class=\u00bbfont-gran color-blanc fade-in width-80&#8243;]<span style=\"font-weight: 400;\">La \u00e9poca de la Ilustraci\u00f3n (que en otros idiomas alude directamente a la idea de luz: <\/span><i><span style=\"font-weight: 400;\">Lumi\u00e8res<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Enlightenment<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Illuminismo<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Aufkl\u00e4rung<\/span><\/i><span style=\"font-weight: 400;\">) representa un viaje de la oscuridad hacia la luz, de un conocimiento basado en la superstici\u00f3n a una aproximaci\u00f3n racional y cient\u00edfica que se aplica tanto a la religi\u00f3n como a los temas relacionados con la sociedad, la pol\u00edtica y la econom\u00eda. La raz\u00f3n es el principal avalador, con autoridad para legitimar los ideales de libertad, progreso, tolerancia, fraternidad, la idea de un gobierno constitucional y la separaci\u00f3n entre Iglesia y Estado. El conocimiento es entendido como un instrumento para la liberaci\u00f3n, como una salida desde la oscuridad de la cueva de Plat\u00f3n. La luz se convierte en s\u00edmbolo de conocimiento y sabidur\u00eda. La    <\/span><i><span style=\"font-weight: 400;\">Enciclopedia<\/span><\/i><span style=\"font-weight: 400;\"> de Diderot es un claro exponente de este momento. Entre los siglos XVII y XVIII, los fil\u00f3sofos pueden difundir sus ideas desde academias cient\u00edficas, salones literarios, diccionarios, enciclopedias, libros y panfletos. Es el momento de expansi\u00f3n de la industria del libro y de la popularizaci\u00f3n de la ciencia. Se produce un estallido en todas las artes (especialmente la m\u00fasica) y de la cultura a partir del \u00e9nfasis generalizado en la necesidad de aprender y cultivarse.    <\/span><\/p>\n<p><span style=\"font-weight: 400;\">En los esgrafiados del edificio de la Biblioteca Museu V\u00edctor Balaguer encontramos claras referencias a la masoner\u00eda, a la que pertenec\u00eda V\u00edctor Balaguer. El af\u00e1n por disipar las tinieblas y la oscuridad mediante las luces de la raz\u00f3n relaciona ambos movimientos.  <\/span>[\/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][vc_column_inner width=\u00bb1\/2&#8243;][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9106&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9109&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744273426117{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\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 css=\u00bb.vc_custom_1741617456917{margin-bottom: 200px !important;padding-top: 120px !important;}\u00bb z_index=\u00bb\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb9112&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744273441639{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_column_text css=\u00bb.vc_custom_1741188580684{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">Uno de los elementos m\u00e1s destacados de la Ilustraci\u00f3n es la actividad de la \u201cesfera p\u00fablica\u201d, un espacio de comunicaci\u00f3n en el que aparecen distintos \u00e1mbitos de debate m\u00e1s abiertos, as\u00ed como espacios p\u00fablicos m\u00e1s accesibles, un intercambio social m\u00e1s intenso y un auge de la cultura impresa. <\/span><\/p>\n<p><span style=\"font-weight: 400;\">La artista afgana residente en Par\u00eds Kubra Khademi actualiza la noci\u00f3n de \u201cEnlightenment\u201d (Ilustraci\u00f3n). Desde su posici\u00f3n de refugiada pol\u00edtica y feminista, pone el foco en sociedades marcadamente patriarcales, tambi\u00e9n en relaci\u00f3n con motivos de la mitolog\u00eda, la historia del arte y la pol\u00edtica. <\/span>[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Kubra Khademi. <\/span><i><span style=\"font-weight: 400;\">The Enlightenment<\/span><\/i><span style=\"font-weight: 400;\">, 2016. Serigraf\u00eda, 30,6 x 21,9 cm. Referencia ME2369. Museu de l\u2019Empord\u00e0  <\/span>[\/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_1741616217673{padding-top: 0px !important;padding-bottom: 120px !important;background: #000000 url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/03\/moulin.jpg?id=9303) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}\u00bb z_index=\u00bb\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_1741620024139{margin-top: 120px !important;margin-bottom: 94px !important;padding-top: 46px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-true\" style=\"\" id=\"luz-artificial-y-modernidad\">\n        <h2 class=\"fade-in\">Luz artificial y modernidad<\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/open.spotify.com\/intl-es\/track\/1zKIUBYbszIz2ZhLWELxuT?si=8c8879389ede42a6\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">Berlin: Die Sinfonie der Gro\u00dfstadt<\/div><div class=\"song_artist\">Edmund Meisel<\/div><\/div><\/a><\/div><\/div>[vc_column_text css=\u00bb\u00bb el_class=\u00bbfont-gran color-blanc width-80 fade-in\u00bb]<span style=\"font-weight: 400;\">En \u00e9poca medieval, el ritmo vital de las personas y las ciudades depend\u00eda de la luz natural. En el siglo XIV, las primeras luces p\u00fablicas (la primera se instal\u00f3 en Hamburgo) cambian las din\u00e1micas urbanas y se convierten en s\u00edmbolo de desarrollo.  <\/span><\/p>\n<p><span style=\"font-weight: 400;\">La luz en el espacio p\u00fablico tiene una funci\u00f3n representativa, a la vez que garantiza el orden y la vigilancia, la comodidad para los ciudadanos y tambi\u00e9n el aprovechamiento de las horas nocturnas para el transporte, las industrias, el tiempo libre y el ocio. <\/span>[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1742464442839{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]<a href=\"https:\/\/www.museunacional.cat\/ca\/colleccio\/sense-titol\/oriol-maspons\/252526-000\">Oriol Maspons,<\/a> Sin t\u00edtulo 1955-56. Fotograf\u00eda[\/vc_column_text][vc_empty_space height=\u00bb420px\u00bb el_class=\u00bbhide-res\u00bb][\/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][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9116&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1742464580248{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]<a href=\"https:\/\/www.museunacional.cat\/ca\/colleccio\/sense-titol\/oriol-maspons\/217833-000\">Oriol Maspons,<\/a> Sin t\u00edtulo 1955-56. Fotograf\u00eda[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9119&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1742464721379{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]<a href=\"https:\/\/www.museunacional.cat\/ca\/colleccio\/illuminacions-publiques-bon-gust-fantasia-enlluernament\/pere-catala-pic\/219882-042\">Pere Catal\u00e0 i Pic<\/a>, Iluminaciones p\u00fablicas. Buen gusto, fantas\u00eda, deslumbramiento&#8230; Fotograf\u00eda, 1931[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb9122&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1741348380864{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Palais de l\u2019electricit\u00e9, 1900. Fotograf\u00eda estereosc\u00f3pica, 8,4 x 17,4 cm. Ref. MFM S-6661. Museu Frederic Mar\u00e8s. \u00a9 Foto: Pep Herrero.[\/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][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1739802355172{padding-right: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-superior color-blanco\" style=\"height: 640px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/011188-000-scaled-1.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    <span style=\"font-weight: 400;\">A finales del siglo XIX y principios del XX, la electricidad se convierte en s\u00edmbolo de investigaci\u00f3n, modernidad y vida urbana, iluminando tiendas y teatros. Surge una nueva cultura del tiempo libre.  <\/span>\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Alfred Sohn-Rethel. Detalle de un teatro de Par\u00eds, 1904. Museu Nacional d\u2019Art de Catalunya. Adquisici\u00f3n en la \u00abV Exposici\u00f3n Internacional de Bellas Artes e Industrias Art\u00edsticas\u00bb de Barcelona, 1907; \u00a9 El autor o sus herederos<\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1747308587896{padding-left: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-superior color-blanco\" style=\"height: 640px; \"><div class=\"comissionariat-image background-left-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/000210-C_089911-scaled-1.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    <span style=\"font-weight: 400;\">Las ciudades crecen en tama\u00f1o y altura y aumenta la circulaci\u00f3n rodada. <\/span>\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Henri Meunier. &#091;Automobiles Gobron&#093;, 1902. Museu Nacional d\u2019Art de Catalunya. Adquisici\u00f3n de la Colecci\u00f3n Plandiura, 1903; Dominio p\u00fablico<\/p>\n                <\/div>\n            <\/div>\n        <\/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 angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb z_index=\u00bb\u00bb css=\u00bb.vc_custom_1741347511374{padding-top: 94px !important;background-image: url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/02\/background-2.jpg?id=8938) !important;}\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_1741024882824{padding-top: 46px !important;padding-bottom: 94px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-negro orientation-true\" style=\"\" id=\"explorando-los-mecanismos\">\n        <h2 class=\"fade-in\">Explorando los mecanismos<\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/youtu.be\/nSlkEwYHMm4?si=3Cn-sOGDDxgcrggc\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">I Am a Camera<\/div><div class=\"song_artist\">The Buggles<\/div><\/div><\/a><\/div><\/div>[vc_column_text css=\u00bb.vc_custom_1741628582831{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfont-gran fade-in\u00bb]<span style=\"font-weight: 400;\">La fotograf\u00eda y el cine son tambi\u00e9n la consecuencia de esta innovaci\u00f3n tecnol\u00f3gica. Vale la pena detenerse en algunos de los primeros aparatos fotogr\u00e1ficos que se encuentran en las colecciones del Museu Mar\u00e8s. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#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_1742467637102{margin-bottom: 90px !important;}\u00bb z_index=\u00bb\u00bb][vc_column width=\u00bb1\/5&#8243; css=\u00bb.vc_custom_1747307957377{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9138&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1747308478345{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1747308553010{margin-right: 20px !important;margin-left: 60px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]C\u00e1mara fotogr\u00e1fica de taller. Segunda mitad del siglo XIX. 129 x 165 x 60 cm. Ref. MFM S-6297. Museu Frederic Mar\u00e8s. \u00a9 Foto: Pep Herrero[\/vc_column_text][\/vc_column][vc_column width=\u00bb1\/5&#8243; css=\u00bb.vc_custom_1739805670650{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9144&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1747308487286{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1747307786092{margin-right: 20px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]Ernemann Globus. C\u00e1mara fotogr\u00e1fica de campa\u00f1a. Primer cuarto del siglo XX. 136 x 21,5 x 37,5 cm. Ref. MFM S-6441. Museu Frederic Mar\u00e8s. \u00a9 Foto: Pep Herrero.[\/vc_column_text][\/vc_column][vc_column width=\u00bb1\/5&#8243; css=\u00bb.vc_custom_1742467780617{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9141&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1747308545984{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1747307843336{margin-right: 20px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]C\u00e1mara estereosc\u00f3pica tipo Klapp. 