TV3 — broadcast
20261012 210000 UTC
384 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
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[00:05:55] During the first half of the 20th century, art oscillated between two artistic
[00:05:58] currents, abstraction and figuration. As a reaction
[00:06:02] to abstract art, after the Second World War, the
[00:06:06] new figuration was born. Arranz Bravo, in his own way,
[00:06:11] abstract art. Halfway between the surrealist
[00:06:14] world and pop aesthetics, the human
[00:06:17] figure is centered, making ironic allusion to the
[00:06:21] anxieties and insecurities of contemporary man.
[00:06:55] The painting has to speak to me, if there is no art,
[00:06:59] all creation is a conversation,
[00:07:03] every well-made work is art, be it
[00:07:06] in literature, be it a scientist, be it this, it
[00:07:10] becomes, it is dignified because it is
[00:07:12] made
[00:07:16] for that, eh, eh, the world is going badly because there are few
[00:07:19] artistic
[00:07:20] people.
[00:07:26] I get up very early and go to the studio and start
[00:07:29] working, starting to work means starting to
[00:07:32] think,
[00:07:34] everything is produced in bed, you're already thinking about what you have to
[00:07:38] do, it's living intensely the whole process of a work.
[00:07:45] All work of art has a series of
[00:07:48] indispensable conditioning factors,
[00:07:51] first of all, reflection,
[00:07:54] rigor, then passion,
[00:07:58] passion is the great engine, what would the world
[00:08:01] be without passion, the world exists thanks to passionate
[00:08:04] people, all passive, everything is
[00:08:07] passion.
[00:08:26] to paint a painting there is no inspiration there is work and
[00:08:29] dedication and to do
[00:08:32] it well like a farmer who is
[00:08:36] watering some plants and taking care of them and then a
[00:08:39] plant grows like a painting because he takes care of it.
[00:08:42] I water it and
[00:08:44] it grows.
[00:08:48] This is my painting,
[00:08:51] I try to paint an unusual work every
[00:08:54] time, I try for each work to be a discovery of my painting.
[00:09:09] The magic of the material is that the material speaks to you.
[00:09:12] The only thing you have to do is listen to it, be it a color, be it
[00:09:16] a sculpture, be it a bronze, be it the material, it
[00:09:19] has a strong physical presence that you have to know
[00:09:23] how to listen to and use.
[00:09:27] The material is precious, I wish
[00:09:30] I could make sculptures with
[00:09:31] water.
[00:09:37] That horse over there was made with bronze,
[00:09:40] it goes to a garden in... Terra at the end of the
[00:09:44] month.
[00:09:47] Bronze has this quality and this very special weight, no, bronze is
[00:09:51] always warm.
[00:10:05] No, I will not say, no, I cannot justify my painting or
[00:10:08] explain it.
[00:10:11] There is a reading that can be done, yes, of my painting, but not excessively
[00:10:15] literary, I mean, there is a reading of impressions
[00:10:18] of color, I believe, of strength, of
[00:10:21] bluntness.
[00:10:25] "Great painting, even Velázquez's Venuses have no
[00:10:29] theme, it is purely painting, which you cannot
[00:10:32] grasp, which you cannot
[00:10:33] define."
[00:10:38] Themes are life, the fluidity of painting, the
[00:10:42] knowing how to paint in a thousand human conditions, the
[00:10:45] magic, the peculiarity that a human
[00:10:49] being takes a brush and makes a silly thing
[00:10:52] is interesting."
[00:10:56] All my painting is lived, there are no
[00:10:59] shortcuts, the food of my painting is life
[00:11:02] around it,
[00:11:06] these are stimuli that I have for months at a time,
[00:11:10] one day they emerge as a work of art,
[00:11:14] the life of an artist does not end with a painting, the life of an artist
[00:11:18] is, is all like a great poem, it stretches and stretches and ends with the
[00:11:22] vision of a landscape with a... with
[00:11:25] a tiny piece of wood, a thousand things, everything is
[00:11:29] art,
[00:11:31] each one is alive in front of life, what surrounds
[00:11:34] you has to have, as I said, a receptive
[00:11:37] energy,
[00:11:40] very sharp eyes, then things reach you, but
[00:11:43] I have
[00:11:44] looked for them.
[00:11:49] a pile of garbage can be,
[00:11:52] yes, in death there can be
[00:11:55] beauty, in life there can be beauty, there is beauty everywhere, beauty is not a
[00:11:59] place, it does not have an intrinsic specific place, beauty is
[00:12:03] everywhere.
[00:12:08] My objective, balance, the
[00:12:10] strict, the rigorous and a little the creative
[00:12:14] force, of course, the madness, of
[00:12:17] sprouting things is not necessary,
[00:12:20] right time and with the right
[00:12:22] poetics.
