people-from-barcelona

"His reports and mission entries are distinguished by their exactness and beauty of penmanship. Though a very zealous missionary, Señan loved a retired life. He disliked to hold office or give orders; for this reason he was sometimes nicknamed Padre Calma."

"We go to the Holy Land in a spirit of communion with the Christians who live and suffer there, praying and celebrating the Eucharist with them, which is very much appreciated and mutually reinforcing. The spirit is that of pilgrims who learn from the Holy Places and let ourselves be filled by the grace of the pilgrimage"

"India has not changed much in the course of ages. Invasions have taken place, wars have been waged in her vast plains, new nations and races have conquered the land and ruled over it, foreign civilizations have brought new notions and new ideals; but everybody and everything has been remodeled and reshaped and recast by the influence of the Indian nation and its ancient civilization. The ancient civilizations of Egypt, Babylonia, and Assyria have been blotted out from the map of the world. But that of India, the first lights of which have been discovered in modern times along the banks of the Indus, is still alive ...."

"I ask God that the Pope's words and deeds may find an echo in many generous young people and encourage them to follow Christ and to cooperate with him in the work of the Church in today’s world. Young people seek to give meaning to life, seek an authentic message and find in the Pope a reference point in which they find contents that fill them with meaning and lead them to the source, which is Jesus Christ."

"The Lord wants us to be in the world, not of the world. The Christian style of life is not easy but the Lord helps us."

"The right to health is an important conquest of modern times. Progress in science and technology has given the human person more control over life and health. Therefore we can and we must exercise a right which cannot be renounced to ensure that this new control is used for the benefit of mankind, with respect for human dignity and integrity of every individual."

"Veganism is the direct response of my activism with animal rights. For me, to defend and protect animals means not to eat them, use them as clothes, use products tasted on them, pay people that want to show them in cages, all this. It is like someone that works for an ONG that protects children in poor countries: he would never buy products made by children under slavery conditions, wouldn’t he? It is a matter of being coherent with oneself, you cannot separate the two things."

"The way to draw characters is always in constant evolution: the more you draw and improve your technique, the more you see yourself able to find different aspects to represent all kinds of psychological behaviors and expressions. At the same time, trying different techniques allows you to discover that some of these techniques let you do easily textures that you can use to create atmospheres and different kinds of shadows and illuminations. As it’s important to mature in your personal life, it is equally important for your language when you create an illustration as well. One insignificant situation can be a beautiful visual poem depending on how you represent it."

"At its beginnings there was very powerful meditation on the presence of Christ in the oppressed Indians, which objectively pointed toward a christology of the "body of Christ." Guamán Poma, for example, said, "By faith we know clearly that where there is a poor person there is Jesus Christ himself," and Bartolomé de las Casas declared, "In the Indies I leave Jesus Christ, our God, being whipped and afflicted, and buffeted and crucified, not once but thousands of times, as often as the Spaniards assault and destroy those people." But this original christological insight did not thrive, and what became the tradition was a christology based on the dogmatic formulas, in which—however well they were known and understood—what was stressed was the divinity of Christ rather than his real and lived humanity."

"The sublime title "Christ" is an adjective which only receives its specific value from the specificity of the noun, Jesus of Nazareth. If Jesus is forgotten, then it becomes possible to fill the adjective with whatever suits at the time, without checking whether Jesus was like that or not, or whether this means leaving the world sunk in its wretchedness or not; or worse still, without asking if this image legitimates the tragedy of the world or brings liberation from it."

"God is not simply power, as most people were inclined to think. God is love, and he manifests himself in the dialectics of an impotent love. ... The emperor is not God. Jesus desacralizes that kind of power and its claim to be the absolute mediation of God. The pax romana is not the kingdom of God. The political organization of Rome might dazzle the world with its power, but it was oppressive; hence there was nothing sacred or divine about it. ... In Jesus' eyes God's ultimate historical word is love, whereas the ultimate historical word of power in the human world is oppression. Jesus' journey to the cross is a trial dealing with the authentic nature of power."

