The Empordà Museum, located at the foot of the Rambla de Figueres, has just reopened its doors after four years of renovations that have completely transformed its image. In this new phase, the museum presents the pieces from its permanent collection with a groundbreaking idea: they are no longer displayed in the traditional way, grouped by criteria of chronological order, authorship, style, or genre. Instead, the new museography proposes a truly surprising and exciting artistic journey, displaying diverse works dating back more than 4,500 years in a single room. Like the painting Saint Narcissus (1962), by Salvador Dalí, exhibited together with the Saint Atilano (1690), by Vicente Berdusán, in a space where there is also a possible Demeter Greek statue from Empúries from the 3rd or 4th century BC, a surrealist pantocrator (1929) by Joan Massanet and a bronze bull (1975) by Emília Xargay.

It's unusual for a book presentation in Girona to be packed to the rafters—crosses would be made with a maximum of five people—despite being held in an auditorium. It's even more unusual for dozens of people to gather outside. But it's also unusual for a former village high school principal, teacher, art critic, cultural manager, and doctor in art history for a thesis on fantasy art to be the Spanish government's sub-delegate in Girona and present a book about a Norwegian explorer. Pere Parramon (Girona, 1977) has just published Fridtjof Nansen. Portraits, prints (SD Edicions), a short essay with a strong poetic vocation that explores, through various images and drawings of this 1922 Nobel Peace Prize winner, the universal vocation of this figure. A book born from Parramon's "love affair" with this "man of the past." universalisBut, far from wanting to "idealize" or "glorify" Fridtjof Nansen (Norway, 1860-1930), what he seeks above all is to present him as a "human being" to learn from his legacy.