BARCELONA.- Barcelona Gallery Weekend is back for its 12th edition from 17 to 20 September. Organised by the ArtBarcelona. Galeries association, Barcelona Gallery Weekend is the annual event that marks the beginning of the city’s art season and celebrates, over the course of four days, the tireless work galleries do as culture- and knowledge-generating spaces and places for experimentation and discovery that facilitate connection and exchange between artists, collectors, the public and institutions.
All the exhibitions, which are free and open to all, will open simultaneously on Thursday 17 September: from 12 noon for professionals and from 6 pm for the general public. On the weekend, the opening hours will be 12–8 pm on Friday and Saturday and 11 am–3 pm on Sunday.
The 25 participating galleries
The 12th edition of Barcelona Gallery Weekend will see participation from 25 contemporary and modern art galleries: 23 in Barcelona and 2 in L’Hospitalet de Llobregat.
Grouped by location, they are: House of Chappaz, in Gràcia; ADN Galeria, Galeria Marc Domènech, Mayoral, ProjecteSD, RocioSantaCruz, SELTZ by Ritter Ferrer, Victor Lope Arte Contemporáneo and Zielinsky, in the Eixample; 3 Punts Galeria, Al-Tiba9 Gallery, Bombon Projects, Dilalica, Escat Gallery, FUGA, Pigment Gallery, Prats Nogueras Blanchard, Sorondo Projects and Suburbia Contemporary, on Carrer de Trafalgar and adjacent streets; PALMADOTZE, with a pop-up at FoodCultura, in Poblenou; àngels barcelona and Sala Parés, in Ciutat Vella, and Chiquita Room, in Sant Antoni. Participating in the Santa Eulàlia neighbourhood of L’Hospitalet are ethall and Galería Alegría.
BGW schedule 2026
L’Hospitalet galleries
In the neighbourhood of Santa Eulàlia, in L’Hospitalet, Galería Alegría will host a joint site-specific project by Luís Bisbe (Málaga, 1965), known for his sculptures and installations that transform everyday objects to generate a sense of strangeness and question our surroundings, and Jacobo Castellano (Jaén, 1976), whose practice recontextualises objects loaded with memory and history by integrating them into materials, especially wood.
At ethall, Eulàlia Rovira (Barcelona, 1985) presents a new sculptural installation in dialogue with the gallery’s architecture. Her practice explores how certain ways of perceiving and arranging the world are inscribed in bodies, surroundings and language, dealing with elements like gravity, vision, surface or inert material. On top of that, Sergio Prego (Donostia-San Sebastián, 1969) will be exhibiting a new piece from the series The Face of Another, which he started at the gallery in 2022, inspired by the ceramic motifs and vases that appear in the Hiroshi Teshigahara film of the same name. As part of the FLASH programme, open 17–20 September only, the gallery will be presenting a dialogue between the works of Juande Jarillo (Granada, 1969) and Martín Vitaliti (Buenos Aires, 1978), which put forward two approaches to decoding the image and the perception of space and time.
In the Gràcia neighbourhood
The gallery House of Chappaz presents ‘Front Running y Trampa’, by Momu & No Es, made up of Lucía Moreno Murillo (Basel, 1982) and Eva Noguera Escudero (Barcelona, 1979). The exhibition brings together a workstation, an embodied trail and a corporate information flow to explore the coexistence of multiple temporalities and spaces, as well as the ways we build meaning in our contemporary reality. Through images of mysterious apparitions controlled by an infrastructure that serves a hidden company, the project reflects on loops, liminal spaces and hyperreality as frameworks that condition our perception.
The Eixample galleries: from Passatge de Mercader to Consell de Cent
Ana Jotta (Lisbon, 1946) and Allen Ruppersberg (Cleveland, USA, 1944) share an interest in collecting materials from popular culture. At ProjecteSD, ‘O Jogo da Glória / The Game of the Goose’ revolves around a mural created by Jotta for the occasion, which will act as a frame for exhibiting works by both artists. Rather than a simple collaboration, this is an exhibition that sets up a dialogue between two voices that, with a strong sense of irony and freedom, view art as an independent practice separate from fashions and envisage no limits between art and life.
Zielinsky, meanwhile, presents sculptures by Amparo Tormo (Valencia, 1960), who combines industrial materials – from iron to MDF panels and stainless-steel surfaces – to reveal the inside of objects. By duplicating plans, inverting orders and filling gaps with reflective surfaces, she generates plays of perception and illusion. This way, her totems, wall pieces and corner sculptures act as devices that guide the viewer through reflections and opacities, blurring the distinction between interior and exterior.
