Barcelona Gallery Weekend 2024, on its tenth anniversary, September 19-22, presents a crucial opportunity to rethink its role in the contemporary art scene, gaining notoriety as a space of convergence for gallerists, artists and collectors, along with a public increasingly eager for cultural experiences. However, this tenth edition also invites us to reflect on the achievements and challenges that the event faces in an artistic and economic context in constant transformation.

In a scenario where the dynamics of the art market tend to favor consolidated names, it is crucial that events like this one continue to bet on diversity and innovation: We cannot ignore the contribution of BGW in relation to cultural policies in Spain. In a country where institutional support for contemporary art has been erratic and in many cases insufficient, the Acquisitions Program is noteworthy, as it seems to be a step towards the democratization of access to art, and allows works presented at the event to enter prestigious collections, such as those of the Fundació Vila Casas or the Fundació Sorigué.

The question that arises here is whether the BGW is really willing to take on a critical role in the reconfiguration of the Spanish cultural landscape, or whether it will ultimately settle for being just another event on the global cultural calendar Is it fostering a meaningful dialogue, or is it becoming a showcase for works that contribute to a stereotypical and static version of the art scene?

Louis Porter, “Search engine”, 2022

In this sense, the BGW faces the challenge of maintaining its relevance and attractiveness at a time when cultural policies in Spain do not always facilitate access and participation in artistic practices. The survival of commercial and exhibition spaces is vital, but equally important is the implementation of public policies that encourage access to culture from different perspectives.

One aspect that should not be overlooked is the role of the BGW in the construction of a regional and national cultural identity. The participation of new entities such as Fundació Úniques and the MIA Art Collection in this edition reflects a continued commitment to the promotion of contemporary art.

One of the main questions is whether this event has managed to transcend its function as a simple art showcase or if, on the contrary, it has fallen into a purely commercial dynamic. The problem has been the same for several decades. Who and how will seek to escape from the white cube?

Several events of great interest gravitate around the BGW and require registration. Although the tour of the galleries can be followed through the interactive map, which facilitates navigation through the city.

Lara Fluxa, “Gria”, 2023

In short, Barcelona Gallery Weekend comes at a critical moment in which it proves that it is more than just a celebration of contemporary art. The real test for the coming years will be the ability to challenge existing structures while maintaining its relevance in an environment that presents its own demands in terms of artistic and economic dynamics and is in constant fluctuation.

For the time being the programming is eclectic and interesting, and I consider at least the following exhibitions to be a must-see for viewers with high demands and who I am sure will not be disappointed:

ADN galería presents Julio Anaya Cabanding and Eugenio Merino. Both artists are summoned by the questioning of authenticity and symbolic value in art, using neorealist media and narratives loaded with irony and social criticism.

Masao Yamamoto, Dance E de “Microcosm Macrocosm”, 2018, cortesía Swiss Re Group

The first, in his “After Tàpies” series, explores the intersection between street art and artistic tradition. His work questions the status quo of conservation and transmission in art. With works reminiscent of Sherrie Levine’s postmodern criticism, especially in her questioning of originality and aura in art. For his part, Merino presents “Banco Público”, a sculptural and sound installation that investigates the manipulation of Federico García Lorca’s political ideology throughout history.

“Gladiators of the future” by Claudio Goulart, is presented at Zielinsky Art Gallery. The exhibition addresses the body, politics and time, through a practice that transits between performance, video and mail art. Influenced by figures such as Felix Gonzalez-Torres and Marina Abramović, he explores postcolonial identities and the fragility of the body in its political environments.

Claudio Goulart, “Portrait intérieur”, 1995, cortesía: Zilensky Art Gallery

Lara Fluxà, at Bombon Projects, works with fragile materials such as water, glass and light in “Firefly”, reflecting on the ecological crisis. Her critical approach to extractivism and her concern for the balance of ecosystems position her as an important voice in contemporary art concerned with the environment.

Galería Alegría presents “MORRALLA”, where Jorge Diezma delves into still life through an almost surrealistic approach that reveals the strangeness inherent in the most common things. This unveiling approach is reminiscent of the Giorgio Morandi of the later stages, where the simplest forms acquired an aura of mystery through prolonged contemplation.

Yeonsu Lim, presents Wrapped at Uxval Gochez Gallery, “Proyectos Barcelona”: the South Korean artist investigates the legacy of urban interventions and proposes new wrappings for public sculptures. Works that recall the critical interventions of artists such as Francis Alÿs and Anselm Kiefer, question memory and public space.

Lionel Sabatté, at RocioSantaCruz with an exhibition featuring sculptures, paintings and photographs inspired by archeology and landscape. Using discarded materials such as dust and skin, Sabatté, influenced by informalism and surrealism, creates works that evoke the imprint of time and the dialogue between prehistory and the contemporary world.

At Valid Photo BCN, Japanese artist Yamamoto Masao presents “Tomosu” where he uses ancient techniques such as ambrotype to explore memory and fragility. Blurring the boundaries between painting and photography, he evokes a poetic nostalgia and an intimate connection with the past.

In Chiquita Room Louis Porter’s exhibition examines the paradox of distance in the age of connectivity. With a practice that mixes photography and found material, Porter investigates the circulation of images and disconnection in the contemporary world, recalling Walter Benjamin’s critical work on aura and the dilemma posed by technical reproducibility.

All the info about BGW here.