News

11.26.2020 — Exhibition: “The Spirit of Montmartre in the time of Toulouse-Lautrec”. Last stop: Zaragoza

“The spirit of Montmartre in the time of Toulouse-Lautrec” ends its journey in CaixaForum Zaragoza. 

The current approach, by staying faithful to the original design, perfectly captures the spirit of that historical moment when art took the streets and broke with the aristocratic values of the past. Cabaret, circus, music, theatre, creative arts and, most particularly the nightclubs, provide a home to artists who moved to Montmartre transforming this Paris neighbourhood into a benchmark in the history of art.

It was La Belle Èpoque, and at the same time came a revolution with its own spirit, full of life, magic and colour... Cristià-Blasi manages to recreate this unique atmosphere by playing with contrasts between the festive hustle of the nightclubs and the silence and darkness of the streets at night. Through graphics and design, visitors can enjoy the magnificent works exhibited while capturing /perceiving at all times / engaging throughout with the spirit of that famous Parisian neighbourhood. 

The exhibition, a retrospective without precedent in our country, is produced by "la Caixa" and curated by Philip Denis Cate, and stages 350 pieces from collections all over the world.

We dedicate this last stop to Manuel and César García Mur.

Ignasi Cristià

11.25.2020 — Exhibition "Pixar. Building characters". CaixaForum Seville

We have designed "Pixar, building characters", an exhibition that immerses itself in the creative process of one of the most recognized brands in the field of culture and entertainment on a global level. 

Behind the protagonists of films such as "The Incredibles", "Up", "Inside Out", "Toy Story", "Brave" or "Ratatouille", hides the work of a team of professionals who approach the construction of each character from all sides.  A work that results in the creation of memorable characters, converted into real icons.

A space of more than 400m2 seen as a large laboratory ready for dissection. A collection of designs and models, displayed under a light that enhances every detail, showing everything that makes them unique, humanizing them at last.

10.09.2020 — The Catalan Book in the Time of "Modernisme"

Finally, "The Catalan Book in the Time of Modernisme" was inaugurated yesterday at the Museu de Maricel in Sitges, an exhibition designed entirely in our studio (space, graphics and communication). The project was developed in times of confinement and finally sees the light. We hope that this event will be the beginning of a new beginning.

09.23.2020 — The Shadow, the Wounded, the Ball and the Girl

During the design and installation process of the renovation of the modern art halls of the National Museum of Art of Catalonia we were shooting a documentary which, divided into four acts and no words, explains the transformation of the spaces and the process of change of the new presentation of the collection from the particular viewpoint of the director Iago Blasi.
The production and distribution in International festivals was entirely assumed by our studio, without any external economic help. It was presented at the "On Art Film Festival 2018" in Warsaw (Poland); at the "Master of Art Film Festival 2018" in Sofia (Bulgaria) and at the "Gulf of Naples Independent Film Festival 2018" in Naples (Italy).
The National Museum of Art of Catalonia, due to preventive conservation issues and a change in criteria throughout these six years, has been transforming the presentation of the collection. Even so, our documentary preserves the testimony of the original proposal made by its curator, Juan José Lahuerta.
After being shown at the three festivals, the documentary sleeps in our studio waiting to be presented in public.

09.14.2020 — Un ballo in maschera (A Masked Ball)

These two documents—a brief text I wrote before rehearsals got under way and an interview I did just before the first night—offer an insight into my approach to stagecraft. The first text describes the part of the creative process that begins to emerge on stage on the first day of rehearsals, building on the solid foundations you have laid down by studying and analysing the opera on your own.

1

“The hero, fate and redemption”

Un ballo in maschera is one of Verdi’s operas whose breathless plot keeps audiences on the edge of their seat as they follow the time-honoured twists and turns at the heart of classical tragedy. The hero dies to prove the value of honour. Verdi becomes more relevant than ever and takes us on a journey through passion, hate, love, revenge and fate.

The production of Un ballo in maschera at Varna Opera House brings together all the elements of classical opera to tell this fateful tale in a stripped-down version that gets the message across clearly and precisely. The playwriting conveys Verdi’s voice directly without any sleights of hand, and the musical direction has the same goal in mind: to uphold the best traditions and values of Verdi’s work.

On stage, a large triangle representing earthly powers hangs over the characters and serves as Ulrica’s platform for prophesising the tragic ending. The central gash, the door through which fate observes us, becomes a terrible, powerful pivot that exterminates passion and love.