Galeria Marc Domènech will be introducing ‘1959. Joan Claret. Paintings’, a FLASH exhibition focusing on a key year in the career of Joan Claret i Corominas (Barcelona, 1929–2014), when the artist consolidated the foundations of his subsequent geometric language for the first time. An outstanding figure in Catalan abstract art in the second half of the 20th century with significant international reach, Claret developed a series of fundamental works in 1959 that would mark his definitive shift towards constructivism. These pieces from his collection have been restored for the occasion.
ADN Galeria will present ‘FANTASTIC PLANET: El planeta salvaje’, the third solo exhibition held by the visual artist and cofounder of Malpaís, Joan Pallé (Lleida, 1989). It will combine small sculptures, based on the codes of scale models and figurative art in order to explore their narrative potential, alongside works on paper, where references to graphic design, posters and infographics take on a more expressive register. Through this revisiting of codes and languages, the artist champions the importance of craft and the narrative value of forms, arranged with the use of acerbic humour as a critical tool.
In addition, in her first ever exhibition at the gallery, Gema Polanco (Valencia, 1992) will unfurl the characteristic elements of her multidisciplinary practice – installations, textiles, sketches, collages and photography – to draw on her personal experience and defend women’s role in creation, in a plural vision that questions traditional feminine roles and imagines new forms of empowerment. ‘Mujeres que cargan animales’ draws from autobiography to open up spaces for collective transformation from which to reflect on the body, desire, care and emotional honesty.
As part of the FLASH Programme, ADN Galeria will host ‘MANIFIESTO: 20 años con ADN Galeria’, a four-day exhibition that looks back on two decades of collaboration between Eugenio Merino (Madrid, 1975) and the gallery. This is a history that, through drawings, sculptures and installations, tackles the discourse of political and economic power, violations of human rights and, more recently, historical memory and the footprints of Francoism on Spanish society today.
Victor Lope Arte Contemporáneo will host ‘The Architecture of Power’, by Kepa Garraza (Berango, Biscay, 1979), a retrospective focusing on over a decade of research into the visual construction of power: a complex system of images – monuments, propaganda, photographs in the press or military iconography – that models our perception of reality and backs up official narratives. Through highly precise painting, Garraza reinterprets and recontextualises these images to question the mechanisms through which history, memory and contemporary representation are built.
As part of the FLASH programme, from 17 to 20 September, the artist will display a selection of works from his series ‘Horses’, which revisits the equestrian portrait tradition through versions of iconic artworks of this kind from which the rider is removed. This absence turns every piece into a reflection on the representation of power and its visual codes.
SELTZ by Ritter Ferrer is the venue for ‘The Future is Not What It Used to Be’, by Francesc Torres, winner of the Catalan government’s National Prize for Visual Arts (2009) and the Velázquez Prize for the Arts in 2024. He presents an exhibition of new works that reflects on modernity’s unkept promises, the wearing-away of political narratives and the fragility of contemporary certainties. Through paintings, photographs, objects and installations, the artist weaves together personal memory and collective history to deal with issues like democracy, power, violence and identity, inviting the viewer to critically rethink the narratives that have shaped our understanding of the world.
In Mayoral, Vicenç Altaió curates ‘Permanent Present’: a journey through different generations and languages of modernity and contemporaneity that strikes up a dialogue between key figures of 20th-century art and current voices. The group exhibition will include work by Albert Serra, Alexander Calder, Antoni Tàpies, Antonio Saura, Fernando Botero, Fernand Léger, JL Barquero, Jordi Alcaraz, Joan Miró, Marria Pratts, Niki de Saint Phalle, Pablo Picasso, Regina Giménez and Salvador Dalí, among others.
At RocioSantaCruz, the multidisciplinary artist mariaelena roqué (Tarragona, 1952) will present ‘UNADONAUNA · AUTORETRATRETRATAT’. Her work, which spans sculpture, costume design, photography, videography and music, is deeply influenced by her career in the performing arts, dance, contemporary music, experimental cinema and photography, resulting in a visual language with a strong performance component that is constantly evolving.
The gallery will also host a FLASH exhibition by Antonio Saura (Huesca, 1930 – Cuenca, 1998), a central figure in Spanish informalism and one of the leaders of the artistic renewal of the post-war period. This project presents the artist’s book and series of etchings ‘L’odeur de la sainteté’ by Antonio Saura, with texts from Fernando Arrabal. The author’s characteristic gestural, grotesque, irreverent works put forward a discourse with an ironic, boundary-pushing, playful tone.
Sant Antoni, Raval and Gothic Quarter
‘Lo que tiene vuelo’ by Laía Argüelles Folch (Zaragoza, 1986) at Chiquita Room harnesses the material and immaterial notions of legacy to explore transformations to expressive gestures – especially drawing and writing – and how we incorporate them to build meaning. With found materials as a starting point, the works recover traces and words and subject them to a transformation process. The project brings together techniques such as screen printing on textiles, field sound recording, rubbing, graphite-powder stencilling and monotype printmaking on paper.
