In collaboration with the Municipal Institute of Urban Landscape and Quality of Life (IMPUQV), the foundation is resuming guided tours for small groups to the garden and Palace of the Marquis of Alella one weekend a month (four visits each weekend, two on Saturday and two on Sunday), starting at the end of April. The visits are free and require prior reservation. Since they began almost two years ago, they have been a constant success in terms of calls, a sign of the great interest that the foundation’s heritage arouses in the citizens of Barcelona.

The personal and business life of this controversial Barcelona man is key to understanding how business worked during the first years of Francoism. And one of the sectors where he threw himself into it was the textile industry. The powerful Unión Industrial Algodonera SA (UIASA), founded by a group of bourgeois businessmen dedicated to cotton, would end up in the hands of Julio Muñoz Ramonet and transformed into Unión Industrial Textil (UNITESA). A process full of the most surreal episodes that, at the same time, is key to understanding the origin of his fortune. But, not only that. The outstanding art collection that he treasured is also related to it. A very particular way of operating that was possible thanks to a good agenda of contacts and, above all, to a total lack of scruples.

En collaboration with the Muzio Clementi Association, the Julio Muñoz Ramonet Foundation presents the cycle Resonances of Time: the Érard Piano in Dialogue, a series of three recitals dedicated to the discovery of the original sound of the foundation’s Érard Piano, in dialogue with the artistic heritage of its surroundings. A unique opportunity to relive history through the sound of an authentic instrument, connecting music, heritage and emotion in an unforgettable sound journey.

On Saturday, June 14th from 6 p.m., 1,950 students from music schools and musical entities in Barcelona will perform 39 simultaneous concerts at the fifteenth edition of the SIMFÒNIC Festival. All concerts at the SIMFÒNIC Festival are free and open to the public, without prior reservation, in all districts of the city. The foundation garden will once again host this year the concert of the Marshall Academy, created in 1901 by Enrique Granados and which has trained a whole generation of great musicians from the city who have stood out both nationally and internationally.

The IEA Oriol Martorell is the only public school in the entire state that leads an artistic pedagogical project where dance and music are integrated with general primary, secondary and high school education and provides a unique and transversal learning experience that allows students to obtain a high school diploma at the same time as a professional degree in dance or music. The foundation’s spaces will become the stage for two of the IEA Oriol Martorell training projects this year, in which artistic creation and interpretation revolve around the space that hosts them.

Journalist José Ángel Montañés and curator Eva González invite us to delve into the
catalogue of the foundation’s artistic heritage, which includes more than two thousand objects, including works of art and decorative arts, highlighting the collection of paintings and altarpieces that make up the original Bosch i Catarineu collection, as the most valuable set. When he became the new owner of the collection in the mid-20th century, Julio Muñoz Ramonet saw this set as a symbol of social prestige. In addition to preserving it practically unchanged, he decided to expand the set with new acquisitions. Very little is known about the years that the collection belonged to the businessman and the documentation is scattered and scarce, hence the great research work of many specialists and professionals, behind the scenes, to bring to light all the missing and found works that make up the collection, and that with this conference we will have the opportunity to get to know a little better.

Inhabiting nostalgia is a photographic project by Jordi Vidal carried out in the spaces of the foundation, where the images capture the emotions projected onto the walls of a house full of memories. Each detail, such as the creaking of the floor when stepped on or the faded murals, awakens feelings that, like ghosts, flicker in our consciousness. In this space, the past communicates with messages that we can only try to decipher. The palace becomes an unresolved emotional landscape, where memory is reinvented with new meanings as the present progresses. Photographing this moment acts as a key to unlocking emotions, as a shared feeling, not as a portrait of a place or person. The images become a bridge between the past and the present, converting the characters’ nostalgia into our own, and sharing it links personal experiences with collective memory.
Out of Order is a dance solo performed by choreographer and dancer Clàudia Auzinger, which proposes a bodily investigation of control/order and lack of control/chaos. While control is linked to the systems of perfection and efficiency typical of a capitalist organization symbolized in mass production, these systems are, at the same time, found in chaotic and noisy environments, in cities with constant visual, auditory and olfactory stimuli. The piece presents us with a spatial and emotional journey through these systems of control and lack of control. Dance as the search for an internal balance disconnected from the impacts that surround us. Crossing regimes of order, duties and efficiency, which feed obsession and madness.