YEAR 3 - Joan Brossa

Cap de Bou

The celebration organised by Mas Blanch i Jové and the Foundation Joan Brossa was in the purest Brossian style. Mas Blanch i Jové, in collaboration with La Pobla de Cérvoles town hall, created a permanent Brossian walking tour that crossed town with poetry readings for all. Later on, the amphitheatre at the Artists’ Vineyard was named after the ‘No-Res del Tot’ [‘No-thing of Everything’] by Joan Brossa and the sculpture ‘Cap de Bou’ [‘Ox’s Head’], made from a reproduction of a visual poem by Joan Brossa. The celebration, directed by Hermann Bonnín, brought together the magic of Hausson, seeping out from between the barrels; the tender humour of Tortell Poltrona the clown in front of the ‘The Countryside’s Organ’; the opera by Company Dei Furbi at the lookout with La Pobla de Cérvoles behind it and the Commedia dell’Arte of the Company Rosa at the l’Era del Guino

"The A is alpha, the door to the alphabet, the entrance of literature, the beginning of literary expression. It also has a particularly interesting form. And one thing I discovered, and that displays its deep roots: if you take an A and turn it upside down, you can see an oxe’s head, and the ox had a great significance for all the great civilisations" Joan Brossa


The event of the YEAR 3 at the Artists' Vineyard
Joan Brossa

Joan Brossa

(Barcelona, January 19th, 1919 – December 30th, 1998)
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Is the most important avant-garde Catalan poet of the twentieth-century. He started writing when mobilised during the Spanish Civil War. On his return to Barcelona in 1940 he met J.V. Foix, Joan Miró and Joan Prats, and thanks to their advice, and under the influence of the neo-surrealists, he began to write sonnets, prose, odes and plays (under the rubric ‘scenic poetry’). In 1941, following the Futurists, he made his firsts visual poems. In 1947 he founded the magazine Dau al Set with Antoni Tàpies, Joan Ponç, Modest Cuixart, Joan-Josep Tharrats and Arnau Puig.
Following his contact with the Brazilian poet João Cabral de Melo, from 1950 Brossa’s poetry (with the book Em va fer Joan Brossa) took a radical turn towards social engagement. During the 1960s he experimented intensively with visual poetry and object poems, genres that he would never abandon. At the same time he began collaborations with artists such as Tàpies and Miró, which he gradually widened by working with artists of various other generations. Brossa’s work became known and was in higher and higher demand and, after his first retrospective at the Joan Miró Foundation in Barcelona (1986), exhibitions became a constant for the poet. Among these one held at the National Museum of Art’s Reina Sofía Centre in Madrid (1991) garnered international acclaim. Furthermore, his work became visible on the streets through his so-called ‘corporeal poems’ like Poema visual transitable at Barcelona’s velodrome (1984). In spite of all this, his posture towards the plastic arts never offered an interruption of his vast literary work.
From the 1940s onwards he had been writing theatrical actions/spectacles which he later adapted into various paratheatrical genres, such as transformational monologues, ballets and concerts –his collaborations with musicians Josep M. Mestres and Carles Santos ¬are remarkable– at the same time he worked in textual theatre, opera libretti and cinema scripts.
In the last years of his life he received prizes in all these genres, and from a variety of organisations. The São Paulo biennale (1993) and the Venice biennale (1997) and individual exhibitions in different European and American cities would happen. Following his death Brossa’s largest retrospective to date was held at the Joan Miró Foundation in Barcelona, cementing his reputation. Since 2005 other retrospective exhibitions have been touring various capitals of Europe and America, while his work has been translated into more than fifteen languages.

Other works of the artist