“La entrega” act I – Final route

This is the definitive route, completed between September 25th and October 15th, 2018. 
350 km (walk measurement), 8 counties, 17 days walking, 4 days rest.

The route passed through six art centers in Catalonia: Piramidón (Barcelona), Centre d’Art Maristany (Sant Cugat), Can Serrat (El Bruc), the Museu de Montserrat, Konvent (Cal Rosal) and the Centre d’Art i Natura de Farrera.

The route day by day

Day 01: Barcelona (Piramidón) / Sant Cugat

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Day 02: Sant Cugat / Mas Sant Jaume

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Day 03: Mas Sant Jaume / Can Serrat (El Bruc)

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Day 04: Can Serrat / Refugi Vincenç Barbé

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Day 05: Refugi Vincenç Barbé / Castellbell

This day could end at the Monastery of Montserrat if I find accommodation.

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Day 06: Castellbell / Manresa

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Day 07: Manresa / Castellnou

Cambio de ruta, en lugar de pasar por Sallent/Balsareny, subo por Castellnou.
Change of route, instead of going through Sallent / Balsareny, I go up through Castellnou.


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Day 08: Castellnou / Puig-reig

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Day 09: Puig-reig / Konvent (Cal Rosal)

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Tres noches y dos días de pausa en el Konvent
Por mal tiempo, anticipo de un día la subida a la Serra d’Ensija
Break. Three nights and two days at Konvent.
Due to bad weather, I anticipate one day the climb to the Serra d’Ensija

Day 12: Berga / Refugi d’Ensija

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Day 13: Refugi d’Ensija / Refugi Molí de Gòsol

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Tres noches y un día de pausa en el Refugi de Gòsol (huracán Leslie).
Break. Three nights and two day at Refugi de Gòsol (hurricane Leslie).

Day 14: Pedraforca

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Day 16: Refugi Molí de Gòsol / Camping Molí de Fòrnols

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Day 17: Camping Molí de Fòrnols / La Seu d’Urgell

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Dos noches y un día de pausa en La Seu (Albergue de La Salle). 
Break. Two nights and one day in La Seu at Albergue de La Salle.

Day 19 – La Seu d’Urgell / Castellbó

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Day 20 – Castellbó / Refugi La Basseta

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Day 21 – Refugi La Basseta / Farrera (Centre d’Art i Natura)

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“La Entrega” – Act I

Dedication, Delivery

In Catalan and Spanish, the title of the project plays with the double meaning of the word entrega (“dedication” or “delivery”), which refers to the idea of consignment and at the same time to the idea of abnegation, a common characteristic of artistic practice and walking.

The projectThe routeRoute diary

The first act of my project La Entrega (dedication, delivery)has been awarded one of the two “Art and Nature in Creation 2018” grants of the Centre d’Art la Panera de Lleida, along with the Centre d’Art i Natura de Farrera and the Centro de Arte y Naturaleza de Huesca

The project

In the Pyrenees during the development of the project On the Border, I learned that walking is about surrendering oneself in order to appropriate time and space. This time the purpose is to deliver/surrender this time and space to its addressees.

It is on this postulate that La Entrega (dedication, delivery) is born, a project conceived as a set of actions based on walking, an action understood as creative practice, stimulation of thought and refutation of an alienating, corrupted and contaminated social system. In Catalan and Spanish, the title of the project plays with the double meaning of the word entrega (“dedication” or “delivery”), which refers to the idea of consignment and at the same time to the idea of abnegation, a common characteristic of artistic practice and walking.

The residency project will thus begin with the delivery of a series of works on paper made on my way to the Centre d’Art i Natura in Farrera from my studio at Piramidón in Barcelona. These papers (in four different sizes between 50×70 and 140×200), folded as maps are usually folded, will be unusual travel notebooks, which can be considered at the same time as logbooks and inner maps. It will thus be about the delivery of the work as well as of the artist and walker, the travel time and the space traveled.

If the production of On the Border was characterized by a very strict technical planning (technique, size, support) within a traditional framework such as plein air painting, in La Entrega (dedication, delivery) there will be more space for improvisation, taking advantage of the experience gained and introducing geographical and environmental elements into the creative process.

The route has been carried out between September 25, 2018 and October 15, 2108.

