A little more than a year ago the MACBA dedicated a great exhibition, now La Fábrica has just published the third edition of the volume of its collection of Spanish photographers, PHotoBolsillo, dedicated to the work of Xavier Miserachs (Barcelona 1937-1998), making a tour of his work and his ironic look as a photographer for reports.
Xavier Miserachs began his career as an "illustrator photographer", which was, as Oriol Maspons explains in the prologue to the book, the term used by those who practiced in Paris, and since then "At no time stopped making photography".
Miserachs delves into the Barcelona of the sixties through its streets, its environments, its people and its life. Merchants, shopkeepers, youth, children and families are protagonists of the series that made him known: Barcelona, blanc i negre. A series that today is part of important collections such as the MACBA, and which allowed Miserachs to take part in a collective exhibition with Leopoldo Pomés and Francesc Catalá-Roca.
But this was not the first exhibition in which he participated; Already in 1957 had presented his first sample, together with Ricard Terré and Ramón Masats, artists with whom he began to integrate into the stream of professional photography and with which he would lay the foundations of documentary photography of the 60's.
Since then there have been many series that have been shaping their work. Some of the most prominent and recognized ones have room in this volume, like Costa Brava Show, in which beaches and personages of Ibiza, Tossa de Mar, Cadaqués and Calongue are captured by the chamber of Miserachs.
Among the places that the photographer visited is also Andalusia, from which came a series of a marked contrast with the previous ones, by the amount of scenes that are framed within the field and of the work, and by its representation of the religious life like stone Angular of the Andalusian idiosyncrasy. Among his works, he also emphasized his work on La Gauche Divine, a spontaneous movement of the 80s, made up of architects, artists and writers who worked in an environment of freedom in a Spain where the dictatorship still had vestiges of the dictatorship.
The boook is completed with the prologue written by the also photographer Oriol Maspons, where he collects, as an anecdote, important chapters of his relation of friends and co-workers.
Xavier Miserachs began his career as an "illustrator photographer", which was, as Oriol Maspons explains in the prologue to the book, the term used by those who practiced in Paris, and since then "At no time stopped making photography".
Miserachs delves into the Barcelona of the sixties through its streets, its environments, its people and its life. Merchants, shopkeepers, youth, children and families are protagonists of the series that made him known: Barcelona, blanc i negre. A series that today is part of important collections such as the MACBA, and which allowed Miserachs to take part in a collective exhibition with Leopoldo Pomés and Francesc Catalá-Roca.
But this was not the first exhibition in which he participated; Already in 1957 had presented his first sample, together with Ricard Terré and Ramón Masats, artists with whom he began to integrate into the stream of professional photography and with which he would lay the foundations of documentary photography of the 60's.
Since then there have been many series that have been shaping their work. Some of the most prominent and recognized ones have room in this volume, like Costa Brava Show, in which beaches and personages of Ibiza, Tossa de Mar, Cadaqués and Calongue are captured by the chamber of Miserachs.
Among the places that the photographer visited is also Andalusia, from which came a series of a marked contrast with the previous ones, by the amount of scenes that are framed within the field and of the work, and by its representation of the religious life like stone Angular of the Andalusian idiosyncrasy. Among his works, he also emphasized his work on La Gauche Divine, a spontaneous movement of the 80s, made up of architects, artists and writers who worked in an environment of freedom in a Spain where the dictatorship still had vestiges of the dictatorship.
The boook is completed with the prologue written by the also photographer Oriol Maspons, where he collects, as an anecdote, important chapters of his relation of friends and co-workers.
![Aínda sen título. White Letter [#3] to Narelle Jubelin. (Elena Asins · Narelle Jubelin · Anna Turbau). Photograph by Roi Alonso, courtesy of Galería Nordés](/sites/default/files/styles/mopis_home_news_category_slider_desktop/public/lead-images/metalocus_narelle-jubellin_carta-aberta_22_2p.webp?h=3b4e7bc7&itok=ALbdeJ3O "Aínda sen título. White Letter [#3] to Narelle Jubelin. (Elena Asins · Narelle Jubelin · Anna Turbau). Photograph by Roi Alonso, courtesy of Galería Nordés")