Riccardo, Amelia and Renato form another triangle whose end Ulrica also foresees. Try as they might to ignore the bad omens, the characters and audience are inevitably crushed by the sheer weight of the story.

In this production, the chorus acts as the audience’s messenger and the harbinger of the final tragedy, to which Riccardo and Amelia remain blind. As it moves across the stage, the chorus is often closer to the audience than to the characters and is able to give us valuable insights that leave us in no doubt of what awaits.

A very different outcome awaits poor Ulrica: like the ill-fated Cassandra, she tries desperately to warn Riccardo and Amelia of their fate but to no avail.

Un ballo in maschera is a story about remaining true to yourself and seeing your emotions through to their final consequences. It offers no judgement on the different characters, whose strength of commitment to their values propels the story onwards to its inevitable conclusion.

With his dying breath, however, the hero dispels any desire for revenge. Riccardo steers the story to the same denouement as Aeschylus’ Oresteia: justice and goodness triumph over irrationality and the thirst for revenge.

In our production, as the narrative arc comes to a close, Ulrica walks towards us, as the characters and the chorus utter a revealing warning: “Never tempt fate. A mother’s voice should be heard and respected.”

Here, Riccardo’s effort and devotion symbolise the energy of all opera professionals worldwide who are giving their all to save the world of art, which has never been so important and yet remains dreadfully undervalued by part of society. Embodied in the passion and devotion that drive the whole team at Varna Opera House, art is a treasure to be cherished. At this time of crisis, there is little doubt that Riccardo is the voice we should listen to if we are to escape the darkness of barbarity.

Ignasi Cristià

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2

Compelling results only really start to emerge on stage, working alongside the singers and the musical director. This means being ready and willing to rework what looked like the right dramatic choices on paper. It’s a constant process of knocking things down so that you can rebuild anew from the rubble. That’s how you get a living, breathing production. In Virginia Woolf’s words, “Beauty must be broken daily to remain beautiful.”

1. You have built an impressive career as a highly versatile artist. Your main focus, though, seems to be working with space. You have worked with leading museums and opera houses across Europe and transformed a range of different exhibition spaces. How does Varna fit into your creative universe? What are you looking to achieve here with your staging of Un ballo in maschera?

Working in Varna is a tremendous challenge and great opportunity for me, because it’s a city with a long operatic tradition. I want this production of Un ballo in maschera to show opera’s power to bring us together, even though I’m from Barcelona. I think that both cities, both countries, share very similar values and that opera is proof of that. It’s a very rewarding way of bringing a different perspective to Varna, and I’m keen to see the audience’s reaction. I’m sure I’ll return to Barcelona all the richer for everything I’ve learned here. It’s been a positive experience for everyone involved.

My creative process for staging an opera begins by listening to it over and over again. There comes a point when I can visualise the set and the characters in different scenes. It’s as if it were being broadcast on a TV inside my head. At that point, I slowly begin to tune out of the music and start drawing what I can see in my mind’s eye: the set, specific design details and so on. That way I make sure I don’t forget anything. I have to rewind several times before I can find the words to describe what the singers are performing in my head, and I often have to go back to the original material, the score, to check that everything fits together.

A stage director’s work really begins in earnest when you start working with the singers and the musical director. On stage, my vision of the opera has to mesh with the ideas of the team of people who are going to perform it. The major challenge is for Bulgarians and Spaniards to understand each other.

2. Is this your first project for a Bulgarian opera house? Had you been to Bulgaria before?

This is the first time I’ve worked in Bulgaria. My closest previous experience was staging the ballet La fille mal gardée at Wrocław Opera House, in Poland, in 1991. Here, I’ve had quite a few flashbacks to that distant memory.

What really stayed with me from that experience was the feeling of forming part of a great theatre company where everyone was working together on the same project. I’ve felt the same intense feeling of belonging here too. That way of working together as a team forges close ties between everyone working in the theatre.

3. What kind of overall look and specific set design have you gone for in this production?

Un ballo in maschera is a great opera. The characters have a huge weight to bear, each with their own mission. It’s a meticulously constructed opera and thanks to its almost kaleidoscopic structure, you can stage it from various different perspectives. You could tell the story through Amelia’s eyes, Riccardo’s eyes, Ulrica’s eyes… And you’d have very different versions of the opera, even though they’d all share the same score. That’s the strength of a well-written piece of work. Verdi lets the director read his work from many different angles.