Thank you, with love to: Kati Riquelme, Andrea Leria, Andrea Barello, Kike Bela and The Good Good, Hugo Vázquez, Joana Cervià and Josep Rubio, Rosa Lendinez, Jordi Martínez-Vilalta, Alicia Calle, Konvent, Miquel Martínez-Vilalta y Anna Motis Berta, Marga Bruna, Javier, María and Nacho Pagonabarraga, Natalia Carminati, Paula Bruna, Marc Badia and his whole family, Claudia Karina Godoy, Carlos Puyol, Lluís Lobet and Farrera’s  Centre d’Art i Natura, the whole community of Farrera, Antoni Jove and Roser Sanjuan,La Panera, Jia-ling Hsu, Pau Cata, Sole Pieras, Ivan Franco Fraga, Aida Mestres, Andreu Dengra Carayol and Centre d’Art Maristany, Sophie Blais, Sarah Goodchild Robb and Can Serrat, CDAN de Huesca, Raül Maigí and Museu de Montserrat, Josep Estruch and Montserrat Rectoret-Blanch, Mireia C. Saladrigues, Fede Montornes, David Armengol, Alberto Gil Cásedas, Pilar Parcerisas, William Truini, Guillermo Pfaff, Josep Maria Cabané, Sandra Sanseverino, Montse Bonvehi, Club Excursionista de Gràcia, Piramidón…

The projectThe routeRoute diary


In collaboration with:

Centre d'art La Panera
   
Centre d'Art i Natura

With the support of:

The Good Good
   
Konvent
   
Can Serrat

“La entrega” act I – The route

This is the planned route, not the final one.
In an absolutely spontaneous way, the route will pass through six art centers in Catalonia: Piramidón (Barcelona), Centre d’Art Maristany (Sant Cugat), Can Serrat (El Bruc), the Museu de Montserrat, Konvent (Cal Rosal) and the Centre d’Art i Natura de Farrera.

Day 01: Piramidón (BCN) – Sant Cugat

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Day 02: Sant Cugat – Mas Sant Jaume

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Day 03: Mas Sant Jaume – Can Serrat (El Bruc)

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Day 04: Can Serrat – Refugi Vincenç Barbé

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Day 05: Refugi Vincenç Barbé – Castellbell

This day could end at the Monastery of Montserrat if I find accommodation.

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Day 06: Castellbell – Manresa

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Day 07: Manresa – Balsareny

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Day 08: Balsareny – Puig-reig

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Day 09: Puig-reig – Konvent (Cal Rosal)

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Tres noches y dos días de pausa en el Konvent.
Break. Three nights and two days at Konvent.

Day 10: Konvent – Camping Fontfreda

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Day 11: Camping Fontfreda – Refugi d’Ensija

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Dos noches y un día de pausa en el Refugi d’Ensija.
Break. Two nights and one day at Refugi d’Ensija.

Day 12: Refugi d’Ensija – Refugi Molí de Gòsol

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Day 13: Refugi Molí de Gòsol – Tuixent – Camping Molí de Fornols

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Day 14: Camping Molí de Fornols – La Seu d’Urgell

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Dos noches y un día de pausa en La Seu (Albergue de La Salle).
Break. Two nights and one day in La Seu at Albergue de La Salle.

Day 15 – La Seu d’Urgell – Sant Joan Fumat

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Day 16 – Sant Joan Fumat – Refugi Ras de Conques

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Day 17 – Refugi Ras de Conques – Farrera (Centre d’Art i Natura)

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On the Border: the book

On the border – August 18, 2017 / September 11, 2017 / 290 km, 25 days, 198 border stones, 212 artworks

ProjectArtworks  – BookRouteCredits

PDF version coming soon.

On the Border, the book

On the Border, the book

On the Border, the book

On the Border, the book

On the Border, the book

On the Border, the book

On the Border, the book

On the Border, the book

On the Border, the book

On the Border, the book

On the Border, the book

On the Border, the book

On the Border, the book

On the Border, the book

On the Border: the work

On the border – August 18, 2017 / September 11, 2017 / 290 km, 25 days, 198 border stones, 212 artworks

ProjectArtworks  – BookRouteCredits

On the border - August 18, 2017 / September 11, 2017 / 290 km, 25 days, 198 border stones, 212 artworks On the Border, La Capella, 15/19 junio 2018 On the Border, La Capella, 15/19 junio 2018

82 oil paintings, 9 mixed media, 121 drawings. In the image above, the 198 works corresponding to the official border stones. Below, a selection of works.

