I read, with a mixture of astonishment and disbelief, a study that claimed that many people prefer artificial intelligence-generated poetry because they find it more pleasant, clear, and emotive than human poetry. Researchers Brian Porter and Édouard Machery argued in Scientific Reports that, for many readers, these texts even surpassed those of Shakespeare, T. S. Eliot, or Emily Dickinson.

The vast warehouse of Airearte, in Sant Jordi Desvalls, is like an expanding continent, capable of absorbing everything that boils in Lluís Mohedano's mind. A space that grows like one of the giant inflatables that have allowed its creator to literally live off the air for forty years. The building, a former onion and potato drying facility, has become over time an artifact difficult to classify: an art gallery, a concert hall, a stage for theater, dance, and poetry. coworking It's an improvised space for workshops and, at the same time, a bar where cocktails and small plates mingle with relaxed conversations. Initially, it only opened occasionally, coinciding with exhibitions, but since last summer, now with a bar license, it's open every day and hopes that a growing clientele will validate its original and constantly evolving concept.

To educate is to open new paths through connections. At a time when educational challenges are multiplying, it is essential to invest in innovative methods that empower students and allow them to fully develop. In this context, the relationship between art and education is presented as a fundamental tool for transforming schools.

Something makes clear Fabulous landscapesBarcelona now needs a living art center. It's a sustained demand from artists, curators, cultural professionals, and their audiences for three decades: a stable, public, and flexible space to create and exhibit the present. We're not talking about just another tourist showcase, but rather an infrastructure that places the production and access to artistic production at the center. In all this time, despite the early warning from the Association of Visual Artists of Catalonia (AAVC), the city has had a series of failed attempts: the brief period of the Santa Mònica as a programming center in the style of Kunsthalle, the attempt at the Canódromo, biennials and fairs that fade away. The balance is clear: structural precariousness, discontinuous programs, and brilliant seasons followed by long silences.

Nico Baixas (San Esteban de Palautordera, 1971), after almost ten years of success with Cirque du Soleil, has decided to return to street theatre, where he feels most comfortable. And he starts, as it could not be otherwise, in the next edition of the FiraTàrrega (from September 11 to 14) with the premiere of his new show One Hand Show, in which his hands regain prominence.

I enter the bright Eixample apartment shared by artists Lourdes Ral and Roger Salvadó, and although we're in the middle of Barcelona, there's a peaceful atmosphere that surprises me. It's a small apartment where time seems to have stopped. Perhaps it's because of all the antique furniture that belonged to Lourdes's grandmother, or perhaps it's because of the sheer number of books in each room. They're both avid readers and passionate about film and music. They remind me a bit of Renaissance humanists, but updated for the 21st century, where academies are the Barcelona cafés where they seek inspiration.

The Joan Miró Foundation, with the support of the Generalitat de Catalunya and other institutions, began its 50th anniversary celebrations this June, looking to a future where this institution will continue to be a local, national, and international benchmark for contemporary art.

1. Simplicity. No two humans are alike. This reality is expressed in all types of relationships, including creativity. We humans create from the complexity of our condition: a body that lives in relationship, an intelligence, perceptions, sensations, feelings, a sensitivity that makes each of us a unique relational animal. Affection defines our relationships with one another. Uniqueness is transmitted in all areas of life and in the creation of symbols. For many years now, in The intimate sense (1982) explored the forms of this relationship: love, artistic creation, intuition, the construction of singularities, so to speak. Does AI overflow this world? Will it leave space for the human condition or will it envelop us from its presumed capacity to do creative work for us? Will there still be artists or will they be AI feeders? Artificial intelligence sounds to me like a contradiction in terms. Or, worse, a certain desire to expropriate humans' singularity.

The peculiar and subtle work of Rachel Cusk (Saskatoon, 1967) has been gaining readers in Catalonia thanks to the commendable commitment of the publishing house Les Hores, which has published four books in five years. In addition to two of its most compelling titles –A life's work (2001), a revealing and controversial look at motherhood, and Sequel (2012), a chronicle of the shipwreck of his marriage, has revealed the latest novels he has written, The other house (2021) and Parade (2024). "I haven't invented anything in my writing for a while now," says Cusk. "Life is a writer's primary material. The purest literature often comes from personal and intimate experiences."