[00:12:29] Art must be a great ritual of total seriousness, art is
[00:12:33] impeccable, because then it gives meaning, not only to
[00:12:37] my life, but to the people who can look at this and connect with my art,
[00:12:40] no, everything now begins with the observation of the other
[00:12:44] person, if it doesn't exist, you are giving the best you
[00:12:47] have.
[00:12:55] Every human being is an artist, small children when they are
[00:12:59] 4 years old,
[00:13:01] much better than Miró, they are the great creators with a freshness
[00:13:05] and they are artists, of course, the human being is an
[00:13:08] artist, curses life, the world of
[00:13:11] art is the world of the brave, only the
[00:13:15] brave succeed,
[00:13:16] I don't believe in... God, because I don't believe in words, God is a word. I believe in emotions,
[00:13:24] jo no crec que... Déu, perquè no crec que amb les paraules, és que déu és
[00:13:28] una paraula, jo crec que amb emocions, jo crec que amb
[00:13:32] I believe in sensations, I believe in lights and in colors.
[00:13:35] A word doesn't make me believe anything.
[00:13:39] I mean, I'm not even an atheist, it's just that I don't
[00:13:42] believe in the power of a word.
[00:14:02] The visual work has the force that words do not
[00:14:05] have, a physical presence that commands too much, then
[00:14:09] words are like a kind of justifying trap and art does not
[00:14:12] justify
[00:14:14] itself.
[00:14:22] This is Europe, it's in the square. Europe,
[00:14:25] l'Hospitalet, but it won't be permanent, it's
[00:14:28] only
[00:14:31] half a year, it's a beautiful idea, l'Hospitalet is a lively place where things
[00:14:35] are happening, and with my foundation and other things that exist, in short,
[00:14:39] we are trying to give life to a huge neighborhood, the second city
[00:14:43] of Catalonia, which had nothing, and then
[00:14:46] young sculptors and other types of people
[00:14:50] make an intervention that lasts six months for each
[00:14:53] artist.
[00:15:02] The foundation's obsession was that it should be an absolutely
[00:15:08] Catalonia is, a certain echo.
[00:15:12] Our line of work is artists under 40 years old who
[00:15:15] practically have not had the possibility of holding a professional exhibition, we make
[00:15:19] them a catalog, we invite a
[00:15:22] curator, eh, we do activities in... in the
[00:15:26] media, we create an artistic event and an
[00:15:29] aid to young artists, this was one of the main obsessions
[00:15:33] of Arranz Bravo.
[00:15:37] When... I was 24 years old, I entered a very
[00:15:40] good gallery, I was with Miró, with
[00:15:43] Picasso, if not very lucky, and I thought this
[00:15:47] luck I've had, now young people don't have
[00:15:50] it, they're having a very
[00:15:52] bad time. The artist in himself
[00:15:56] needs to express himself, to find
[00:15:59] channels to exhibit and to get out is
[00:16:02] fundamental because the channels, for some time now, have
[00:16:06] been cut off, what... is the line of galleries, it has
[00:16:09] been reduced to the
[00:16:10] minimum.
[00:16:14] The fact that Mr. Arranz Bravo came and we are
[00:16:18] exhibiting in a place like this and with the catalog and he
[00:16:22] is giving us a good
[00:16:23] opportunity,
[00:16:28] it is very gratifying, this is a source of pride,
[00:16:32] because I am always fulfilling a space with the same
[00:16:36] leitmotif.
[00:16:41] I have made huge murals in schools in l'Hospitalet, these
[00:16:45] kids, well, they find that thing that you say what
[00:16:48] is this they painted here but they will have a different
[00:16:52] stimulus than a gray
[00:16:55] prison wall as it was before, if they
[00:16:58] are lucky, these kids will have a little
[00:17:02] feeling for art, I think
[00:17:04] beautiful.
[00:17:08] "This, this heart I went now to an mayor here in
[00:17:12] l'Hospitalet, a tribute to the people who had
[00:17:15] died for freedom,
[00:17:19] destruction, lack of culture,
[00:17:22] war, Francoism, all
[00:17:26] freedom, I created a symbol of what
[00:17:30] seems to me most splendid, which is human freedom.
[00:17:32] All art is
[00:17:35] a..." point of
[00:17:38] freedom, apart from reflection, which it has
[00:17:42] to be, inevitably, what does
[00:17:45] an artist do without
[00:17:46] freedom?
[00:17:51] Every country that defines itself defines itself by its culture,
[00:17:54] the artist must give meaning to life to society, we are the
[00:17:58] Cinderella of the current world, but on the other hand,
[00:18:01] we are the only ones who give eh eh
[00:18:04] meaning, image and...
[00:18:07] representation to a
[00:18:09] country.