"The ideal person cannot be thought of as the whole person developed from the possibilities of the present-day person, but as the "new man" who, to become such, has to pass through the critique and negation of the present-day person."

"On the one hand, there is the type of sinner whom, in present-day language, we would call ‘oppressor.’ Their basic sin consists in oppressing, placing intolerable burdens on others, acting unjustly and so on. On the other hand, there are those who sin ‘from weakness’ or those ‘legally considered sinners’ according to the dominant religious view.Jesus takes a very different approach to each group. He offers salvation to all, and makes demands of all, but in a very different way. He directly demands a radical conversion of the first group, an active cessation from oppressing. For these, the coming of the Kingdom is above all a radical need to stop being oppressors."

"There is no definition of cults in law. on the other hand, these organizations know perfectly evade justice by hiding their true nature, since you are aware that freedom of conscience in France is a fundamental freedom enshrined in all our principles and our texts."

"I say also: watch (…) to any signs that would suggest that there a disempowerment. That those who plunge into Salafism are somehow victims of a great handling as regards sects. No, there is also that part of personal will that you should never rule out."

"Nous avons changé d’époque, la France doit vivre avec le terrorisme, mais nous ne céderons pas à la menace terroriste, nous devons faire bloc, être solidaires. La France a été une nouvelle fois frappée dans sa chair"

"Salafism, which has destroyed and perverted a part of the Muslim world, is a threat for Muslims, and also a danger for France."

"Come in, enter, the door is wide open! It is you yourselves who have opened it with the fire and iron of your hatred:[-] By destroying this church, you have restored the Church, the Church that was founded for you, the poor, the oppressed , the desperate...it is you, with your poverty, your rebellion and your despair, who have rammed down the door, it is you who have breached her stout and solid walls, and you who have re-conquered her. Fire has built, blasphemy has purified, hatred of Christ has returned Christ to his house."

"Think deeply about this: what are you going to ask of Christ when you are in his Church? You come stepping in softly, seeking quiet under her vaulted roofs (unless, of course, you come out of mere vanity) in order to forget your problems and preoccupations [-] languidly immersing yourself in the majesty of the sacred chorales and in the aromatic clouds of incense: and then to sleep[-] But this is not the peace of Christ. My peace I give you, my peace I leave you. He said My, which is not the peace of this world. But you want to establish the Church in the peace of the world, and that is why the others, when they come, cannot enter without war cries rising from their overwrought lungs. They rebel, filling the temple with blashemous roars, they eject the terrified faithful, who had been half asleep, they insult or kill the ministers at the altar, knock over the altar itself ,smash the stone saints, burn the church [-] so it is that she once again becomes, for them, the church of the Christ that died on the cross. [-] This time, do not leave her rebuilding to others. Do not wish to put up sturdier walls for these will not give her a better defense [-] Nor should you ask the rich to contribute too much money for the reconstruction, lest the poor, should receive the benefice with mistrust. Let it be the poor who rebuild her, for then they will do so according to their fashion and only in this way will they love her."

"I had never heard a Mass like that one.. the church vault was split open, the walls were rasped and peeling, the altars were wrecked or had been thrown out; worst of all, that great dark hole at the end, where the high altar had been, the paving hidden beneath the powder and rubble, no pews to sit on, everyone standing or kneeling before a wooden table with a crucifix placed on it, a sunbeam shining sharply down through a gap in the vault and a cloud of flies dancing in the harsh light that illuminated the whole Church and made it seem as though we were hearing Mass in the middle of the street. [-] I had never heard a Mass like that one [-] The bread and the Wine appeared as though they were fresh: the Host appeared to be beating and, in the sunlight, when the Wine was poured into the chalice, it appeared to be blood that was flowing [-] and then the thought, the sentiment occurred to me that Mass should always be heard in this way, in fear and trembling."

"One has to know how to swim just well enough to avoid having to save anyone else."