1896- 1921. Ref. MFM S-6355. Museu Frederic Mar\u00e8s. \u00a9 Foto: Pep Herrero[\/vc_column_text][\/vc_column][vc_column width=\u00bb1\/5&#8243; css=\u00bb.vc_custom_1739805687394{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9132&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1747308559191{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1747307866802{margin-right: 20px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]Linterna m\u00e1gica. Segunda mitad del siglo XIX. Ref. MFM 20991. Museu Frederic Mar\u00e8s. \u00a9 Foto: Pep Herrero.[\/vc_column_text][\/vc_column][vc_column width=\u00bb1\/5&#8243; css=\u00bb.vc_custom_1739805905012{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9135&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1747308565192{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1747307888501{margin-right: 80px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]Diapositiva de linterna m\u00e1gica. Finales del siglo XIX. Ref. MFM S-27429. Museu Frederic Mar\u00e8s. \u00a9 Foto: Pep Herrero.[\/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_1741346224470{padding-top: 64px !important;padding-bottom: 64px !important;}\u00bb z_index=\u00bb\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bb\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_column_text css=\u00bb.vc_custom_1741253040783{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">Y tambi\u00e9n en exploraciones m\u00e1s contempor\u00e1neas de estos mecanismos. <\/span><\/p>\n<p><span style=\"font-weight: 400;\">Artistas y cient\u00edficos comparten la curiosidad y la capacidad anal\u00edtica para explorar los mecanismos t\u00e9cnicos y mentales. En el caso de David Lamelas, los monitores se reducen a la proyecci\u00f3n de la luz, condici\u00f3n b\u00e1sica del aparato cinematogr\u00e1fico.  <\/span>[\/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_1741256905136{padding-bottom: 64px !important;}\u00bb][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9153&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744273846252{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">David Lamelas.<\/span> <i><span style=\"font-weight: 400;\">Situaci\u00f3n de tiempo<\/span><\/i><span style=\"font-weight: 400;\">,<\/span> <span style=\"font-weight: 400;\">1967. Emisi\u00f3n de luz vibr\u00e1til en 17 televisores. <\/span><span style=\"font-weight: 400;\">Dimensiones variables. R.3741, Colecci\u00f3n MACBA. Consorci MACBA  <\/span> <span style=\"font-weight: 400;\">\u00a9 David Lamelas. Fotograf\u00eda: Tony Coll <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9150&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744273854762{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1741253955118{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<i><span style=\"font-weight: 400;\">Nocturn 29<\/span><\/i><span style=\"font-weight: 400;\"> de Pere Portabella es una declaraci\u00f3n de principios sobre el cine.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9147&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744273865875{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Pere Portabella. <\/span><i><span style=\"font-weight: 400;\">Nocturn 29<\/span><\/i><span style=\"font-weight: 400;\">,<\/span> <span style=\"font-weight: 400;\">1968. Pel\u00edcula de 35 mm, b\/n y color, sonido, 77 min 58 s<\/span> <span style=\"font-weight: 400;\">Realizaci\u00f3n de Pere Portabella.<\/span> <span style=\"font-weight: 400;\">Producida por Films 59. R.1894, Colecci\u00f3n MACBA. Fundaci\u00f3n MACBA. Donaci\u00f3n de Pere Portabella. \u00a9 Pere Portabella.   <\/span> <span style=\"font-weight: 400;\">\u00a9 Pere Portabella<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9156&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1744273873256{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">J<\/span><span style=\"font-weight: 400;\">o\u00e3o Maria Gusm\u00e3o &amp; Pedro Paiva. <\/span><i><span style=\"font-weight: 400;\">Modulo ocular<\/span><\/i><span style=\"font-weight: 400;\">,<\/span> <span style=\"font-weight: 400;\">2006. Sistema de cuarto oscuro con mesa de madera, huevos de avestruz, lentes y foco. Dimensiones variables. R.5093, Colecci\u00f3n MACBA. Fundaci\u00f3n MACBA. Obra adquirida    <\/span><span style=\"font-weight: 400;\">gracias a la Fundaci\u00f3 Puig<\/span> <span style=\"font-weight: 400;\">\u00a9 Jo\u00e3o Maria Gusm\u00e3o + Pedro Paiva. Fotograf\u00eda: Rafael Vargas <\/span>[\/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][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1739802355172{padding-right: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 900px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/2488_001_pub_1.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    <i><span style=\"font-weight: 400;\">Line Describing a Cone<\/span><\/i><span style=\"font-weight: 400;\">, de Anthony McCall, cuestiona todas las convenciones cinematogr\u00e1ficas.<\/span>\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Anthony McCall. L\u00ednea que describe un cono, 1973. Pel\u00edcula de 16 mm, b\/n, sin sonido, 31 min y humo, dimensiones variables. R.2488, Colecci\u00f3n MACBA. Fundaci\u00f3n MACBA. \u00a9 Anthony McCall. Fotograf\u00eda: Hank Graber      <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1739802364324{padding-left: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 900px; \"><div class=\"comissionariat-image background-top-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/2976_001_hist_1.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    \n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Dan Graham. Zoom binocular, 1969. Proyecci\u00f3n sincronizada adyacente de dos pel\u00edculas super 8 transferidas a 16 mm, color, sin sonido, 1 min 7 s. R.2976, Colecci\u00f3n MACBA. Fundaci\u00f3n MACBA. \u00a9 Binocular Zoom by Dan Graham. Todos los derechos reservados. Fotograf\u00eda: Marian Goodman Gallery.       <\/p>\n                <\/div>\n            <\/div>\n        <\/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 angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1741616239016{padding-top: 120px !important;padding-bottom: 94px !important;background: #000000 url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/03\/expo_bcn_1929-1.jpg?id=9172) !