In this version of Ballo, I’ve gone with the character who behaves most humanely, Renato. I worked closely with Venseslav Anastasov to create a very believable figure, full of inconsistencies and contradictions. He’s the least monolithic character and the one who changes the most over the course of the opera. Renato’s complex nature makes for a very interesting staging. It was very important for the performer playing Renato to understand this, which is why he had to be both a great singer and a great actor. And Venseslav was just the person: he grasped Renato’s character perfectly and brought his own insight to bear on things I hadn’t seen. That’s how you work in the theatre, building the entire edifice from the ground up. Nothing is set in stone until the very end: the opera and the drama keep growing until the first night. We’ve come a long way since the first rehearsal and, centred on Renato, the drama has become more and more intriguing over time.

Hanging over the stage space is a large piece symbolising the power of fate and the horror of tragedy. Thanks to Ulrica, we all know what’s going to happen, but in this production we’ve held back a final surprise that will hopefully give the audience plenty to think about. It goes back to what I was saying earlier about what you can do with a well-written piece of work. We present Renato as the most humane character whose actions, when pushed to the limit, offer us an insight into our own behaviour: our fears, our wounded honour when we feel betrayed. Who hasn’t been betrayed at least once in their life? And who hasn’t felt like doing terrible things when they’ve been hurt? We can understand Renato perfectly even though we might not do what he chooses to do. Our staging brings out these very human dilemmas at the heart of Verdi’s great opera.

4. You have been working with musical director Krastin Nastev remotely from Barcelona. What do you think is the most important part of your professional partnership with him?

We built up a very interesting way of working. Krastin, working with the score, was keen to get across what Verdi was thinking about in his music; and as stage director, my job was to explore every avenue in Somma’s libretto. We worked together in tandem to link the music and the drama. He put himself in the composer’s shoes and I saw things through the librettist’s eyes. During rehearsals we worked alongside each other: while I was looking for ways of bringing out the drama in the characters, Krastin was doing the same with the music and the singers. His instincts on where to take the score fitted perfectly with my ideas on what I needed from the characters and the drama. By working in parallel, we got the most out of the opera: the action and the music go hand in hand, as we’ll see on stage.

5. What role has costume designer Iago Blasi played in shaping the look of this production?

Iago Blasi become involved right at the start and immediately grasped my plans for the set design. He has a very interesting take on things: the main characters will look exactly as we’ve always imagined singers in a Verdi opera to look like, but the members of the chorus are all dressed very casually and informally. By creating a close connection between the chorus and the audience, Iago has managed to break down one of the barriers to opera that can sometimes arise in more convoluted stagings. The modern character of the chorus helps give us a better understanding of the story.

6. As a singer yourself, were you ever tempted to take to the stage as a tenor in Varna?

I studied at the Conservatori del Liceu in Barcelona. I also sang in the chorus at the Gran Teatre del Liceu in two productions, Lohengrin and The Damnation of Faust, with two directors I learned a great deal from, Götz Friedrich and Paolo Carignani. I even entered the Montserrat Caballé International Singing Competition, but that’s when I realised I wasn’t called to be a singer. My experience as a tenor has helped me understand what singers do and the key role they play in performing and staging operas. Studying singing has helped me put myself in their shoes. It’s made me more aware of singers’ needs when it comes to directing an opera.

7. What obstacles have you had to overcome in Varna to put your ideas into practice? How would you compare the arts scene here to the situation in Spain in general and Catalonia in particular?

Varna and Barcelona have been putting on operas for over a hundred years, but there’s something here that’s lacking in my hometown: a tremendous pool of young talent. Bulgaria has given the world many great voices, and in Varna I’ve seen that singers form part of the city’s social fabric. This doesn’t happen in Barcelona. As I’ve said, I think that different perspectives are always mutually enriching, and opera is an art form that has always valued diversity. Singers, musical directors and stage directors are often all from different countries, and they each bring along their own point of view, which is very positive and constructive: these differences bring us closer together rather than push us farther apart.

8. What will you be working on after Varna?

I’ve got several projects on the go, but perhaps the most interesting one is a revival of a musical version of Euripides’ Medea that hasn’t been performed since before the Spanish Civil War. The great Catalan composer Joan Manén wrote the music to a libretto by Ambrosi Carrion, a very prestigious playwright at the time who fled after the war. My great-great uncle composed the music for several stage works by Carrion. This restaging will mean a lot to me as I’ll be working with material by a playwright who had close ties to my family. There are no recordings of the original production, so we’ve no idea exactly how it was performed at the time. The Spanish text is written for an actress and the music is scored for a string orchestra, piano and organ. As well as designing the set, I’ll also be directing actress Susanna Garachana.