ProjectArtworks  – BookRouteCredits

On the Border: credits

On the border – August 18, 2017 / September 11, 2017 / 290 km, 25 days, 198 border stones, 212 artworks

ProjectArtworks  – BookRouteCredits

Project and production: Marco Noris
Trip planning: Amaranta Amati y Marco Noris
Logistic support and guide: Amaranta Amati
Tutoring: Alexandra Laudo
3D prints: Patricio Rivera
Hikers: Paula Bruna, Natalia Carminati, Núria Casas, Joana Cervià, Albert Coma, Claudia Godoy, Alexandra Laudo, Jordi Martinez-Vilalta, Josep Rubio, Miquel Serrano, William Truini
Backups and transport: Kike Bela, Joana Cervià, Josep Rubio, Marc Ferrer-Dalmau y Alex Nogueras, Roberto Noris y Ana Lorente

Special thanks to: Amaranta Amati, Alexandra Laudo y todo el el jurado de BCN producció, Roberto y Ana, Joana Cervià y Josep Rubio,Kike Bela, Patricio Rivera, Alex Nogueras y Marc Ferrer-Dalmau, Cayetano Martínez, Carlos Puyol, Josep Estruch y Montserrat Rectoret Blanch, Rebeca Arquero, Tere Badia, Clara Garí y El grand tour, Marc Badia, Xavier Aguilò,  Jordi Martinez-Vilalta, Claudia Godoy, Natalia Carminati, William Truini, Nuria Casas, Paula Bruna, Albert Coma, Ferrán Latorre, Carmen Sánchez, Pere Llobera, Miquel Serrano y Jordi Font del MUME, Zuriñe Etxebarria, Jordi Pi y el Club Excursionista de Gràcia, La CapellaHangar.org and Piramidón .

Logo La Capella
Project produced with the support of BCN Producció’17. La Capella, Institute of Culture of Barcelona.
 

In collaboration with: 

MUME - Museo Memorial de ll'Exili Mojones de los PirineosThe Good Good

On the Border

On the border – August 18, 2017 / September 11, 2017 / 290 km, 25 days, 198 border stones, 212 artworks

ProjectArtworks  – BookRouteCredits

In the summer of 2017, Noris walked the 290 km of the Spanish-French border in the province of Girona, through which the principal routes of the republican exile ran. During the walk, the artist painted a work corresponding to each of the 198 milestones that mark the border. To walk and paint, joining together points along the border, as though balancing on that invisible line that divides in two that which is one, making visible what is invisible and opening up in this way a new stage for memory.

Over these past four years I have been working with the landscape as a stage and as a border, but always from the comfort and distance of the studio. The need for direct experience, to put myself out there and confront the real without any filters, is what led me to undertake “On the Border”.
The project involves walking the entire Spanish-French border in the county of Girona and making a small oil painting at each of the 198 milestones that mark the limit between the two countries. It will not be a visual documentation of the milestones (which have already been photographically catalogued), but rather an emotional recording of the environment, according to whatever the geographical and environmental conditions may be. For this reason, the extreme connection with the environment and the present moment that open-air painting permits is fundamental to allowing the project to acquire a strong experiential value. In this sense, the pieces are not the objective of the journey: the experience itself is the goal, the experience of making and being the border, the introspection of a long walk in nature, the journey and its difficulties. To paint pieces as if they were markers and to walk joining together points along the the border, as though balancing on that invisible line that divides in two what is one, is to make visible the invisible and thus open up a new setting for memory.

+ INFO ABOUT SPANISH-FRENCH BORDER STONES

Muga (“border stone”) is a word of Basque origin used in the Catalan Pyrenees instead of mojón (or hito, in Spanish) and fita (in Catalan). Here is an article written by Josep Estruch for “On the Border” on the etymology of the word.