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_1741345415624{margin-bottom: 64px !important;padding-bottom: 94px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-true\" style=\"\" id=\"exposicion-internacional-de-barcelona-1929\">\n        <h2 class=\"fade-in\">Exposici\u00f3n internacional de Barcelona (1929)<\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/open.spotify.com\/intl-es\/track\/4UjMKBpI6ukfH31WCfeh4O?si=c9ea08c5611d45ab\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">Bocetos IV: La campana de la tarde<\/div><div class=\"song_artist\">de Enric Granados<\/div><\/div><\/a><\/div><\/div>[vc_column_text css=\u00bb.vc_custom_1742466214302{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]Alicia de Larrocha (interpretado originariamente por la artista a la edad de 6 a\u00f1os, el 12 de diciembre de 1929, en el Palacio de las Misiones de la Exposici\u00f3n Internacional de B arcelona).[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1741628619182{margin-top: 24px !important;}\u00bb el_class=\u00bbfont-gran color-blanc fade-in\u00bb]<span style=\"font-weight: 400;\">Volvemos a las ciudades, y hay un caso que no podemos dejar de lado: la Exposici\u00f3n Internacional de Barcelona (1929). No resulta anecd\u00f3tico recordar que poco antes de estallar la I Guerra Mundial se hab\u00eda tomado la decisi\u00f3n de organizar una exposici\u00f3n que iba a llamarse \u201cExposici\u00f3n Internacional de las Industrias El\u00e9ctricas\u201d. La I Guerra Mundial dej\u00f3 en una situaci\u00f3n muy dif\u00edcil a los pa\u00edses que ten\u00edan que participar, lo cual, junto con los numerosos cambios pol\u00edticos que vivi\u00f3 Espa\u00f1a, aplaz\u00f3 el evento hasta 1929. Puesto que la electricidad ya no era una novedad, pas\u00f3 a llamarse \u201cExposici\u00f3n Internacional de Barcelona\u201d. A pesar de ello, la luz fue uno de los hilos conductores del proyecto urban\u00edstico e ideol\u00f3gico de la exposici\u00f3n, a partir de tres elementos: los rayos de luz del Palau Nacional, la Fuente M\u00e1gica (proyectada por Carles Bu\u00efgas) y las Columnas de la Luz que flanqueaban la Avenida Mar\u00eda Cristina.      <\/span><\/p>\n<p><span style=\"font-weight: 400;\">En el Museu de Cerdanyola se conservan algunos elementos, como por ejemplo carteles, el sello o la maleta de Carles Bu\u00efgas, llena de transparencias con distintas vistas del proyecto: una suerte de cat\u00e1logo que seguramente utilizaba para mostrar sus proyectos y obtener nuevos encargos. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#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 bg_type=\u00bbgrad\u00bb css=\u00bb.vc_custom_1741345637249{margin-top: -95px !important;padding-bottom: 64px !important;background-color: #000000 !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-407325495169e7a332b8414\" class=\"ult-carousel-wrapper   ult_horizontal\" data-gutter=\"10\" data-rtl=\"false\" ><div class=\"ult-carousel-372945964469e7a332b83fa \" ><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\/2025\/04\/museu_4478_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\tCarteles de la Exposici\u00f3n Internacional. Barcelona, 1929. Fototipia y cromolitograf\u00eda. Imprenta Rieusset S.A. Ilustraciones de Santacreu y Gabriel Amat. Donaci\u00f3n Rotary Club Cerdanyola. Museu de Cerdanyola.     \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\/2025\/04\/museu_4481_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\tCarteles de la Exposici\u00f3n Internacional. Barcelona, 1929. Fototipia y cromolitograf\u00eda. Imprenta Rieusset S.A. Ilustraciones de Santacreu y Gabriel Amat. Donaci\u00f3n Rotary Club Cerdanyola. Museu de Cerdanyola.     \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\/2025\/04\/GAGB_19_08_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\tCarteles de la Exposici\u00f3n Internacional. Barcelona, 1929. Fototipia y cromolitograf\u00eda. Imprenta Rieusset S.A. Ilustraciones de Santacreu y Gabriel Amat. Donaci\u00f3n Rotary Club Cerdanyola. Museu de Cerdanyola.     \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\/2025\/04\/maleta.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\tMaleta de Carles Bu\u00efgas y detalle de transparencias. Donaci\u00f3n Rotary Club Cerdanyola. Museu de Cerdanyola.  \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\/2025\/04\/img_7973.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\tMaleta de Carles Bu\u00efgas y detalle de transparencias. Donaci\u00f3n Rotary Club Cerdanyola. Museu de Cerdanyola.  \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\/2025\/04\/mac1884.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\tMaleta de Carles Bu\u00efgas y detalle de transparencias. Donaci\u00f3n Rotary Club Cerdanyola. Museu de Cerdanyola.  \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\/2025\/04\/mac1885.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\tMaleta de Carles Bu\u00efgas y detalle de transparencias. Donaci\u00f3n Rotary Club Cerdanyola. Museu de Cerdanyola.  \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 ($) {\n\t\t\t\t\tif( typeof jQuery('.ult-carousel-372945964469e7a332b83fa').slick == \"function\"){\n\t\t\t\t\t\t$('.ult-carousel-372945964469e7a332b83fa').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=\u00bbfull_width\u00bb angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb z_index=\u00bb\u00bb css=\u00bb.vc_custom_1741616254447{padding-top: 120px !important;background-image: url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/02\/background-2.jpg?id=8938) !important;}\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_1741024882824{padding-top: 46px !important;padding-bottom: 94px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-negro orientation-true\" style=\"\" id=\"luz-artificial-progreso-tecnologia\">\n        <h2 class=\"fade-in\">Luz artificial, progreso, tecnolog\u00eda<\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/open.spotify.com\/intl-es\/track\/7ENnLfsIdZqaWtX4QevFto?si=7373c4cf9b7a4ca4\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">Neon Lights<\/div><div class=\"song_artist\">Kraftwerk<\/div><\/div><\/a><\/div><\/div>[vc_column_text css=\u00bb.vc_custom_1741628633293{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfont-gran fade-in width-80&#8243;]<span style=\"font-weight: 400;\">La luz artificial sigue definiendo la identidad y el talante de las ciudades y, con ellas, una parte importante de la esfera p\u00fablica. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#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][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1739802355172{padding-right: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 900px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/06132_1.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    \n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Adam Strzelczyk. Koeln at night. Fotograf\u00eda. N\u00fam. reg.: 6132. Centre de la Imatge Mas Iglesias Reus \/ Premis Ciutat de Reus de Fotograf\u00eda - Ayuntamiento de Reus.<\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column][vc_column width=\u00bb1\/2&#8243; css=\u00bb.vc_custom_1739802364324{padding-left: 0px !important;}\u00bb]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 900px; \"><div class=\"comissionariat-image background-top-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/04\/GAGB_8958_14_1-e1741345264261.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    \n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Armand Dom\u00e8nech. Cartel Semana de la Luz. Barcelona, 1966. GAGB 8958\/14. Museu del Disseny-DHub. Fotograf\u00eda: La Fotogr\u00e1fica.     <\/p>\n                <\/div>\n            <\/div>\n        <\/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 angled_section=\u00bbno\u00bb text_align=\u00bbleft\u00bb background_image_as_pattern=\u00bbwithout_pattern\u00bb css=\u00bb.vc_custom_1741616357474{margin-top: 94px !important;margin-bottom: 94px !important;padding-bottom: 94px !important;}\u00bb z_index=\u00bb\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_1741255790199{margin-top: 64px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb9196&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1744274479779{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb.vc_custom_1741261594997{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">Est\u00e1 asociada a la modernidad y a un futuro entre retro y sofisticado, tal y como vemos en algunas fotograf\u00edas de moda t\u00edpicas de los a\u00f1os ochenta.<\/span>[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Josep Manuel Ferrater. <\/span><i><span style=\"font-weight: 400;\">Luz de ne\u00f3n<\/span><\/i><span style=\"font-weight: 400;\">, Barcelona, 1984. Fotograf\u00eda. MTIB 4117\/13, Museu del Disseny-DHub. Fotograf\u00eda: Josep Manuel Ferrater.   <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb9193&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1744274487576{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Pep \u00c0vila. <\/span><i><span style=\"font-weight: 400;\">Future Land<\/span><\/i><span style=\"font-weight: 400;\">, Barcelona, 2018. MDB 4053, Museu del Disseny-DHub. Fotograf\u00eda: Pep \u00c0vila.  <\/span>[\/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_1741616396738{padding-top: 120px !important;padding-bottom: 120px !important;background: #000000 url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/03\/esferapublica.jpg?id=9213) !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_1741257574282{padding-bottom: 94px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-true\" style=\"\" id=\"luz-y-esfera-publica\">\n        <h2 class=\"fade-in\">Luz y esfera p\u00fablica<\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/www.youtube.com\/watch?v=PnC-RKm12ZI&amp;list=PLW7pibdSIPj98OVNzJP_-R8A6r5oBXD2I&amp;index=1\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">Licht: Die sieben Tage der Woche<\/div><div class=\"song_artist\">Karlheinz Stockhausen<\/div><\/div><\/a><\/div><\/div>[vc_column_text css=\u00bb.vc_custom_1742466559619{margin-top: 24px !important;}\u00bb el_class=\u00bbfont-gran color-blanc fade-in\u00bb]<span style=\"font-weight: 400;\">En los a\u00f1os cincuenta y sesenta, el desarrollo tecnol\u00f3gico gener\u00f3 m\u00e1s luz y m\u00e1s potencia.<\/span>[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1746530297989{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]<span style=\"font-weight: 400;\">Carles Fontser\u00e8 Carri\u00f3. <\/span><i><span style=\"font-weight: 400;\">Panel Contraportada C: Vista nocturna rascacielos Manhattan,<\/span><\/i><span style=\"font-weight: 400;\">, 1955-1968. Museu Nacional d\u2019Art de Catalunya. Donaci\u00f3n del artista, 1997. \u00a9 El autor o sus herederos. <\/span>[\/vc_column_text][vc_empty_space height=\u00bb420px\u00bb el_class=\u00bbhide-res\u00bb][\/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][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb9199&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1742466591108{margin-top: 24px !important;}\u00bb el_class=\u00bbfont-gran color-blanc fade-in\u00bb]<span style=\"font-weight: 400;\">La crisis del petr\u00f3leo de la d\u00e9cada de los setenta va acompa\u00f1ada de un aumento de la sensibilidad hacia los temas de la sostenibilidad en el uso de la luz y de los recursos. Una sensibilidad que ahora mismo vivimos como una urgencia. <\/span>[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1741261771770{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in\u00bb]<span style=\"font-weight: 400;\">Adrian<\/span> <span style=\"font-weight: 400;\">Melis.<\/span> <i><span style=\"font-weight: 400;\">Momentos que marcaron el mundo III. The East is Red <\/span><\/i><span style=\"font-weight: 400;\">,<\/span> <span style=\"font-weight: 400;\">2013. V\u00eddeo monocanal, color, sonido, 3 min 36 s. R.5075, Colecci\u00f3n MACBA. Fundaci\u00f3n MACBA.  <\/span> <span style=\"font-weight: 400;\">\u00a9 Adrian Melis<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb9202&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\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 css=\u00bb.vc_custom_1741616444857{margin-top: 120px !important;margin-bottom: 120px !important;}\u00bb z_index=\u00bb\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bbelement_from_bottom\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb9205&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744274613824{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_column_text css=\u00bb.vc_custom_1741261898365{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">El desarrollo trae consigo la implementaci\u00f3n de nuevas tecnolog\u00edas de iluminaci\u00f3n. La luz puede modificar entornos y percepciones y es un elemento clave en los eventos deportivos y art\u00edsticos, as\u00ed como en las celebraciones nacionales y pol\u00edticas.  <\/span><\/p>\n<p><span style=\"font-weight: 400;\">En el contexto de la contemporaneidad l\u00edquida definida por Zygmunt Bauman, la intangibilidad de la luz define identidades y din\u00e1micas urbanas, dando lugar a ciudades virtuales y ciudades luz, como Hong Kong, Nueva York o Las Vegas. <\/span>[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Judith Barry.<\/span> <i><span style=\"font-weight: 400;\">A la sombra de la ciudad\u2026 vamp r y<\/span><\/i><span style=\"font-weight: 400;\">,<\/span> <span style=\"font-weight: 400;\">1985. Proyecci\u00f3n de diapositivas y v\u00eddeo sobre pantalla de doble cara, color, sonido, proyecci\u00f3n continua. Dimensiones variables. R.3640, Colecci\u00f3n MACBA. Consorci MACBA.   <\/span> <span style=\"font-weight: 400;\">\u00a9 Judith Barry<\/span>[\/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_1741021429896{margin-top: 84px !important;}\u00bb][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9208&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1744274634465{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb.vc_custom_1741262170585{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">Desarrollo tecnol\u00f3gico, consumismo desaforado y conciencia ecol\u00f3gica y de sostenibilidad siguen yendo de la mano. La crisis del petr\u00f3leo de la d\u00e9cada de los setenta llega hasta la actualidad, acompa\u00f1ada en primer lugar de una mayor sensibilidad y, ahora mismo, de una urgencia en cuanto a los temas de sostenibilidad en el uso de la luz y de los recursos.  <\/span><\/p>\n<p><span style=\"font-weight: 400;\">Nos lo recuerda Allan Sekula.<\/span>[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Allan Sekula.<\/span> <i><span style=\"font-weight: 400;\">Riesgo de radiaci\u00f3n. Serie: \u00abMetano para todos\u00bb, <\/span><\/i><span style=\"font-weight: 400;\">,<\/span> <span style=\"font-weight: 400;\">2008. Fotograf\u00eda cromog\u00e9nica, <\/span><span style=\"font-weight: 400;\">41 x 60 cm. R.4079, Colecci\u00f3n MACBA. Fundaci\u00f3n MACBA. Colecci\u00f3n Fundaci\u00f3n Repsol.    <\/span><span style=\"font-weight: 400;\">\u00a9 The Estate of Allan Sekula. Fotograf\u00eda: Christopher Grimes Gallery <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9211&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1744274640741{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb.vc_custom_1741262661273{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">Ya en los setenta se comentaba que la noci\u00f3n de crecimiento sostenible es un ox\u00edmoron. Con sus neones, que reproducen f\u00f3rmulas matem\u00e1ticas, Jordi Benito quiere repensar la conflictividad del ser humano en el mundo, releyendo  <\/span><i><span style=\"font-weight: 400;\">Ideas sobre la complejidad del mundo<\/span><\/i><span style=\"font-weight: 400;\"> (1985) de Jorge Wagensberg, donde subraya la incertidumbre del entorno.<\/span>[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Jordi Benito. <\/span><i><span style=\"font-weight: 400;\">S\/T (Meeting Point)<\/span><\/i><span style=\"font-weight: 400;\">, 2008. Instalaci\u00f3n. Museu de Granollers <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9214&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1746005736052{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb.vc_custom_1746005749888{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">El col\u00b7lectiu FRAU. Recerques Visuals parteix de la refer\u00e8ncia a Benito per aprofundir en la necessitat d\u2019assolir m\u00e9s sostenibilitat. <\/span>[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">FRAU. Recerques visuals.  <\/span><i><span style=\"font-weight: 400;\">I jo! Amb tot el meu cos llen\u00e7at a aquestes canyes <\/span><\/i><span style=\"font-weight: 400;\">, 2023. Instalaci\u00f3n. Museu de Granollers Ref. 12774 <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/4&#8243;][vc_single_image image=\u00bb9217&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1744274653816{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb.vc_custom_1741262738134{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">Varvara &amp; Mar nos hablan tambi\u00e9n de la complejidad del mundo actual, de los cambios sociales y del impacto de la era tecnol\u00f3gica. <\/span>[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Varvara &amp; Mar. <\/span><i><span style=\"font-weight: 400;\">Data Shop<\/span><\/i><span style=\"font-weight: 400;\">, 2017. Instalaci\u00f3n. Museu Abell\u00f3 <\/span>[\/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_1740737245569{padding-top: 84px !important;padding-bottom: 84px !important;background-image: url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/02\/background-2.jpg?id=8938) !