As for the FLASH programme, ‘Hook, Line and Sinker’ offers a selection of editions that epitomise the artistic practice of Pieter Laurens Mol (Breda, Netherlands, 1946). Active since the late 1960s, the artist has developed around one hundred pieces that do not act as reproductions or derivations, but autonomous artworks carefully thought through since their very beginnings. The exhibition displays a sample of this open, cross-cutting production, where every artwork is situated at a crossroads of constantly expanding meanings.
àngels barcelona presents ‘Anima Mundi’, the first exhibition of a selection of sketches and texts channelled by Eulàlia Valldosera (Vilafranca del Penedès, Barcelona, 1963) in the last decade, which offer an insight into the key aspects of her most recent research. Graphic expression and writing constitute the foundation for a multidisciplinary oeuvre that explores how the physical body and the mental body are framed and unfold in the matrix of space. Through light, the artist reveals the invisible threads that connect beings and things.
In addition, the gallery’s FLASH programme includes a specific project by Lúa Coderch (Iquitos, Peru, 1982) relating to the work of Eulàlia Valldosera.
Sala Parés, meanwhile, will host two expositions of paintings that enter into dialogue with literary fiction, the construction of images and reflections on contemporary pictorial form. The first, ‘El gran Gatsby’, features pictorial works by Ángel Mateo Charris, Juan Cuéllar, Marcos Palazzi, Gonzalo Sicre and Cuqui Guillén, is based on the world of F. Scott Fitzgerald’s novel, and explores themes like desire, excess, identity and social appearances, thus generating scenes and atmospheres that revisit the story through the lens of today’s sensibilities.
The second, ‘Cuadros de compañía, 2025–2026’ by Guillermo Pérez Villalta (Tarifa, 1948) – winner of the National Prize for Visual Arts (1985) and Gold Medal for Merit in the Fine Arts (2006) – brings together a series of paintings and drawings in small and medium formats that examine the idea of classicality and the search for beauty through geometry, the contrast between form and emptiness and the construction of visual enigmas that broaden the experience of looking.
From Poblenou to Carrer de Trafalgar
‘Miralda: Open Archive’ is the FLASH exhibition at PALMADOTZE, which will move to FoodCultura in Poblenou from 17 to 20 September. It offers a tour of the studio of the 2018 Velázquez Prize winner, Miralda (Terrassa, 1942), highlighting the key projects in his career and the processes that support his practice, where contemporary art, food, ritual and anthropology converge. FoodCultura, a research platform founded in the early 2000s dedicated to the cultural, social and symbolic dimensions of food, can be found at Carrer Joan d'Àustria, 88.
At Bombon Projects, Mounira Al Solh (Lebanon, 1978) presents a textile installation centring on ‘Nami Nami Noooom, Yalla Tnaaam’ (‘Sleep, sleep, sleep, let’s sleep’), a childhood memory from the Lebanese civil war: kept awake by bombs, her mother encouraged her to stitch around the holes she made in her pyjamas. Years later, she turned this memory into a collective embroidery project with women from Lebanon and the Netherlands. The exhibition also includes textile works, cut-out paintings and drawings that dig into memory, dreams and transmission of experience.
‘Hacerse rala’, at Dilalica, consists of a series of pieces by Mikel Escobales (Arrasate/Mondragón, 1991) on the subject of space as a constantly transforming place. The installation brings together different materials, which act as catalysts between language and reality, between the immaterial and the material. This tension gives rise to contingencies that guide practice, where gesture connects the imagined with the possible and reveals fragments of an always-open process.
Dilalica is also participating in the FLASH programme with an installation co-curated with Blanca Pujals: ‘Estats d'indeterminació’ revolves around the figure of Yago Conde (1969–2007), whose doctoral thesis Arquitectura de la indeterminación (‘Architecture of Indeterminacy’) proposes a type of architecture viewed not as a closed form, but as a field of relations, of suspension and of openness to what is not predetermined. His death interrupted this developing thought, leaving behind a legacy marked by the idea of the unfinished and the latent. In dialogue with these ideas and with the quantum physics notions of the indeterminacy of matter, the exhibition has activated a series of editions that rethink architecture, publishing and knowledge production from the point of view of relation and instability.