"He mirrors [in his assemblage art like ‘Bedside Rug, 1970] the old tasks of art in a scenario of newly fashioned garbage. Despite the demonstrative humility of his choice of materials [garbage], he in no way rejects his own creative intervention. On the contrary, the gesture of the artist is all the more powerful in its contrasts with worthless materials."

"An image means nothing. It is just a door, leading to the next door. It will never happens that we will find the truth we are looking for just in an image; it will happen behind the last door that the spectator discover the truth, because of his own efforts."

"[Tàpies].. ..a painter who was to create mysteries in matter itself."

"I often told the fanatics of realism that there is no such thing as realism in art: it only exists in the mind of the observer. Art is a symbol, a thing conjuring up reality in our mental image. That is why I don't see any contradiction between abstract and figurative art either."

"I never view aesthetic ideas as having an existence purely of their own but as a function they have in connection with political or moral values."

"In the potential of absurdity, hiding in the disparate combination of the various different subjects which in themselves are nothing but daily items equally in the exclusive representation of a normal item taken out of their usual context, is by far the most radical – in its effect comparable to a Japanese Zen koan - paradox to be witnessed, which modern art has produced, one of the most forceful impulses that generated from it."

"It is what makes conscious of the conditions and laws of observing which applied in this manner become a theme on its own. The activity of consciousness depending on the way the work itself proceeds, becomes the subject of my attention this way and it is precisely because of this voyeuristic attitude toward the own observation and experience of the subject that the conscious analytic dimension in the work shows."

"The artist may rightly venture the opinion that he does not convey ideas, does not preach, nor that he intents to convert people by using mass communication techniques.. .Better than handing out all kinds of wise advice, he could show life itself; he could awake forces lying dormant in everybody, he could launch an invitation to create direct and personal experiences."

"Starting with approaching the spot where the painting is to be done, meanwhile realising the emptiness of the mind, up to the method of 'the flying white', of the rule of the singular stroke of the brush.. ..there is a proper tradition in which the artist is fully aware of the fact that only the pure and empty spontaneity enables him to embrace without hesitating all apparitions and to truly penetrate into the roots of things."

"The material presence of the work only serves as a conveyer launching an invitation to the observer to take part of the comprehensive game of the thousand and one emotions and visions."

"I would say off the cuff that I am an anxious person. I worry about everything. I need to know everything. I tend to live in a state of anxiety with the feeling that life is some kind of great catastrophe. I feel the desire, or rather the intense need, to do something useful for society, and that is what stimulates me. In every situation I always look for what is positive and beneficial for my fellow citizens. I am interested in study, reflection, philosophy — but always as a dilettante. I also consider myself a dilettante as a painter."

"Later came 'the hour of solitude'. Inside my tiny bedroom-studio, I began my forty days in the desert; I do not know if they are over yet. With a desperate, feverish rage I took formal experimentation to maniacal levels. Each canvas was a battlefield where wounds multiplied ad infinitum. And then came the surprise. All that frenetic movement, all that gesticulation, all that unending dynamism, by dint of the scratches, blows, scars, divisions and subdivisions .. ..suddenly took a qualitative leap. My eye no longer perceived differences. Everything congealed in a uniform mass. What had been ardent ebullition transformed itself into static silence. It was like a great lesson in humility for the pride of my unbridled quest."

"Metaphors of space have always been introduced into painting, the play of fullness and emptiness, volumes, surfaces, light and shade.. .And, in recent painting, in particular, the notion of 'emptiness' has assumed great significance.. .This interest in emptiness, in nothingness, is found in many disciplines, in particular in an important sector of modern philosophy. We know, for example, that the philosophers such as Heidegger or Sartre have, at a given moment, made nothingness the center of their thought..."

"When I talk of reality, I am always thinking of essentials. Profundity is not located in some remote, inaccessible region. It is rooted in everyday life. That is what great thinkers have taught me, above all the philosophers of the Far East, for whom true wisdom — which I am far from achieving — is the conjunction of samsara (the ordinary world) and nirvana (profound reality). To achieve contact with reality is not to transport oneself elsewhere, it is not transcendence but thorough immersion in one's surroundings. A reality which is neither purely physical nor metaphysical, but both at once."

