Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking. Treat it as a searchable index of what was broadcast, not a quotation record.
00:05:55During the first half of the 20th century, art oscillated between two artistic
00:05:58currents, abstraction and figuration. As a reaction
00:06:02to abstract art, after the Second World War, the
00:06:06new figuration was born. Arranz Bravo, in his own way,
00:06:11abstract art. Halfway between the surrealist
00:06:14world and pop aesthetics, the human
00:06:17figure is centered, making ironic allusion to the
00:06:21anxieties and insecurities of contemporary man.
00:06:55The painting has to speak to me, if there is no art,
00:06:59all creation is a conversation,
00:07:03every well-made work is art, be it
00:07:06in literature, be it a scientist, be it this, it
00:07:10becomes, it is dignified because it is
00:07:12made
00:07:16for that, eh, eh, the world is going badly because there are few
00:07:19artistic
00:07:20people.
00:07:26I get up very early and go to the studio and start
00:07:29working, starting to work means starting to
00:07:32think,
00:07:34everything is produced in bed, you're already thinking about what you have to
00:07:38do, it's living intensely the whole process of a work.
00:07:45All work of art has a series of
00:07:48indispensable conditioning factors,
00:07:51first of all, reflection,
00:07:54rigor, then passion,
00:07:58passion is the great engine, what would the world
00:08:01be without passion, the world exists thanks to passionate
00:08:04people, all passive, everything is
00:08:07passion.
00:08:26to paint a painting there is no inspiration there is work and
00:08:29dedication and to do
00:08:32it well like a farmer who is
00:08:36watering some plants and taking care of them and then a
00:08:39plant grows like a painting because he takes care of it.
00:08:42I water it and
00:08:44it grows.
00:08:48This is my painting,
00:08:51I try to paint an unusual work every
00:08:54time, I try for each work to be a discovery of my painting.
00:09:09The magic of the material is that the material speaks to you.
00:09:12The only thing you have to do is listen to it, be it a color, be it
00:09:16a sculpture, be it a bronze, be it the material, it
00:09:19has a strong physical presence that you have to know
00:09:23how to listen to and use.
00:09:27The material is precious, I wish
00:09:30I could make sculptures with
00:09:31water.
00:09:37That horse over there was made with bronze,
00:09:40it goes to a garden in... Terra at the end of the
00:09:44month.
00:09:47Bronze has this quality and this very special weight, no, bronze is
00:09:51always warm.
00:10:05No, I will not say, no, I cannot justify my painting or
00:10:08explain it.
00:10:11There is a reading that can be done, yes, of my painting, but not excessively
00:10:15literary, I mean, there is a reading of impressions
00:10:18of color, I believe, of strength, of
00:10:21bluntness.
00:10:25"Great painting, even Velázquez's Venuses have no
00:10:29theme, it is purely painting, which you cannot
00:10:32grasp, which you cannot
00:10:33define."
00:10:38Themes are life, the fluidity of painting, the
00:10:42knowing how to paint in a thousand human conditions, the
00:10:45magic, the peculiarity that a human
00:10:49being takes a brush and makes a silly thing
00:10:52is interesting."
00:10:56All my painting is lived, there are no
00:10:59shortcuts, the food of my painting is life
00:11:02around it,
00:11:06these are stimuli that I have for months at a time,
00:11:10one day they emerge as a work of art,
00:11:14the life of an artist does not end with a painting, the life of an artist
00:11:18is, is all like a great poem, it stretches and stretches and ends with the
00:11:22vision of a landscape with a... with
00:11:25a tiny piece of wood, a thousand things, everything is
00:11:29art,
00:11:31each one is alive in front of life, what surrounds
00:11:34you has to have, as I said, a receptive
00:11:37energy,
00:11:40very sharp eyes, then things reach you, but
00:11:43I have
00:11:44looked for them.
00:11:49a pile of garbage can be,
00:11:52yes, in death there can be
00:11:55beauty, in life there can be beauty, there is beauty everywhere, beauty is not a
00:11:59place, it does not have an intrinsic specific place, beauty is
00:12:03everywhere.
00:12:08My objective, balance, the
00:12:10strict, the rigorous and a little the creative
00:12:14force, of course, the madness, of
00:12:17sprouting things is not necessary,
00:12:20right time and with the right
00:12:22poetics.