Suburbia Contemporary, which recently moved to Carrer Trafalgar, 36, will be holding the exhibition ‘Land of the Living’, by Jake Aikman (London, 1978). The artist investigates a space that is simultaneously physical and mental, where perception oscillates between presence and dissolution. The title alludes to the ‘land of the living’ not as a stable condition, but as a territory undergoing constant transformation, with a view to building a suspended geography where the image is formed and dissolves, activating a sort of painting understood as a field of tension between the recognisable and the unattainable, with unstable limits between land and sea, figure and backdrop.
Within the FLASH programme, the gallery presents ‘TEARJERKER’ by Ed Young (South Africa, 1978), whose practice moves between language, system and perception, using text, image and gesture to shift meaning and alter forms of reading. His work explores the tension between the explicit and the implicit, immediacy and ambiguity, while activating a constant relationship between the art, the space and the viewer. Whether it is performance-based, sculptural or textual, his intervention does not just occupy the exhibition space: it activates it as a field of relations and tensions.
In the new 3 Punts Galeria space on Carrer de Trafalgar, the sculptor Alejandro Monge (Zaragoza, 1988) explores ‘Synthetic Nature’, the name of the exhibition and a concept that permeates his work and redefines the relationship between the organic, the artificial and the constructed. Cement, pigments and resin shape human figures in everyday scenes, bearing witness to contemporary society. Monge’s works tackle trace and transcendence in a current reality that is neither natural nor artificial, but a third type of matter: synthetic nature, which contains the visible and the invisible.
Meanwhile, Sorondo Projects will be taking part in Barcelona Gallery Weekend for the first time with a dual proposal. For the general programme, the gallery presents a duet between the artists María Elena Pombo (Caracas, 1988) and Miguel Braceli (Venezuela, 1983), who view territory as a constantly transforming construction, defined by relationships, gestures and forms of participation. Using different languages, they work with the lasting and the changing – traces of collective action, marks on the landscape and fleeting gestures – and activate meeting places where knowledge is built relationally and new forms of belonging emerge.
In the FLASH section – on for just four days – it will exhibit the work of the Russian artist living in Barcelona Nikolay Morgunov (Moscow, 1992), whose works use grids and predefined systems not to impose stability but to generate scenarios that encourage accident, resistance and transformation.
Escat Gallery, also participating in the event for the first time, presents ‘Las nubes no tienen casa’, a project by Federica Furbelli (Varese, 1988) that investigates the landscape of life through ritual as a contemporary practice of (up)rooting and reconnection. In collaboration with the curator Jordi Pallarès, the exhibition is arranged according to a specific intervention on the space in Carrer de Trafalgar, with paintings, sculptures and other objects, where the gallery is viewed as an accessible, experiential environment.
‘The Time Left’, at Pigment Gallery, includes a selection of works created by Ignacio Iñigo in the last three years, where painting shifts from the image towards investigation of matter, time and transformation. The layers that accumulate, crumble or crack establish links with natural processes like sedimentation and gravity, in a practice that pays attention to the slow rhythms of observation. In dialogue with these pieces, Lorenzo Fernández presents a painting based on a three-dimensional sculpture created by Iñigo using acrylic, thus generating a crossover between image, object and sculpture that reflects on their limits.
For the FLASH programme, Iñigo and Fernández establish a direct dialogue between two works of identical proportions: one three-dimensional piece and its translation on the pictorial plane. Rather than a reproduction, ‘Paint Skin’ is a reflection on shifts between presence and image, volume and illusion. Here, the painting takes on the ability to contain and reformulate what belongs to the sculptural sphere, which puts a strain on the limits between the two languages.
Prats Nogueras Blanchard presents ‘Karim Rosa’, the first solo exhibition at the gallery held by Lucía C. Pino (Valencia, 1977) and a dialogue between image and sculpture that activates tensions between materiality, memory, fragment and composition. The project explores sculptural materials and processes – especially textiles and metal – according to sustainability and circularity criteria, in dialogue with archives and other materials. The result is an investigation into forms that remain open, where matter retains all its transformation potential.
‘Dance Calligraphy’, the second solo exhibition held by Pavel Korbička (Brno, Czech Republic, 1972) at Al-Tiba9 Gallery — a new addition to Barcelona Gallery Weekend — consists of an installation involving monumental light structures resulting from a project that delves into a constant feature of his practice: recording the fleeting movement of dance. The exhibition is completed by site-specific light installations that activate the physical experience of space through light. Curated by Mohamed Benhadj, it also features neon lights, photography, works on paper and performance recordings on video.
In his first solo exhibition in a gallery – entitled FUGA – Gabriel Ventura (Granollers, 1988) presents a brief journey around the archives of the FECD (Front for Emancipation and Collective Delirium), a fictional armed organisation created in the context of his new book. Through a series of pieces in different formats, the exhibition examines the tactics, theories and political agenda of a contemporary anarchist group fighting for both information sovereignty and citizens’ psychological freedom.
