Room 18

This room contains variations in which gestures and lines play an indisputable role.

Pintura rosa y naranja, 1976, by Jordi Teixidor, is a vertically laid out diptych in three areas, the very gesture of painting in its ever unique repetition, and the subtle pinkish and orangey variations in colour are a necessary and sufficient condition to register the painter´s poetic sensitivity.

Mi fuente un agua le da sin impureza, clara y dulce (serie “la Alhambra”), 1985, by Soledad Sevilla, complies with very different assumptions. Its markedly geometric origins give way to series in which the light – the vibration of the colour – is reflected in more aerial and luminous compositions.

The work entitled En tela de juicio, 2014, by Mar Arza, sees the lines of the weave and warp of the purple fabric are occasionally crossed by a few lines of text. As Roland Barthes pointed out, "text" and "textile" have the same etymological root. While the fabric is made up of threads, the text interweaves words and concepts.

Speak! ¡Hablad! ¡Que sienta dónde estáis!, 2020, a piece of work by Anna Dot, is an installation of Braille phrases made in ceramics. An invitation to touch and explore space, but also a reflection on the difficulties in communication entailed in any language and a critique of visual supremacy over our other senses.

Stille Post/Correu Silent, by Xavier Erkizia, is a piece of audio work composed of the vibrations of a number of sculptures the artist used as a microphone in 2016 to record different environments, people and elements of the Juan March Museum Foundation.