00:12:29Art must be a great ritual of total seriousness, art is
00:12:33impeccable, because then it gives meaning, not only to
00:12:37my life, but to the people who can look at this and connect with my art,
00:12:40no, everything now begins with the observation of the other
00:12:44person, if it doesn't exist, you are giving the best you
00:12:47have.
00:12:55Every human being is an artist, small children when they are
00:12:594 years old,
00:13:01much better than Miró, they are the great creators with a freshness
00:13:05and they are artists, of course, the human being is an
00:13:08artist, curses life, the world of
00:13:11art is the world of the brave, only the
00:13:15brave succeed,
00:13:16I don't believe in... God, because I don't believe in words, God is a word. I believe in emotions,
00:13:24jo no crec que... Déu, perquè no crec que amb les paraules, és que déu és
00:13:28una paraula, jo crec que amb emocions, jo crec que amb
00:13:32I believe in sensations, I believe in lights and in colors.
00:13:35A word doesn't make me believe anything.
00:13:39I mean, I'm not even an atheist, it's just that I don't
00:13:42believe in the power of a word.
00:14:02The visual work has the force that words do not
00:14:05have, a physical presence that commands too much, then
00:14:09words are like a kind of justifying trap and art does not
00:14:12justify
00:14:14itself.
00:14:22This is Europe, it's in the square. Europe,
00:14:25l'Hospitalet, but it won't be permanent, it's
00:14:28only
00:14:31half a year, it's a beautiful idea, l'Hospitalet is a lively place where things
00:14:35are happening, and with my foundation and other things that exist, in short,
00:14:39we are trying to give life to a huge neighborhood, the second city
00:14:43of Catalonia, which had nothing, and then
00:14:46young sculptors and other types of people
00:14:50make an intervention that lasts six months for each
00:14:53artist.
00:15:02The foundation's obsession was that it should be an absolutely
00:15:08Catalonia is, a certain echo.
00:15:12Our line of work is artists under 40 years old who
00:15:15practically have not had the possibility of holding a professional exhibition, we make
00:15:19them a catalog, we invite a
00:15:22curator, eh, we do activities in... in the
00:15:26media, we create an artistic event and an
00:15:29aid to young artists, this was one of the main obsessions
00:15:33of Arranz Bravo.
00:15:37When... I was 24 years old, I entered a very
00:15:40good gallery, I was with Miró, with
00:15:43Picasso, if not very lucky, and I thought this
00:15:47luck I've had, now young people don't have
00:15:50it, they're having a very
00:15:52bad time. The artist in himself
00:15:56needs to express himself, to find
00:15:59channels to exhibit and to get out is
00:16:02fundamental because the channels, for some time now, have
00:16:06been cut off, what... is the line of galleries, it has
00:16:09been reduced to the
00:16:10minimum.
00:16:14The fact that Mr. Arranz Bravo came and we are
00:16:18exhibiting in a place like this and with the catalog and he
00:16:22is giving us a good
00:16:23opportunity,
00:16:28it is very gratifying, this is a source of pride,
00:16:32because I am always fulfilling a space with the same
00:16:36leitmotif.
00:16:41I have made huge murals in schools in l'Hospitalet, these
00:16:45kids, well, they find that thing that you say what
00:16:48is this they painted here but they will have a different
00:16:52stimulus than a gray
00:16:55prison wall as it was before, if they
00:16:58are lucky, these kids will have a little
00:17:02feeling for art, I think
00:17:04beautiful.
00:17:08"This, this heart I went now to an mayor here in
00:17:12l'Hospitalet, a tribute to the people who had
00:17:15died for freedom,
00:17:19destruction, lack of culture,
00:17:22war, Francoism, all
00:17:26freedom, I created a symbol of what
00:17:30seems to me most splendid, which is human freedom.
00:17:32All art is
00:17:35a..." point of
00:17:38freedom, apart from reflection, which it has
00:17:42to be, inevitably, what does
00:17:45an artist do without
00:17:46freedom?
00:17:51Every country that defines itself defines itself by its culture,
00:17:54the artist must give meaning to life to society, we are the
00:17:58Cinderella of the current world, but on the other hand,
00:18:01we are the only ones who give eh eh
00:18:04meaning, image and...
00:18:07representation to a
00:18:09country.