09.10.2020 — Giuseppe Verdi: Un ballo in maschera

The production of Giuseppe Verdi’s Un ballo in maschera at Varna Opera House in Bulgaria. Ignasi Cristià oversaw playwriting, stagecraft and set design, Iago Blasi created the mappings and costumes, and Jose Castelló designed the lighting.

Right from the start, the playwriting and stagecraft took shape in constant dialogue with the musical director, Krastin Nastev, to produce a coherent setting for the story. Ignasi Cristià based the set design on a series of essential forms to symbolise the conflict at the heart of the libretto that drives the plot forward. In tandem, Iago Blasi sought inspiration from a range of sources when designing the costumes for a staging that takes place in an indeterminate time period and focuses instead on each character’s psychological development and emotional journey as the drama unfolds.

After weeks of rehearsals and hard work on stage, this new version of Un ballo in maschera premieres on 10 September 2020.

07.22.2020 — Today it's 24 years since the premiere of "Romeo and Juliet, barbacoa passionall”.

My first large-format scenography. At the Grec Theatre Festival in Barcelona in 1996. National dance prize for best stage production.  

Ramón Oller was the choreographer and artistic director of this version of the ballet Romeo and Juliet with a score by Sergei Prokofiev. Oller sought to reinterpret this classical work in a contemporary vein by setting it in a gypsy encampment. 

To bring this unusual imagery to life, we designed a composition that integrated all three main elements of the adapted play: an old caravan which served as Romeo’s house and a Volkswagen van which was Juliet’s dwelling. These vehicles had been purchased in a scrap yard and were placed on either side of the stage. Between them was the castle of Mercutio, the intermediary between the two lovers. This construction was translated scenographically into abstraction and monumentality: a large advertising billboard built with scaffolding and steel sheets which actually advertises nothing and is twisted to look away from the audience. 

Between these three pieces is the empty space where the characters interact. The outcome is a composition which is reminiscent of a mock still life, with a touch of magic but also of decline, representing nothing other than the moral decadence of the characters in the tragedy. The setting was completed with tyres, debris and rubbish bins with which the dancers interacted during the characters’ confrontations. A layer of rust-coloured paint was applied, which counteracted the naturalism of the scene by stylising and abstracting the whole. The result was a romantic world, yet one that was also strange and disturbing, the shadow of a splendour that no longer existed.

©Photography: Ros Ribas

©Draws: Ignasi Cristià

 

03.24.2020 — French version of our website

We already have the French version of our website. We invite you to have a look and may be share it with other people that could be interested on it. 

Cristià-Blasi keeps working to bring culture closer to the people, specially in this exceptional times, since culture is life, beauty and humanity. 

© Photographs: Ignasi Cristià

02.29.2020 — Exhibition: Commemoration of the 100th Anniversary of Josep Martí i Cristià’s Death

Daniel Blanch couldn’t imagine that he was going to rediscover the music of the Catalan composer Josep Martí i Cristià (1884-1918) when the handwritten scores of that musician - also an artist, poet, educator and teacher - were given to him. They arrived, as it happens, from the hands of the son of Eduard Martí, who is Josep Martí i Cristià’s nephew. 

But it wasn’t until later, when Daniel started to play the pieces, that he realised that they were really interesting and of great quality. That’s why he decided to reach out to Claudi Cuchillo, the current president of the Associació d’amics de Josep Martí Cristià, and Eduard Martí who, at that time, were in the process of establishing the association. As soon as they were set, they proceeded to record and publish a first CD called “Música per a piano” (Music for Piano) and, later, a second one called “Somni d’un poeta” (Poet’s Dream) which was also published to commemorate the 100th anniversary of the composer’s death. 

The celebration was an excellent opportunity to disseminate information about the life and work of a poet and musician who was, by then, quite forgotten despite his remarkable influence on Catalan musical fundations for what would later become the Catalunya Noucentista. 

The exhibition, inaugurated on the 21 September 2018 in Can Cortès, at Palau-solità i Plegamans, was designed by Cristià-Blasi. Six display panels of different colours, with text, photographs and other images, outlined the life and work of that figure who is considered a role model of romantic music. Nature and love were two of his inspirations and nostalgia was the driving force that led him to create captivating melodies of great ease.

Together with the exhibition, other events were organised, including a lecture about the musician’s life, a concert and a recital of his poems. 

A presentation of the last published CD took place later at the Biblioteca de Catalunya where the composer’s archive is preserved. The CD contains works for piano and chamber music drawn from that repository.

02.12.2020 — Exhibition opening!

