I Have Never Painted Golden Angels

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Núvia i rentaplats (Etnografia), 1973 Emulsió Fotogràfica I Anilines Sobre Tela 62.5 X 108 Cm © Col·lecció Pazos – Cuchillo / CRBMC Centre de Restauració de Béns Mobles de Catalunya. Enric Gracia Molina i Joan M. Díaz Sensada
Aspiradora, 1973 © Courtesy of the artist & Museu d’Art Contemporani de Barcelona (MACBA)
I Have Never Painted Golden Angels

Plaça dels Àngels 1

08001 Barcelona
February 8th, 2013 - June 30th, 2013
Opening: February 7th, 2013 7:30 PM - 9:30 PM

+34 93 412 08 10
Monday, Wednesday, Thursday and Friday, 11 am to 7.30 pm Tuesday closed (except public holidays) Saturday, 10 am to 9 pm Sunday, public holidays, 10 am to 3 pm


The educational and family institutions, gender stereotypes, class differences, labour exploitation, different means of repression, and all kinds of structures for the consolidation of power are some of the areas of interest of Eulàlia Grau (Terrassa, 1946). Since the early seventies, Eulàlia has used images sourced from the media to construct collages and critically document the way in which the media themselves transmitted recurring social models and both physical and ideological violence. Since 1973, she has employed a clear, straightforward language to produce silkscreen prints, emulsified canvases, books and posters that have positioned her as one of the most combative voices of her generation.

The MACBA exhibition focuses mainly on the works that Eulàlia Grau produced from the seventies until the early eighties, when she abandoned her arts practice and spent a long period abroad. In the late nineties she returned to Barcelona and resumed her artistic work.

The exhibition Eulàlia Grau. I Have Never Painted Golden Angels includes her Etnografies (Ethnographies), which look at how the media and advertising transmit certain values, and La cultura de la mort (The Culture of Death), which explores the violence and destruction of the capitalist social model. It also includes some emblematic works of social and gender critique, such as Cancionero de los hombres verticales y de los hombres horizontales (Songbook of the Vertical Men and the Horizontal Men), Discriminació de la dona (Discrimination Against Women), ...inventemos también nosotros...(Let Us Invent Too), El cost de la vida (The Price of Life), Orden público (Public Order), and Mínimos y máximos (Minimums and Maximums). In these works, Eulàlia explores the enforcement of order and justice, the undercurrents of political decisions, and the perpetuation of social differences through institutions such as work, school and the family, among others. The exhibition also includes the recent work Me gustaría morir en un lugar donde nadie me viera. María (I'd like to die in a place where no once can see me. María), which consists of images of Maria – a homeless woman from Barcelona – as she goes about her daily life, along with comments taken from the Internet that discuss the way the current economic crisis is being managed and recent cases of corruption.