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][vc_column_inner width=\u00bb1\/2&#8243;]<div class=\"comissionariat-title color-negro orientation-true\" style=\"\" id=\"\">\n        <h2 class=\"fade-in\"><\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/open.spotify.com\/intl-es\/track\/0NWPxcsf5vdjdiFUI8NgkP?si=3ad7d8d3c5bc4996\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">Hey Joe<\/div><div class=\"song_artist\">Jimi Hendrix<\/div><\/div><\/a><\/div><\/div>[vc_column_text css=\u00bb\u00bb el_class=\u00bbfont-gran width-80 fade-in\u00bb]<span style=\"font-weight: 400;\">Aunque se repite c\u00edclicamente, la guerra nunca ha sido ni ser\u00e1 la soluci\u00f3n.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/6&#8243; css=\u00bb.vc_custom_1739785784681{background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}\u00bb][\/vc_column_inner][vc_column_inner width=\u00bb1\/6&#8243;][\/vc_column_inner][vc_column_inner width=\u00bb1\/6&#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_1742467637102{margin-bottom: 90px !important;}\u00bb z_index=\u00bb\u00bb][vc_column width=\u00bb1\/4&#8243; css=\u00bb.vc_custom_1747308093672{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9221&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1747308282077{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1747308357041{margin-right: 20px !important;margin-left: 60px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]Joan Rabascall. Beso at\u00f3mico, 1968. Acr\u00edlico sobre tela, 162 x 97 cm. R.3219, Colecci\u00f3n MACBA. Dep\u00f3sito del Ayuntamiento de Barcelona. \u00a9 Joan Rabascall, VEGAP, Barcelona. Fotograf\u00eda: Gasull.[\/vc_column_text][\/vc_column][vc_column width=\u00bb1\/4&#8243; css=\u00bb.vc_custom_1747308099979{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9227&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1747308290482{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1747308166195{margin-right: 20px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]Vicente Gil Franco. Bombardeig (anvers) \/ Croquis d\u2019un gos (revers), 1937. Museu Nacional d\u2019Art de Catalunya, procedent de l\u2019\u201cExposici\u00f3 Internacional\u201d de Par\u00eds, 1937; \u00a9 El autor o sus herederos[\/vc_column_text][\/vc_column][vc_column width=\u00bb1\/4&#8243; css=\u00bb.vc_custom_1747308108675{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9224&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1747308298700{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1747308183983{margin-right: 20px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]Andr\u00e9s Fern\u00e1ndez Cuervo Sierra. Bombardeo, 1937. Museu Nacional d\u2019Art de Catalunya, procedente de la \u201cExposici\u00f3n Internacional\u201d de Par\u00eds, 1937; \u00a9 El autor o sus herederos[\/vc_column_text][\/vc_column][vc_column width=\u00bb1\/4&#8243; css=\u00bb.vc_custom_1747308118198{padding-right: 0px !important;padding-left: 0px !important;}\u00bb][vc_single_image image=\u00bb9230&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1747308311133{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1747308195547{margin-right: 20px !important;margin-left: 20px !important;}\u00bb el_class=\u00bbllegenda m2-left-res m2-right-res m2-bottom-res\u00bb]Josep Sancho Piqu\u00e9. Horrores de una guerra: \u201c\u00a1Oh bella luz! &#8230; \u00a1\u00danica y verdadera de Vida perdurable!\u201d, 1939. Dibujo a tinta sobre papel blanco. 24,5 x 32 cm. Referencia: MAMT NIG 1009. Diputaci\u00f3 de Tarragona. Museu d&#8217;Art Modern. Arxiu Fotogr\u00e0fic \/ Alberich Fot\u00f2grafs[\/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_1741616495929{margin-top: 120px !important;margin-bottom: 120px !important;}\u00bb z_index=\u00bb\u00bb][vc_column][vc_row_inner row_type=\u00bbrow\u00bb type=\u00bbgrid\u00bb text_align=\u00bbleft\u00bb css_animation=\u00bbelement_from_bottom\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_single_image image=\u00bb9233&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1744274771336{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#8243;][vc_column_text css=\u00bb.vc_custom_1741264248688{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">Kristin Oppenheim pone tambi\u00e9n ah\u00ed el foco, con una versi\u00f3n desnuda del <\/span><a href=\"https:\/\/open.spotify.com\/intl-es\/track\/0NWPxcsf5vdjdiFUI8NgkP?si=3ad7d8d3c5bc4996\"><span style=\"font-weight: 400;\">Hey Joe<\/span><\/a><span style=\"font-weight: 400;\"> de Jimi Hendrix, un verdadero alegato contra la guerra.<\/span>[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Kristin Oppenheim.<\/span> <i><span style=\"font-weight: 400;\">Hey Joe<\/span><\/i><span style=\"font-weight: 400;\">,<\/span> <span style=\"font-weight: 400;\">1996. Focos, altavoces, sistema inform\u00e1tico y grabaci\u00f3n sonora, 2 min 15 s. Dimensiones variables. R.4281, Colecci\u00f3n MACBA. Consorci MACBA. \u00a9 Kristin Oppenheim.    <\/span>[\/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_1741616535899{margin-top: 34px !important;}\u00bb][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb9242&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1744274777956{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb.vc_custom_1741264988435{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">Los dibujos de Carme Sanglas son una llamada de atenci\u00f3n a nuestra desvinculaci\u00f3n del entorno. <\/span>[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Carme Sanglas. <\/span><i><span style=\"font-weight: 400;\">Chica sacudiendo una s\u00e1bana<\/span><\/i><span style=\"font-weight: 400;\">,<\/span> <span style=\"font-weight: 400;\">2009. Tinta sobre papel, 21 x 29,6 cm. R. ME 2563. Museu de l\u2019Empord\u00e0. \u00a9 Carme Sanglas   <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb9236&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1744274783664{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb.vc_custom_1741265024648{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">Fina Miralles nos recuerda tambi\u00e9n la necesidad de volver a lo esencial.<\/span>[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Fina Miralles.