CaixaForum Sevilla is the new venue for “The Spirit of Montmartre in the time of Toulouse-Lautrec”. The exhibition was inaugurated today and it can be seen until the 31 May 2020. In Cristià-Blasi, we are very pleased with the outcome and we appreciate the collaboration of the working team that made it possible. 

02.07.2020 — “The spirit of Montmartre in the time of Toulouse-Lautrec” in CaixaForum Sevilla. 

“The spirit of Montmartre in the time of Toulouse-Lautrec” is already in Sevilla. Throughout this week Cristià-Blasi has been directing the setting up of the exhibition together with the curator, Dennis Cate, with whom it is a pleasure to work. Both have been deciding the best spot to place each ‘work of art’ once the preservation report has been done. 

For this occasion, the curator has included a larger number of works from the Weisman & Michele collection so the repertoire will be slightly different from the exhibitions previously presented in Barcelona and Madrid.  

At a design level, due to the venue being square and by concealing the columns, it has been possible to present clear exhibition rooms with very defined ‘interior’ and ‘exterior’ spaces evoking the ambience of Montmartre. 

Having to redesign the exhibition for this new venue has been really rewarding.

The exhibition, organised by 'la Caixa’, can be seen in CaixaForum Sevilla from 13 February to 31 May 2020.

Montmartre at the CaixaForum in Seville

01.24.2020 — Cloister "Del Roser" of the Nativity Façade

The only cloister at the Basilica Sagrada Familia that Gaudí was able to finish in his lifetime is the one called “del Roser”. This is situated in the Nativity façade which, together with the crypt and the apse, was declared by UNESCO to be a World Heritage Site in 2005.

Cristià-Blasi has been in charge of designing a display to explain the gateway embedded in the cloister, also named “del Roser”. 

Being a heritage site, the priority has been to create an installation in the most sensitive and integrative way. In addition to writing the content and designing the signage display, the Studio undertook an engineering project to ensure that the structure will not damage the building under any circumstances. Thus, two large light boxes, higher than 3 meters, have been erected along an arch of one of the chapels. The gadget used to hold them in place has been fixed to the joints of the ashlars to avoid having to make holes in the stones. 

At a graphic level, on the top of the boxes, a texture evoking red roses has been used with the aim of respectfully linking this intervention with the work done in the cloister by Gaudí himself.

01.16.2020 — Francesc Moragas Exhibition

This exhibition about Francesc Moragas, founder of “la Caixa”, can be seen in the entrance hall of the company’s central services in Santa Cruz de Tenerife until 31 January 2020. Cristià-Blasi has been in charge of the content and design of the exhibition, called The Man Behind The Soul which remembers and celebrates the 150th anniversary of the birth of Moragas. The exhibition presents the history of the man behind La Caixa de Pensions per a la Vellesa i d’Estalvis (the bank for old-age pensions and savings) who in 1904 drove the first big project for social development in the country. In order to present this pioneer and humanist, who was willing to offer a better future to the working classes and those most disadvantaged, Cristià-Blassi proposed a design in which the visitor is guided by a range of luminous coloured information boards showing who Moragas was and, specially, the values that inspired him throughout his life and work and which have endured over time.

12.18.2019 — Royal Caribbean Advertising

Cristià-Blasi was in charge of the latest advertising communication campaign for Royal Caribbean International. Blackbox Productions commissioned the Studio to take on the task of creating and filming nine videos that promote a variety of services offered on the cruises by this renowned company. The shooting was done entirely in the Caribbean throughout a week of intense work. 

12.13.2019 — Exhibition: “The Spirit of Montmartre in the time of Toulouse-Lautrec”

“The spirit of Montmartre in the time of Toulouse-Lautrec” will be exhibited in the CaixaForum’s venues of Seville, Palma and Zaragoza during 2020. This is a new version of the exhibition previously shown in the CaixaForum of Barcelona and Madrid. On this occasion, and after the success of both previous exhibitions, Cristià-Blasi has redesigned its own proposal to adapt the setting to the new venues. 

The current approach, by staying faithful to the original design, perfectly captures the spirit of that historical moment when art took the streets and broke with the aristocratic values of the past. Cabaret, circus, music, theatre, creative arts and, most particularly the nightclubs, provide a home to artists who moved to Montmartre transforming this Paris neighbourhood into a benchmark in the history of art.

It was La Belle Èpoque, and at the same time came a revolution with its own spirit, full of life, magic and colour... Cristià-Blasi manages to recreate this unique atmosphere by playing with contrasts between the festive hustle of the nightclubs and the silence and darkness of the streets at night. Through graphics and design, visitors can enjoy the magnificent works exhibited while engaging with the spirit of that famous Parisian neighbourhood.