00:18:15Miquel Gilabert, is a person who works here to give me a hand,
00:18:18I have always had assistants who have had to
00:18:21work here a lot, a lot, who have
00:18:24spent hours fighting and seeing how my painting
00:18:27is going, I am not alone, I am a team of people
00:18:31who are taking this great bravo forward, come on, come on this
00:18:35bastard.
00:18:37The social problem is a problem that in our country
00:18:40is appalling, everything is a huge
00:18:42injustice, the artist must have an attitude, as
00:18:46I would say, active in the
00:18:50view of the problems that surround you, you cannot be
00:18:53there saying let them screw it up, no, no, society is
00:18:57important.
00:19:01I haven't stopped, all my work has
00:19:04been continuity,
00:19:07fatigue, tiredness, this is not part of my
00:19:11life, I have never been
00:19:12tired.
00:19:18The mirror is the great, the great debater of your life and
00:19:22if you look at yourself and it produces disgust, it's because you haven't acted
00:19:25correctly, my trajectory
00:19:28is a trajectory of a search for
00:19:31dignity, because I believe that dignity is above
00:19:35fame, television programs. I, a thousand things,
00:19:38dignity is our great
00:19:41heritage, feeling good about yourself, with your skin.
00:19:45pell,
00:19:48My life is childhood, I would have
00:19:51liked to have grown old, I have never grown old,
00:19:55I am about seven or eight
00:19:57years old,
00:19:59and of course I would have liked to be 20 or 30 years old or something
00:20:02like that, to finally grow
00:20:05old, I haven't achieved it.
00:20:11I believe that fortunately I will never die because my
00:20:14work will remain, I believe I have worked with a lot of passion,
00:20:18this must remain, as I always repeat, and a
00:20:22full space.
00:20:27love, I will die, I mean, listen, there's no need to hide
00:20:31it, but I am brave, this
00:20:34journey of my life, well, I have tried to be a person who is more or less
00:20:37dignified and sensitive.
00:20:52After many years, abstraction
00:20:55return to the object, to represent reality, in
00:20:59particular the human figure. With clear
00:21:03ancient Egypt and classical mythology, Marta Moreu's
00:21:07work starts from timeless images to reflect on
00:21:10prevailing values in current times. Her
00:21:13sculptures, always centered on the human figure, pay special
00:21:16attention to the expressiveness and dynamism of the movement.
00:22:02You're always looking for a meaning in life that, deep down, if you
00:22:06stop to think, it doesn't have one. Life has no meaning.
00:22:10You say why am I here? Well, you're
00:22:13looking all day for something that
00:22:16helps you continue. For me,
00:22:20sculpture is very useful, it helps
00:22:23me a lot and it's like writing my
00:22:26life too.
00:22:29All my sculpture, I believe, is
00:22:31autobiographical. I have been living in
00:22:35Miami, in Mexico, then in
00:22:37Paris, all this has given me very
00:22:41strong experiences, very strong experiences that
00:22:44I also try to put into my
00:22:47sculptures.
00:22:58When they ask me to define my style, for me it's very
00:23:02difficult, because well, you could say a symbolic
00:23:06realism, I mean, I start from the human
00:23:09body, but I never work with a model, for
00:23:12example, I always try to make my
00:23:15own human body, my characters in my
00:23:18own way. We could also say that I am
00:23:22expressionist, but
00:23:25I also don't like to think
00:23:29I feel, I try to be
00:23:32doing really comes from
00:23:36within me, I try to really be
00:23:39writing my own
00:23:40life.
00:23:46Normally I work on the human figure, but I also
00:23:49like to represent some satirical
00:23:52forms, well, animals, horses,
00:23:55bulls, any animal, well,
00:23:58attracts me to give it this somewhat human
00:24:02attitude.
00:24:10It's like a satire, like a social criticism or
00:24:13self-criticism, no, of things that humans do and
00:24:17and that an animal would not do. I also have some
00:24:20metamorphoses of characters who
00:24:23become fish or
00:24:27trees, all this is a bit about
00:24:30how we are really rooted in
00:24:34nature, symbolizing the
00:24:37metamorphosis that a man makes with nature, the
00:24:40integration.