ProjectArtworks  – BookRouteCredits

(Un)refuges

Gallery updated on February 28, 2017

Valdelallama, León

Valdelallama, León

2015, oil on canvas, 33x41 cm

Valdemorilla, León

Valdemorilla, León

2015, oil on canvas, 33x41 cm

Alanis, Sevilla

Alanis, Sevilla

2015, oil on canvas, 33x41 cm

Alfacam, Granada

Alfacam, Granada

2015, oil on canvas, 27x35 cm

Rivesaltes: The ruins and the shadow II

Rivesaltes: The ruins and the shadow II

Rivesaltes: The ruins and the shadow II - 2013 - 32x40 cm, oil on canvas

“Le ciel bas et lourd pèse comme un couvercle”

“Le ciel bas et lourd pèse comme un couvercle”

“Le ciel bas et lourd pèse comme un couvercle” - 2014 - 22x35 cm, oil on canvas

Rivesaltes: The ruins and the shadow I

Rivesaltes: The ruins and the shadow I

Rivesaltes: The ruins and the shadow I- 2013 - 100x130 cm, oil on canvas

Border crossings of exile: Coll de Malrem

Border crossings of exile: Coll de Malrem

Coll de Malrem - 2014 - 90x146 cm, Oil on canvas

¿Qué hicieron de vos, hijo que no acabó de vivir? ¿acabó de morir? ((Un)refugees IV)

¿Qué hicieron de vos, hijo que no acabó de vivir? ¿acabó de morir? ((Un)refugees IV)

“What did they do to you, son, who did not quite live? did not quite die? ((Un)refugees IV) - 2014 - 130x97 cm, oil on canvas

(Un)refugees II

(Un)refugees II

(Un)refugees II - 2014 - Oil on canvas, 146 x 146 cm

(Un)refugees III

(Un)refugees III

(Un)refugees III - 2014 - 170x120 cm, Oil on canvas

(Un)refugees I

(Un)refugees I

(Un)refugees I - 2014 - 130x89 cm, oil on canvas

Rivesaltes (Ruins IV)

Rivesaltes (Ruins IV)

2013, oil on canvas, 40x30cm

Rivesaltes (Ruins I)

Rivesaltes (Ruins I)

Rivesaltes (Ruins I) - 2013 - 19x33 cm - Oil and bitumen of Judea on canvas

(Un)refuge

(Un)refuge

2016, oil on canvas, 60x81 cm

Mediterranean beach

Mediterranean beach

2016, oil on canvas, 33x60 cm


European tumulus

European tumulus

2016, oil on canvas, 30x30 cm

Child - (Un)refugees VII

Child - (Un)refugees VII

2015, oil on canvas, 46x36 cm

Line - (Un)refugees VI

Line - (Un)refugees VI

2015, oil on canvas, 38x61 cm

(Un)refugees IX

(Un)refugees IX

2016, oil on canvas, 100x81


(Un)refugees VIII

(Un)refugees VIII

2015/2016, oil on canvas, 100x100


Camp

Camp

Camp - 2015, oil on canvas, 100x100

Mound with Moun

Mound with Moun

2016, oil on canvas, 30x30 cm

Mounds

Mounds

2016, oil on canvas, 24 x 33 cm

Mounds (Nocturne)

Mounds (Nocturne)

2016, oil on canvas, 24 x 33 cm

The ruins and the shadow IV

The ruins and the shadow IV

2016, oil on canvas, 65x92 cm

Rivesaltes (camp II)

Rivesaltes (camp II)

2016, oil on canvas, 70x100 cm

Alfacar, Granada

Alfacar, Granada

2017, oil on canvas, 100x130 cm

Maremortum II

Maremortum II

2016, oil on canvas, 163x163 cm


Maremortum I

Maremortum I

2016, oil on canvas, 100x100 cm


 

A few years ago, during a visit to the Exile Memorial Museum of La Jonquera (Museu Memorial d’Exili – MUME), I read for the first time about Camp de Rivesaltes, also known as Camp Maréchal Joffre, a former concentration camp in the south of France which was first opened in the 1930s to accommodate Spanish exiles. The camp remained open for nearly 70 years, and it was also used as a concentration camp during the Nazi occupation and then as an internment camp for Algerian Harkis. The history of Rivesaltes is a dramatic account that takes us through the entire 20th century, which is why it is used as a guide to research the most tragic events of contemporary European history. Rivesaltes is not exclusively a geographical location. It is also, – or especially, now that the ruins have made way for memory – a collective emotional space.

