"We wanted to open windows and reading possibilities so that the visitor can be seduced and carried by Brossa", explains Anna Llopis, curator of Joan Brossa. The mental sensation of complete happiness, the semi-permanent exhibition on the poet that opened this Thursday at the Joan Brossa Foundation's Free Arts Center. The exhibition exhibits 66 pieces of all kinds to explain that, despite the diversity, Brossa always defined himself as a poet, whether from the written word or in visual poems, objects, scenic or paratheatrical poems - as he already explored the previous Other Brushes. Joan Brossa and the poetry of action, the paratheater -, but also artist books, magazines, various films and recordings of his poems by four current poets: David Caño, Blanca Llum Vidal, Oriol Sauleda and Raquel Pena.
It is an artistic display that does not have a closing date but it will be dynamic because some of the exhibited pieces will change over time, on the one hand because the Brossian fund is very broad and on the other because some are very fragile and not they can be exposed to the public for a long time, as is the case of Escorça, a poem that is the subject of wallpaper dating from 1943 that had hardly been seen much before. In a circular structure, Brossian's work unfolds around the room with the intention that there are neither hierarchies between the different pieces nor pedestals - bearing in mind his book The pedestal are the shoes -, and the visitor can be to the surprise of finding poems projected on the floor, or on the walls at any height, or in the middle of the room on a display.
All organized in twelve different areas: poetry, dream, fascination, vigil, shadow, consciousness, essence, freedom, revolt, fire, silence and theatre.
Thus, although the route is free, an attempt has been made to explain from the beginning the importance that his passage through the Civil War and Franco's oppression had on the creator for his commitment to freedom and the subversion of the borders between the various arts, since despite the diversity of formats he always considered himself a poet. It highlights the importance of J.V. Foix and Joan Miró in its development, as well as later the friendship with the Brazilian poet and diplomat João Cabral de Melo, from whom he took the social character of poetry that confirmed him in the "positioning in front of the creative fact through of the transgression of codes to communicate ideas", as Llopis explains.
Among the materials displayed is also Brossa's approach to eroticism, either with Christa Lem's well-known striptease, but also from texts in which he deals with the liberation of the body or the free union of people , or the publication of 1979 Pol·len d'entrecuix, with texts among others by Quim Monzó. An exhibition to relearn Brossa or reread it in all formats.