The studios are the home par excellence of artists, the silent testimonies of their concerns and their efforts. Of the moments of euphoria for achievements and discoveries and of the frustration when the work does not meet expectations and they have to start again. Six artists represented by some of the sixteen Catalan galleries that will participate in the next edition of Arco between March 5 and 9 have opened the doors of their studios at the ARA a few weeks before the start of the fair. Each of them is a world: some make the most of every last minute to finish their work, others have already delivered the works weeks ago.

Bridging the gap between entrepreneurship and artistic creation. This is the goal that the women's club Juno House in Barcelona has set itself to promote and foster talent through the Beyond Art exhibition cycle, an initiative inaugurated this Tuesday inside the facilities of the former Farinera on Aribau Street. The first artist to inaugurate this new artistic project has been Joana Santamans, the painter who from a town of less than a thousand inhabitants in the Empordà looks to New York to boost her career.

"Forging exists, it is a living trade, that is why I do not ask for support or subsidies, since we have been doing the same thing for 175 years," says Sergi Cadenas, fifth generation of a family dedicated to artistic forging in Girona since the mid-nineteenth century. His unique premises, Ferros de Arte Cadenas, crosses a block and connects Calle Nou (shop) with Calle Sant Francesc (forging). An activity that is a priori noisy and dirty but survives in the city centre. "I have filters above the regulations and the hammer mounted on a silencing block. I could start chopping from 8 in the morning, but I don't because I am aware that I am in the middle of a city. I have never received any complaints from the neighbours."

Decades go by and, why not point it out, so do centuries, and wars keep coming, one after the other, inherited from generation to generation. There is no need to look centuries back; we only need the slightest memory of the 20th century (and now, unfortunately, also of the 21st century; we have learnt almost nothing about provoking and resolving conflicts), to be reminded of the images of wars, human destruction (the first and most important) and, thereafter, the destruction of world heritage: books, art, monuments, landscapes, cultural instruments. Everything that constitutes an organised and minimally civilized (culturised) society: people and their wealth, material and immaterial.

500 metres from the Eiffel Tower and next to the Seine River is the Musée du quai Branly-Jacques Chirac. It opened in 2006 and is full of treasures. Much of the art and heritage of the former French colonies is on display: objects from Oceania, Asia, America and, above all, Africa. You can find, for example, seventy thousand collector's items from sub-Saharan Africa. From sculptures and masks from present-day Burkina Faso or Senegal to paintings that once decorated church walls in Cameroon or Ethiopia. Nearly 1.5 million people visit the museum every year, making it one of the most visited museums of its kind in the world.

"It is a very interesting find for the market of Dalí's works", states Bernard Ewell, member of the American Society of Appraisers, about the painting Cosmic Madonna. For Elliott H. King, professor of art history and curator of the exhibition Dalí: the late work in Atlanta, "the revival of the painting in all its dazzling colour shows it to be one of Dalí's most successful and elaborate works of the post-war period". Cosmic Madonna is a 152.5 x 91.5 cm oil painting dated from 1958 that mixes an interest in mysticism and atomic energy. It had been seen in a couple of exhibitions in the late 1950s and in another in New York in 1965, but since then it had decorated a wall of the buyer's residence. In fact, the work is included in the catalogue raisonné of the Gala-Salvador Dalí Foundation, although it is only reproduced in black and white.

A stage in the dispute over sacred art between Catalonia and Aragon has come to an end. This morning, the Museum of Lleida has made the third and last delivery of the 111 works of Aragonese parishes and has sent 41 works to the Museum of Barbastro-Monzón, most of which were on display, in compliance with the provisional execution of a sentence that recognizes that 43 Aragonese parishes are their owners. The previous deliveries, of 28 and 42 pieces respectively, were made on 22 February and 5 March. The Minister of Culture, Àngels Ponsa, wanted to be in the museum during the delivery, and the Circle of Friends of the Museum of Lleida has organized a concentration in sign of protest and of support towards the museum.