(Un)refuges has therefore been conceived from the debris of the camp, persecutor and witness to the atrocity of the Nazi deportations and the drama of exile of thousands of people. The memory of Rivesaltes is the current reality of the camps that hold millions of lives, millions of refugees, millions of dramas all over the world and at the doors of the European Union.
Nevertheless, this is not a work about Rivesaltes, nor is it historical research. In this case, history is really the guide to a journey in the collective emotional memory, seeking the universality of individual experience, beyond eras, boundaries and nationalities.

The (un)refuges are the physical and emotional places of uprooting, where the need for shelter is accompanied by its refusal and where the solution to the tragedy is only the lesser evil. The camps are (un)refuges and they certify the loss of dignity and identity of refugees, broken, separated from their roots, their land, their past. Places where burial frequently follows exile. Mass graves, holes, burial mounds, boxes: symbolic (un)refuges, cynical alternatives to cynical European policies. And finally (un)refuged as an intrinsic condition of the exiled, where the impossibility to return home goes hand in hand with the absolute and definitive impossibility to have a new home, because uprooting is an irreversible trauma that affects the actual fundamentals of human beings.

Marco Noris

It wasn’t the sun

It wasn’t the sun

By Federic Montornés

Sometimes, it is sufficient to add something to an image so that what we perceive as a landscape is converted into a scenario and not in the portrayal of the illusion of the observer. Therefore, to speak about a scale in relation to a landscape would be like talking about the distance that separates the viewer from the image. And to speak about the distance between the viewer and what they see would be to speak about intrusion in a never-ending story.

Because there is no end to painting. And yet, it invites you to take a closer look.

Marco Noris says that for him, painting – particularly oil painting – is the language that best enables him to engage in emotions without overlooking intellect. He also says that it is the language that, thanks to its traditional visual codes, lets him pry open the conscience of the viewer, as a pivot between omen and mourning. A temporary distortion, he goes on to say, with post-apocalyptic scenes, ruins from the past, hints of future disasters and memories of tragedies that merge together and intertwine forming a kind of genealogy of the catastrophe. A study of the future of the human race which, far from nostalgic grieving celebrations, it speaks about the personal and collective journey of acceptance and atonement, in the centre of which is always the individual who is not in charge of their destiny: the viewer. Alone. Facing their mortality.

Or as Noris calls it: the triumph of defeat.

Focusing on the desire to insinuate rather than on the desire to describe what, in the eyes of the observer, opens up as an exercise of introspection based on arguments as broad, as meaningful and as reflexive as memory, oblivion, absence and expectation, Noris’ work is a type of balsam which, invoking a more than necessary suspension of time, allows anything to happen because in this work everything is eternal, extended, expected and abandoned. It is a decision which, placing the observer on the margin of the bustle and noise, permits a connection to be made with the part of the individual that wonders what is behind the narrow reality that we can see as he knows that this is what is blinding us from what we really need to explore.

Beyond the veil covering our eyes, we can find out why we are all here.

The exhibition “No era el sol” [It wasn’t the sun] shows numerous pieces of Noris’ work developed around the disappearance in the mass graves, the cruelty of borders, the civil war, and exile and uprooting; it also presents environmental matters – used as metaphors for both our material and moral ruins – and interpretations at a more introspective level, all of which are employed as a first and unavoidable step towards accepting denial and shadow to deal with the escalation in technology, excessive consumption and entertainment that obstruct our vision. It is a type of conceptual manhole conceived not so much as to end with the human species but to show that following what appeared to be the sun did not come a night of rest but the desire to find a light beyond impatience. In other words, beyond ourselves. This is why, rather than a journey to the exterior and through territories of which everything is constructed, Noris proposes a journey into the interior of each individual along the path of his brushstrokes in oil, the surface of canvases, layers and layers of discarded cardboard, the dimensions of a painting and the steps that we should follow to tear away from this wretched world, to recover the essence of the human being, become aware of our identity, revive our values and see it all from the distance that allows us to understand painting, his painting, also as a matter of scale.

Frederic Montornés
February 2017

On the Border: calendar

On the border – August 18, 2017 / September 11, 2017 / 290 km, 25 days, 198 border stones, 212 artworks

ProjectArtworks  – BookRouteCredits

The route of the project and its border stones: https://goo.gl/GGJB9W

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En frontera – Día 10 – 27 agosto 2017 – Descanso en refugio Ulldeter

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En frontera – Día 18 – 4 septiembre 2017 – Descanso en La Vajol

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ProjectArtworks  – BookRouteCredits