"The tattoo can only exist as part of the skin, as a drawing always is an incision in the material and therefore cannot be parted from it."

"My illusion is to have something to transmit. If I can't change the world, at least I want to change the way people look at it."

"Obviously, the intention was not to go back to images traditionally valued as worthy or holy images and shapes, but exactly the opposite; its main purpose had to be, to realise as sacred art anything which so far had been regarded as of little value and pitiful. [quote from 1988]"

"In our world, in which religious images are losing their meaning, in which our customs are getting more and more secular, we are losing our sense of the eternal. I think it’s a loss that has done a great deal of damage to modern art. Painting is a return to origins."

"Reminding people what in reality it is all about, giving them a theme on which to ponder, creating a shock within them, pulling them out of the delusion of non authenticity, enabling them to become aware of their true possibilities. [quote from 1976]"

"The highest wisdom incarnated in the poorest body. And even in straw mixed with manure: the final substances in which, by a rare miracle, the origin and strength of life emerge anew. The circle closes."

"What I did [his artistic work in the 1940's] also served as a way to spit in the face of the well-meaning bourgeoisie..."

"..the wall, the window or the door — and so many other images that parade in my canvases — are indeed there and I am far from trying to hide the fact. With this I mean that I do not think that images, in my works, should be considered as indifferent excuses to prop visual elements, as the 'subject-matters' were said to be for Impressionists and Fauves. From those 'subject-matters', it is further said, the ensuing abstractionists or Informalists liberated themselves. My walls, windows or doors — or at least my suggestions of them — do not avoid their responsibility and hold their full archetypal or symbolic weight."

"Everything takes place in an infinitely greater field than what is framed by the size of the picture or by what is materially in the picture. This matter [door/window/wall] is but a support inviting the viewer to participate in the much larger game of a thousand and one visions and feelings; it is the talisman lifting or sinking walls into the deepest recesses of our spirit, opening and at times closing windows in the construction of our impotence, our bondage, or our freedom. The 'subject-matter' then may be found in the picture or it may exist solely inside the spectator's head."

"It would take me very far back to tell the story of how I developed my consciousness of the evocative power of mural imagery. These are memories of my adolescence and early youth when I lived enclosed within four walls during the time of war. The suffering of the adults and all the cruel imaginings of my age, abandoned to its own impulses amid all the surrounding catastrophes, were drawn and etched all around me."

"All the walls of a city, which, by family tradition, seemed so mine, witnessed the martyrdom and the inhumane repression inflicted on our people. Cultural memories stressed its urgency. All the archaeological information I have absorbed, the advice of Leonardo da Vinci, the destruction brought about by Dada, the photographs of Brassaï, all contributed, unsurprisingly, to the fact that my first works of 1945 had something to do with street graffiti and a universe of repressed protest, clandestine yet full of life, as one could find on the walls of my country."

"For in order to be born again, you must die."

"One day I attempted to reach silence directly, with greater resignation, surrendering to the fate that governs any profound struggle. My millions of furious clawings became millions of grains of dust, of sand.. .A new geo-graphy lit my way, carrying me from surprise to surprise: suggestions of unusual combinations and molecular structures, of atomic phenomena, of the world of galaxies or of images in a microscope. The symbolism of dust — 'to be one with dust, here lies the profound identity, that is, the inner profundity between man and nature' (Tao Te Ching) —, of ashes, of the earth from whence we come and to which we return, of the solidarity born when we realise that the differences among ourselves are like those between one grain of sand and the next.."

"The most sensational surprise was the sudden discovery, one day, that my pictures, for the first time in history, had become walls. By means of what strange process had I arrived at such precise images? And why did they make me, their first viewer, quake with emotion?"

"..[the walls in the city] witnessed the martyrdom and the inhumane repression inflicted on our people."