[00:18:15] Miquel Gilabert, is a person who works here to give me a hand,
[00:18:18] I have always had assistants who have had to
[00:18:21] work here a lot, a lot, who have
[00:18:24] spent hours fighting and seeing how my painting
[00:18:27] is going, I am not alone, I am a team of people
[00:18:31] who are taking this great bravo forward, come on, come on this
[00:18:35] bastard.
[00:18:37] The social problem is a problem that in our country
[00:18:40] is appalling, everything is a huge
[00:18:42] injustice, the artist must have an attitude, as
[00:18:46] I would say, active in the
[00:18:50] view of the problems that surround you, you cannot be
[00:18:53] there saying let them screw it up, no, no, society is
[00:18:57] important.
[00:19:01] I haven't stopped, all my work has
[00:19:04] been continuity,
[00:19:07] fatigue, tiredness, this is not part of my
[00:19:11] life, I have never been
[00:19:12] tired.
[00:19:18] The mirror is the great, the great debater of your life and
[00:19:22] if you look at yourself and it produces disgust, it's because you haven't acted
[00:19:25] correctly, my trajectory
[00:19:28] is a trajectory of a search for
[00:19:31] dignity, because I believe that dignity is above
[00:19:35] fame, television programs. I, a thousand things,
[00:19:38] dignity is our great
[00:19:41] heritage, feeling good about yourself, with your skin.
[00:19:45] pell,
[00:19:48] My life is childhood, I would have
[00:19:51] liked to have grown old, I have never grown old,
[00:19:55] I am about seven or eight
[00:19:57] years old,
[00:19:59] and of course I would have liked to be 20 or 30 years old or something
[00:20:02] like that, to finally grow
[00:20:05] old, I haven't achieved it.
[00:20:11] I believe that fortunately I will never die because my
[00:20:14] work will remain, I believe I have worked with a lot of passion,
[00:20:18] this must remain, as I always repeat, and a
[00:20:22] full space.
[00:20:27] love, I will die, I mean, listen, there's no need to hide
[00:20:31] it, but I am brave, this
[00:20:34] journey of my life, well, I have tried to be a person who is more or less
[00:20:37] dignified and sensitive.
[00:20:52] After many years, abstraction
[00:20:55] return to the object, to represent reality, in
[00:20:59] particular the human figure. With clear
[00:21:03] ancient Egypt and classical mythology, Marta Moreu's
[00:21:07] work starts from timeless images to reflect on
[00:21:10] prevailing values in current times. Her
[00:21:13] sculptures, always centered on the human figure, pay special
[00:21:16] attention to the expressiveness and dynamism of the movement.
[00:22:02] You're always looking for a meaning in life that, deep down, if you
[00:22:06] stop to think, it doesn't have one. Life has no meaning.
[00:22:10] You say why am I here? Well, you're
[00:22:13] looking all day for something that
[00:22:16] helps you continue. For me,
[00:22:20] sculpture is very useful, it helps
[00:22:23] me a lot and it's like writing my
[00:22:26] life too.
[00:22:29] All my sculpture, I believe, is
[00:22:31] autobiographical. I have been living in
[00:22:35] Miami, in Mexico, then in
[00:22:37] Paris, all this has given me very
[00:22:41] strong experiences, very strong experiences that
[00:22:44] I also try to put into my
[00:22:47] sculptures.
[00:22:58] When they ask me to define my style, for me it's very
[00:23:02] difficult, because well, you could say a symbolic
[00:23:06] realism, I mean, I start from the human
[00:23:09] body, but I never work with a model, for
[00:23:12] example, I always try to make my
[00:23:15] own human body, my characters in my
[00:23:18] own way. We could also say that I am
[00:23:22] expressionist, but
[00:23:25] I also don't like to think
[00:23:29] I feel, I try to be
[00:23:32] doing really comes from
[00:23:36] within me, I try to really be
[00:23:39] writing my own
[00:23:40] life.
[00:23:46] Normally I work on the human figure, but I also
[00:23:49] like to represent some satirical
[00:23:52] forms, well, animals, horses,
[00:23:55] bulls, any animal, well,
[00:23:58] attracts me to give it this somewhat human
[00:24:02] attitude.
[00:24:10] It's like a satire, like a social criticism or
[00:24:13] self-criticism, no, of things that humans do and
[00:24:17] and that an animal would not do. I also have some
[00:24:20] metamorphoses of characters who
[00:24:23] become fish or
[00:24:27] trees, all this is a bit about
[00:24:30] how we are really rooted in
[00:24:34] nature, symbolizing the
[00:24:37] metamorphosis that a man makes with nature, the
[00:24:40] integration.
[00:24:47] Every day I dedicate half an hour. To draw
[00:24:51] a little, review my
[00:24:53] sketches,
[00:24:55] I try for the line to be fast and more gestural,
[00:24:59] this will be what I will then transfer to
[00:25:02] volume.