The exhibition, a retrospective without precedent in our country, is produced by "la Caixa" and curated by Philip Denis Cate, and stages 350 pieces from collections all over the world.

12.10.2019 — Exhibition "Opera. Passion, power and politics" in CaixaForum, Barcelona

“Opera. Passion, power and politics ” has been on show at CaixaForum Barcelona since the beginning of autumn and will remain there until the 26th January 2020. Cristià-Blasi was in charge of the artistic direction following an original initiative by the Victoria & Albert Museum of London.

With a multidisciplinary approach and music ever-present, four hundred years of opera history are explained. The guiding thread takes the viewer through eight opera, eight European cities and eight important historical events which give context and an explanation of the evolution of contemporary society.

Both the design of the space and the graphics, instantly capture the senses and involves visitors by inviting them to stroll through the different scenarios of that musical universe. With a colourful and nuanced visual language, while at the same time in straightforward and entertaining way, Cristià-Blasi stages a variety of more than 300 pieces that illustrate Opera's relationship with power, politics and general society.

The objective, shared with El Gran Teatre del Liceu which took part in the adaptation of the exhibition’s script, is to bring Opera closer to the general public. 

According to Elisa Durán, Deputy General Director of the Banking Foundation "la Caixa”, in CaixaForum Madrid, this is the exhibition that registered the highest level of satisfaction amongst visitors in the whole history of the venue. 

Exhibition teaser

12.04.2019 — Travelling exhibition: “Let the show begin. Georges Méliès and the 1900’s cinema”.

This travelling exhibition, about the fabulous cinema of George Méliès, can currently be seen in the Spanish city of Segovia until the 9th December 2019.

Organized by “La Caixa” Banking Foundation and designed by Cristià-Blasi Studio, the exhibition transports the spectator back to the ambience of the early 20th Century, when the first films would travel from town to town in funfair caravans. Visitors, usually working people who had begun to have time for leisure, would enter the small wagons to enjoy a show based on tricks and optical illusions. Thus was born cinema as spectacle. 

At a design level, the challenge was in adapting to the display system that, travelling around a wide number of Spanish cities, works both as a means of transport and as an exhibition venue. The design of the interior space, approximately 200 square meters, partitioned and dressed with velvets, tulles and curtains, immerses the viewer in the magical world of George Méliès. It is, certainly, a trip back in time that reviews the history of one of the pioneers of cinema, and ends with a great tribute to his work.

Website exhibition

11.27.2019 — La collection Weisman & Michel, Fin de siècle – Belle époque (1880-1916)

This exhibition can be seen in the Montmartre Museum of Paris until the 19th January 2020. 

Cristià-Blasi Studio has been in charge of the entire design working closely with both the Museum and the curators, Philip-Dennis Cate and Saskia Ooms. 

The exhibition presents the private collection of American couple David E. Weisman and Jacqueline E. Michel shown in its entirety for the first time. 

Donated to the Montmartre Museum, this unique and rare collection of almost 200 pieces (drawings, paintings, watercolours, pastels, posters and lithographs) by artists such as Ibels, Steinlen, Toulouse-Lautrec, Anquetin, Grasset, Rivière, Chéret, invites visitors to immerse in the eclectic world of Montmartre, a symbol of that avant-garde period.

Website of the Musée de Montmartre

04.25.2019 — Inauguration of the exhibition "Opera, Passion, Power and Politics" at the CaixaForum Madrid

Opera combines all the disciplines of art, creating a universal language capable of defining cities emotionally, culturally, politically, socially and economically. The banking foundation "la Caixa" has once again called on the Cristià studio for artistic direction, design of the exhibition spaces and graphic design. A journey through eight inaugurations in the most important European theatres, in order to understand the historical context of each opera house and its relationship with the city. More information on this subject will be available on our website very soon.

10.14.2018 — Toulouse-Lautrec and the spirit of Montmartre

We are already finalizing the new production designed by the Ignasi Cristià studio.

Through paintings, drawings, posters and illustrations, "Toulouse-Lautrec and the spirit of Montmartre" shows the artist's production and his contemporary artists in Paris at the end of the 19th century.

Opening: October 18, 2018. Caixaforum Barcelona.