00:24:47Every day I dedicate half an hour. To draw
00:24:51a little, review my
00:24:53sketches,
00:24:55I try for the line to be fast and more gestural,
00:24:59this will be what I will then transfer to
00:25:02volume.
00:25:08The period when I lived in
00:25:11Miami and Mexico was one of the most beautiful I have
00:25:15ever experienced, I was very struck by the trees
00:25:19they have, the water, the different
00:25:22light, and I also
00:25:25collecting pieces of coral that I later
00:25:29turned into bronze, but now I want to do something
00:25:33new with all this theme of
00:25:36men who have transformed into angles in in
00:25:40marble. The biggest one I have at the moment is
00:25:43this one, I would like to make a bigger
00:25:46one.
00:25:54Here I am working on a piece from a
00:25:57new collection I am making about the Pachamama theme,
00:26:01Pachamama is a... Peruvian divinity and my trip to Peru
00:26:05impressed me a lot, I liked the mountains there a lot,
00:26:08since I don't have mountains, what I do is from a found
00:26:12stone, it's an
00:26:14alabaster, then I make an intervention, in this case I made
00:26:18this woman's body that is
00:26:21detachable, this is the bronze, I don't like
00:26:24the fit very much because it should have been much
00:26:27more vertical, it ended up a bit crooked and I'm repeating the wax
00:26:31to see if... to melt the piece again and fit
00:26:35it well
00:26:35again.
00:26:42First I model with a plasticine and
00:26:47mold, I make a wax that would be
00:26:49this one,
00:26:54mold that is in two parts,
00:26:57there is the container that is made with plaster
00:27:01and then. of silicone that takes all
00:27:04the shape of the piece that I have modeled with
00:27:08clay like plasticine or with
00:27:10wax,
00:27:16I always retouch all the waxes, all
00:27:19this will be exactly the same when we cast
00:27:23it in bronze, we will coat it with a
00:27:27refractory material that has a bit of
00:27:29everything, both inside and
00:27:33out, this is all coated with this refractory
00:27:36coated, eh, we put it in the oven with some
00:27:40sprues that are some tubes that
00:27:43come out of wax and make the
00:27:46wax come out through these holes, then they are plugged and in the mold
00:27:50we directly put a larger mold on top and through
00:27:54here we will pour the molten bronze, we will do the
00:27:56casting,
00:27:59the bronze will remain as it is here.
00:28:03The interior is totally empty, here it was full of earth
00:28:06and it was coated, this is what remains
00:28:09here.
00:28:13I gave it a white patina imitating
00:28:17alabaster, for me the patina, the finish of the
00:28:21bronze, is very important.
00:28:26This man was an improvisation,
00:28:30the foundry kept the arms from
00:28:34being able to enter the bronze and since I had some branches, which
00:28:37are real branches, I made a direct bronze from the
00:28:41trees and then I had them
00:28:43welded.
00:28:51I really like to look for an aesthetic in my
00:28:54work, to look for a balance, a harmony, that my pieces
00:28:58are really eh, with a verticality,
00:29:02even if... they are in motion, that they have that
00:29:04verticality that for me is very important and a harmony
00:29:08of composition, sometimes I turn
00:29:12an sculpture a thousand times until I find this
00:29:14harmony.
00:29:22This sculpture is titled searching for the infinite
00:29:26and it is a sculpture that seeks
00:29:30above all movement and...
00:29:32and my character is trying to catch
00:29:36something that is escaping
00:29:37him.
00:29:41It is a constant in almost all my works, they have
00:29:45movement, even if it is a very static piece, there is always
00:29:49a certain
00:29:49movement.
00:29:57I hadn't worked with stone for a long time, I got encouraged
00:30:00and the truth is I'm really enjoying it.
00:30:04There is a lot of work to polish, alabaster is a very
00:30:07soft stone, you have to be very careful because if
00:30:11you press too hard you
00:30:12break it.
00:30:18It is a protective mountain that has its
00:30:22children inside, they are
00:30:25like the seeds that have grown and the children who want to come
00:30:29out, but it also symbolizes a kind of...
00:30:32protectionism, as if it keeps these seeds
00:30:36inside and
00:30:37protects them.
00:30:46If they are sculptures where you have put a lot of emotional charge and many
00:30:50feelings and a lot of
00:30:53you carry inside, when you sell it, it makes you sad,
00:30:57but it is very important for renewal.