[00:25:08] The period when I lived in
[00:25:11] Miami and Mexico was one of the most beautiful I have
[00:25:15] ever experienced, I was very struck by the trees
[00:25:19] they have, the water, the different
[00:25:22] light, and I also
[00:25:25] collecting pieces of coral that I later
[00:25:29] turned into bronze, but now I want to do something
[00:25:33] new with all this theme of
[00:25:36] men who have transformed into angles in in
[00:25:40] marble. The biggest one I have at the moment is
[00:25:43] this one, I would like to make a bigger
[00:25:46] one.
[00:25:54] Here I am working on a piece from a
[00:25:57] new collection I am making about the Pachamama theme,
[00:26:01] Pachamama is a... Peruvian divinity and my trip to Peru
[00:26:05] impressed me a lot, I liked the mountains there a lot,
[00:26:08] since I don't have mountains, what I do is from a found
[00:26:12] stone, it's an
[00:26:14] alabaster, then I make an intervention, in this case I made
[00:26:18] this woman's body that is
[00:26:21] detachable, this is the bronze, I don't like
[00:26:24] the fit very much because it should have been much
[00:26:27] more vertical, it ended up a bit crooked and I'm repeating the wax
[00:26:31] to see if... to melt the piece again and fit
[00:26:35] it well
[00:26:35] again.
[00:26:42] First I model with a plasticine and
[00:26:47] mold, I make a wax that would be
[00:26:49] this one,
[00:26:54] mold that is in two parts,
[00:26:57] there is the container that is made with plaster
[00:27:01] and then. of silicone that takes all
[00:27:04] the shape of the piece that I have modeled with
[00:27:08] clay like plasticine or with
[00:27:10] wax,
[00:27:16] I always retouch all the waxes, all
[00:27:19] this will be exactly the same when we cast
[00:27:23] it in bronze, we will coat it with a
[00:27:27] refractory material that has a bit of
[00:27:29] everything, both inside and
[00:27:33] out, this is all coated with this refractory
[00:27:36] coated, eh, we put it in the oven with some
[00:27:40] sprues that are some tubes that
[00:27:43] come out of wax and make the
[00:27:46] wax come out through these holes, then they are plugged and in the mold
[00:27:50] we directly put a larger mold on top and through
[00:27:54] here we will pour the molten bronze, we will do the
[00:27:56] casting,
[00:27:59] the bronze will remain as it is here.
[00:28:03] The interior is totally empty, here it was full of earth
[00:28:06] and it was coated, this is what remains
[00:28:09] here.
[00:28:13] I gave it a white patina imitating
[00:28:17] alabaster, for me the patina, the finish of the
[00:28:21] bronze, is very important.
[00:28:26] This man was an improvisation,
[00:28:30] the foundry kept the arms from
[00:28:34] being able to enter the bronze and since I had some branches, which
[00:28:37] are real branches, I made a direct bronze from the
[00:28:41] trees and then I had them
[00:28:43] welded.
[00:28:51] I really like to look for an aesthetic in my
[00:28:54] work, to look for a balance, a harmony, that my pieces
[00:28:58] are really eh, with a verticality,
[00:29:02] even if... they are in motion, that they have that
[00:29:04] verticality that for me is very important and a harmony
[00:29:08] of composition, sometimes I turn
[00:29:12] an sculpture a thousand times until I find this
[00:29:14] harmony.
[00:29:22] This sculpture is titled searching for the infinite
[00:29:26] and it is a sculpture that seeks
[00:29:30] above all movement and...
[00:29:32] and my character is trying to catch
[00:29:36] something that is escaping
[00:29:37] him.
[00:29:41] It is a constant in almost all my works, they have
[00:29:45] movement, even if it is a very static piece, there is always
[00:29:49] a certain
[00:29:49] movement.
[00:29:57] I hadn't worked with stone for a long time, I got encouraged
[00:30:00] and the truth is I'm really enjoying it.
[00:30:04] There is a lot of work to polish, alabaster is a very
[00:30:07] soft stone, you have to be very careful because if
[00:30:11] you press too hard you
[00:30:12] break it.
[00:30:18] It is a protective mountain that has its
[00:30:22] children inside, they are
[00:30:25] like the seeds that have grown and the children who want to come
[00:30:29] out, but it also symbolizes a kind of...
[00:30:32] protectionism, as if it keeps these seeds
[00:30:36] inside and
[00:30:37] protects them.
[00:30:46] If they are sculptures where you have put a lot of emotional charge and many
[00:30:50] feelings and a lot of
[00:30:53] you carry inside, when you sell it, it makes you sad,
[00:30:57] but it is very important for renewal.