09.27.2018 — Transgressors, women from both sides of the ocean

Sometimes small exhibitions serve to explain great stories. We have designed the exhibition and the graphic image of "Transgressors", the story of 16 women from here and from the other side of the Atlantic that marked the path of the demand for equality of human rights. You can visit it at the headquarters of the Memorial Democràtic in Barcelona until December 2018. In spring the exhibition will travel to Uruguay.

Exibition website

Video of the exhibition

Memorial Democràtic website

Consulate General of Uruguay in Barcelona

09.04.2018 — The Nativity Scene of the Museo Nacional de Escultura de Valladolid, the third monument of Valladolid that tourists like the most

The new room of the "Neapolitan Crèche of the National Museum of Sculpture of Valladolid", remodeling that we designed in our studio, is the third monument best valued by tourists who have traveled to Valladolid this year. In order to elaborate the classification, the search engine of the traveler's website has been used, but a mechanism that compensates for the low number of votes received by some of the monuments and places included in the list has also been used.

07.19.2018 — "Walt Disney. The Art of Storytelling" now open at CaixaForum Madrid

The exhibition “Walt Disney. The Art of Storytelling” is now open at CaixaForum Madrid. In it, we travel through 80 years Walt Disney Studios history, paying special attention to orally transmitted legends that have inspired widely known stories such as The Three Little Pigs, Snow White and the Seven Dwarfs, The Little Mermaid, Hercules, or Frozen. Madrid is the following stage in the exhibition tour after having been shown in Seville and Barcelona, where it has received nearly 400.000 visitors. The exhibit explores at CaixaForum Madrid new spatial configurations that make it distinctive from previous locations. The different halls acquire a remarkable depth, benefiting from the reflections on the Fairy Tale Castle’s mirrors. Thus, it presents itself to the visitor as a labyrinth, the narrative labyrinth of our childhood’s entangled memories.

For further information, you can go to our website, or click on the following article.

07.03.2018 — Gaudí and the Sagrada Família in Santiago de Compostela

The travelling exhibition “Gaudí and the Sagrada Família. Interior experience” is open to visitors until 30 September at the Cultural Space of the Monasterio de San Martín Pinario in Santiago de Compostela. In its journey through Zaragoza and Astorga, it has already received 23.000 visitors who have been able to dive into Gaudí’s universe of symbolism and imagination. It splits into three parts that tell the story of Gaudí’s inspiration in nature, his thinking and his way of making art, science and spirituality converge, and lastly, the building and the way it makes its visitors feel, showing their reaction.  

You can check the whole project on our website.

Official website article

06.27.2018 — The Human Tower Museum of Catalonia enters its final phase

Recently, the Town Hall Council of Valls (Tarragona) has passed the project for the Casteller Museum of Catalonia, announcing the public bidding for the works to produce our museography. It’s an exhibition in three acts that uses the circle as a distinctive symbolic shape of castells. This project uses late generation technology, like audiovisual and sound installations, and a big mechanic sculpture with 360º projections. All these resources have been deployed to make visitors experiment, first-hand, the spectacular experience of taking part in a castell.

You can check the whole project on our website  and read more about this process in the following article.

06.09.2018 — Celebrated Melodies of Music, Operetta and Opera

It often happens that you get a pleasant call from a friend who asks for a helping hand, and it becomes the perfect excuse to see him again and share our recent experiences.

Krastin Nastev is a brilliant musician who has moved not long ago to Basel, and who has a solid trajectory as a music director. He has been invited to direct concerts all over Europe and he has recently directed the Bulgarian National Radio orchestra and choir.

I was lucky enough to know Krastin Nastev as a singer under his baton’s lead. This time I have been able to travel to Schopfheim / Fahrnau (Germany) where I have backed his choir’s tenor set and interpreted two musical pieces as a soloist.

To sing while being led by the hands of a director such as Krastin Nastev is like walking on a tightrope and knowing you will never fall down, because he guides you and marks the balances; he has the big gift of communicating with gesture, with his look, through the movement of his whole body.

To be on the shoes of an opera singer once again has given me an experience which is vital to understand the secrets of a profession so complex, so delicate and wonderful. I gather this adventure, which will certainly be very useful for new challenges and future projects, as a gift that enriches my job as a professional in the world of museography and playwriting.

I am deeply grateful to Krastin Nastev for this onstage reunion. Thanks to you I could meet the soprano Svetlana Doneva. Her transparent look goes through you and lets you see her artistic spirit; her voice expands throughout the room making music come to life and, in a second, a moving poetry seizes the audience.

