She, once and again

In 1968, Eugènia Balcells travels to the USA for the first time. As well as an uncontrollable desire to see the world, she has a strong will to begin a cinematographic career.

She soon encounters the new wave of Women’s Lib and, ever since, she has always held a keen interest in the presence of women in different areas of public life and the need to break with predetermined models of life.

In the seventies, once she completes her master’s degree in Arts at the University of Iowa, Eugènia Balcells questions reality through the eye of the camera and becomes particularly interested in the human stereotypes that cinema has been immortalizing through the huge Hollywood production companies.

This exhibition presents different works from the late seventies to the early eighties – Fin, Re-Prise, Boy Meets Girl, Going Through Languages – which show her incisive questioning of the image of women.

The exhibition continues with Àlbum portàtil (Portable album) (1993), in which Balcells pays homage to all women without exception, and Autoretrat (Self-portrait) (1980-2018), which speaks through the video camera about her place in New York city, where she has lived for nearly thirty years.

The exhibition closes with Becoming (2022), an installation based on the work Un espai propi (A Space of One’s Own), in which Balcells celebrates the life and work of Virginia Woolf. Brief quotes from the writer light up the way like a small torch.

Following closely the artistic vocabulary created by Eugènia Balcells throughout her career, the exhibition begins with the work Fin (The End) (1978), in an attempt to never disassociate what the works reveal from what they only insinuate or directly hide.

She, once and again.

In 1968, Eugènia Balcells travels to the USA for the first time. As well as an uncontrollable desire to see the world, she has a strong will to begin a cinematographic career.

She soon encounters the new wave of Women’s Lib and, ever since, she has always held a keen interest in the presence of women in different areas of public life and the need to break with predetermined models of life.

In the seventies, once she completes her master’s degree in Arts at the University of Iowa, Eugènia Balcells questions reality through the eye of the camera and becomes particularly interested in the human stereotypes that cinema has been immortalizing through the huge Hollywood production companies.

This exhibition presents different works from the late seventies to the early eighties – Fin, Re-Prise, Boy Meets Girl, Going Through Languages – which show her incisive questioning of the image of women.

The exhibition continues with Àlbum portàtil (Portable album) (1993), in which Balcells pays homage to all women without exception, and Autoretrat (Self-portrait) (1980-2018), which speaks through the video camera about her place in New York city, where she has lived for nearly thirty years.

The exhibition closes with Becoming (2022), an installation based on the work Un espai propi (A Space of One’s Own), in which Balcells celebrates the life and work of Virginia Woolf. Brief quotes from the writer light up the way like a small torch.

Following closely the artistic vocabulary created by Eugènia Balcells throughout her career, the exhibition begins with the work Fin (The End) (1978), in an attempt to never disassociate what the works reveal from what they only insinuate or directly hide.