<\/span> <i><span style=\"font-weight: 400;\">Relaciones. Relaci\u00f3n del cuerpo con elementos naturales en acciones cotidianas. Mirar el sol  <\/span><\/i><span style=\"font-weight: 400;\">,<\/span> <span style=\"font-weight: 400;\">1975\/2020. Impresi\u00f3n por chorro de tinta sobre papel. Colecci\u00f3n MACBA. Consorci MACBA. Donaci\u00f3n de la artista <\/span> <span style=\"font-weight: 400;\">\u00a9 Fina Miralles<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb9239&#8243; img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css=\u00bb.vc_custom_1744274789174{margin-bottom: 36px !important;}\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb el_class=\u00bbfade-in\u00bb][vc_column_text css=\u00bb.vc_custom_1741265070040{margin-bottom: 46px !important;}\u00bb el_class=\u00bbfade-in\u00bb]<span style=\"font-weight: 400;\">Del mismo modo que lo hac\u00eda Joan Mir\u00f3.<\/span>[\/vc_column_text][vc_column_text css=\u00bb\u00bb el_class=\u00bbllegenda fade-in\u00bb]<span style=\"font-weight: 400;\">Joan Mir\u00f3. <\/span><i><span style=\"font-weight: 400;\">Femme devant le soleil I<\/span><\/i><span style=\"font-weight: 400;\">, 1974. Acr\u00edlico sobre tela, 258,5 x 194 cm. R. FJM 4790. Fundaci\u00f3 Joan Mir\u00f3, Barcelona. \u00a9 Successi\u00f3 Mir\u00f3, 2024   <\/span>[\/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_1741616589394{padding-top: 94px !important;padding-bottom: 120px !important;background-color: #000000 !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_1741265482075{padding-bottom: 64px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_column_text css=\u00bb.vc_custom_1741265402956{margin-top: 24px !important;}\u00bb el_class=\u00bbcolor-blanc fade-in\u00bb]<span style=\"font-weight: 400;\">Sin el sol no ser\u00eda posible la vida. Es un elemento clave, tambi\u00e9n en relaci\u00f3n con la sostenibilidad futura. <\/span>[\/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][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb9245&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][vc_column_text css=\u00bb.vc_custom_1741265517639{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc fade-in\u00bb]<span style=\"font-weight: 400;\">Pedro Torres.<\/span> <i><span style=\"font-weight: 400;\">House of the Sun<\/span><\/i><span style=\"font-weight: 400;\">,<\/span> <span style=\"font-weight: 400;\">2020. Materiales diversos. Dimensiones variables. R.6293,   <\/span><span style=\"font-weight: 400;\">Colecci\u00f3n MACBA. Dep\u00f3sito de la Generalitat de Catalunya. Col\u00b7lecci\u00f3 Nacional d\u2019Art Contemporani. <\/span> <span style=\"font-weight: 400;\">\u00a9 Pedro Torres<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb9248&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\u00bb][\/vc_column_inner][vc_column_inner width=\u00bb1\/3&#8243;][vc_single_image image=\u00bb9251&#8243; img_size=\u00bbfull\u00bb css=\u00bb\u00bb qode_css_animation=\u00bbelement_from_fade\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 css=\u00bb.vc_custom_1746711824292{padding-top: 94px !important;padding-bottom: 94px !important;background: #000000 url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/05\/bombetes.jpg?id=9402) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !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_1741257574282{padding-bottom: 94px !important;}\u00bb][vc_column_inner width=\u00bb1\/2&#8243;][vc_empty_space height=\u00bb80px\u00bb][vc_column_text css=\u00bb.vc_custom_1741269352788{margin-top: 24px !important;}\u00bb el_class=\u00bbcolor-blanc fade-in\u00bb]<span style=\"font-weight: 400;\">Y acabamos con unas \u201csimples\u201d bombillas que tienen la capacidad de rememorar importantes momentos vitales\u2026<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Y, a su vez, sociales y colectivos.<\/span>[\/vc_column_text][vc_column_text css=\u00bb.vc_custom_1741269678754{margin-top: 48px !important;}\u00bb el_class=\u00bbllegenda color-blanc width-80 fade-in\u00bb]<span style=\"font-weight: 400;\">Iv\u00e1n Argote.<\/span> <i><span style=\"font-weight: 400;\">\u00bfQui\u00e9n no jug\u00f3 a los antepasados alguna vez, a las prehistorias de su carne y su sangre?<\/span><\/i><span style=\"font-weight: 400;\">,<\/span> <span style=\"font-weight: 400;\">2013. Instalaci\u00f3n lum\u00ednica, 178 bombillas, cable el\u00e9ctrico de 10 000 cm. R.5201, Colecci\u00f3n MACBA. Consorci MACBA. Dep\u00f3sito particular   <\/span> <span style=\"font-weight: 400;\">\u00a9 Iv\u00e1n Argote. Foto: ADN Galeria <\/span>[\/vc_column_text][vc_empty_space height=\u00bb60px\u00bb]<div class=\"comissionariat-title color-blanco orientation-true\" style=\"\" id=\"\">\n        <h2 class=\"fade-in\"><\/h2><div class=\"song_holder fade-in\"><a href=\"https:\/\/open.spotify.com\/intl-es\/track\/0WQiDwKJclirSYG9v5tayI?si=0d73b4825f224a16\" target=\"_blank\" rel=\"nofollow, noindex\"><img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/themes\/bridge-child\/assets\/icons\/play.svg\" \/><div class=\"song_content\"><div class=\"song_name\">There Is a Light That Never Goes Out<\/div><div class=\"song_artist\">The Smiths<\/div><\/div><\/a><\/div><\/div>[\/vc_column_inner][vc_column_inner width=\u00bb1\/2&#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; 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=\u00bb1\/2&#8243;][vc_column_text css=\u00bb\u00bb el_class=\u00bbcolor-blanc m3-bottom-res\u00bb] Un recorrido por el imaginario de la luz [\/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][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&#8230;<\/p>\n","protected":false},"author":1,"featured_media":9425,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/page-comissionariat.php","meta":{"_acf_changed":false,"inline_featured_image":false,"_vp_format_video_url":"","_vp_image_focal_point":[],"footnotes":""},"class_list":["post-9275","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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