Interview with Jordi Garrido: Exhibition Curator and Art Critic

Jordi Garrido has focused particularly on curating exhibitions that span the post-war period to the work of young emerging artists. His approach combines a historical review of the avant-garde with an exploration of disciplines often categorised as "minor arts," such as textiles.

A notable example of this work was his collaboration with the Centre Grau Garriga in Sant Cugat, where he examined the role of tapestry in the post-war era, highlighting artists such as Aurelia Muñoz and Josep Ràfols Casamada.

Garrido stresses that his role goes beyond displaying works: it involves providing a "critical distance" that contextualises and projects the artistic discourse—an essential element for both established and emerging artists.

He also emphasises the importance of recovering artists who have been overlooked by traditional art history. Despite having achieved success during their lifetimes, many—such as Josep Ràfols Casamada or Josep Grau-Garriga—have faded into the background over time. For Garrido, investigating and reasserting these figures is crucial to enriching our understanding of both art and history.

According to Garrido, we are witnessing a revival of painting, particularly among generations shaped by the 2008 financial crisis. This return is not merely aesthetic but also reflects a struggle for survival that characterises the present context.

In parallel, there is a growing interest in rediscovering forgotten or undervalued artists and techniques, recognising their historical and cultural significance, including a strong focus on gender perspectives. This increasingly vital trend seeks to acknowledge and reclaim the rightful place of women artists, many of whom have been marginalized or erased from art history.

What does art contribute to contemporary society? For Garrido, its power lies mainly in providing a critical lens. He believes that art should transcend aesthetic enjoyment and serve as a political and social tool, capable of questioning and shedding light on urgent issues such as precarity and war, both visible and invisible.

At the same time, he laments that art has become another consumer product in a "turbo-capitalist" society driven by the speed and influence of social media and its algorithms. This situation, he argues, has eroded art's critical power and more profound significance.

One recurring theme in our conversation was the economic precarity of the cultural sector. Underfunding affects both public and private institutions, making it challenging to maintain minimum standards of quality and respect for the work of artists, critics, and curators.

According to Garrido, this lack of proper funding not only impacts professionals but also limits the social impact of art itself. He insists that meaningful change must come from public policy, as specific economic interests inevitably guide the private sector.

To close the interview, Garrido shared a critical perspective on the growing popularity of immersive exhibitions. While acknowledging their ability to capture public attention and create an immediate impact, he warns of the risk that such experiences may dissolve into ephemeral consumption, characteristic of an overstimulated and hyperconnected society.

From his perspective, immersive proposals should strive to go beyond mere spectacle, instead offering experiences that foster critical reflection and engagement with contemporary challenges.

He argues that immersivity can indeed be a powerful tool—but only if it enriches the artistic discourse rather than reducing it to entertainment.

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