Article in the Badische Zeitung journal

Article in the Verlaghaus–Jaumann journal

04.26.2018 — The Model Prison Speaks Exhibition. Opening 2017

“The Model Prison Speaks” is a temporary exhibition located inside the Model Prison of Barcelona. It took place just before the building turned into a heritage landmark, during its last days as a penitentiary. This unique initiative was commissioned by the Department of Justice of the Catalan Government, with the Honourable Mr. Carles Mundó as its Head. Aside from the exhibition, we designed the opening ceremony, we wrote the script, and we produced the video installations that played while the members of the Catalan Governement spoke. We want to share with you the most spectacular movie clip that we developed, which gains new meaning under the current political situation.  

04.26.2018 — Antonio López at the Palau de la Música Catalana

The Orfeó Català Foundation – Palau de la Música Catalana offers now for its sixth season exhibitions on fine arts showing the works of artists like Bill Viola, Louise Bourgeois, Perejaume, Antoni Tàpies or Joan Miró. This year, the Foundation has invited Antonio López, and the exhibition features twelve of his works at the Lluís Millet Room. Among them we can find the sculptures Man and Woman, and the painting The Dinner. Our job was to create a neutral space inside the modernist room which allowed a suitable contemplation of the works. On the street, before the building designed by catalan architect Lluís Domènech i Montaner, you can find the sculpture Carmen asleep, inspired by the artist’s granddaughter. The exhibition will be open to the public until 24th June, and it’s a unique opportunity to see López’s work in Barcelona. Don’t miss it!

03.22.2018 — “Walt Disney, the Art of Storytelling” opens tomorrow

From Mars 23 to June 24 you can visit the exhibition Walt Disney, the Art of Storytelling at CaixaForum Barcelona. We recreate the famous Walt Disney Animation Studios in Los Angeles, and we travel to the origins of its films by rereading the fairy tales and legends that inspired its stories. Don’t miss this adventure through magic forests and enchanted castles. 

03.12.2018 — Exhibition about Palm Sunday festivity and palm leaf tradition.

We have just finished our last project in Sagrada Familia. It’s an exhibition that concludes the guided tour about the symbols of Easter inside the building designed by Antoni Gaudí, and goes through the popular tradition of the palm leaf on Palm Sunday. It was commissioned in the context of a workshop where people will plait palm leaves in the traditional way. The aim was not to obstruct the room where the activities take place, using the side chapels and a light box to locate the printed canvas. Director and screenwriter Iago Blasi was in charge of the content, which is structured in a welcome and three sections on the history of the palm leaf tradition.

03.02.2018 — Historical Recreation Space of St. Rafael Pavilion at the Hospital de la Santa Creu i Sant Pau

Work at the recreation space of Saint Rafael Pavilion goes on. While the conservation labour awaits, we have rigorously reproduced the tiles on the back wall by making use of scenographic tools, like we have done in the rest of the exhibition, aiming to help visitors understand the building.

This recreation allows us to see the pavilion’s original state when it used to accommodate the patients. Using photographic documents of that period, we have reproduced the beds and the living room. There’s also a row of panels which tell the Hospital de la Santa Creu i Sant Pau’s history.

The exhibition is already open to visit, but the job is not entirely completed. In the next few months, a new section will be added where all kinds of objects related to the history of medicine will be shown. Once concluded, we will publish all the information about this project on our website.

St. Rafael Pavilion 

02.20.2018 — "Gaudí and the Sagrada Família. Interior Experience" exhibition now open to the public in Astorga.

The travelling exhibition “Gaudí and la Sagrada Família. Interior Experience” is now open to visitors in Astorga. After beginning its tour at the Alma Mater Museum in Saragossa, where it received five thousand visitors, it will be located until May 20th at the Palacio Episcopal de Astorga. The building, also designed by Antoni Gaudí, is one of the few works the celebrated architect built outside Catalonia.

The exhibition walks us through the history of the basilica, opening its doors and inviting us to visit this emblematic building of catalan modernism. It is divided in three acts that transport us, in the fashion of a grand opera, to Gaudí’s intricate mind; a combination of art, engineering, and spirituality.

After May 20th the exhibition will resume its tour throughout several Spanish cities.  

Astorga

01.01.2018 — Presentation of our new website

After a few months of digital disconnection, we are happy to present our new website. We have dedicated this time to reinventing ourselves, to rethinking our trajectory and to revisiting our dusty archives for all the projects we have developed over the past 25 years, in order to present them properly and in great detail. We would like to thank Marnich for designing this site. As always, they responded perfectly to our needs in terms of simplicity, usability, and elegance. In this section, we will keep you informed of our recent activities and our ongoing projects currently under development. Thank you all!