Brooches of Ramón Puig Cuyàs in Barcelona

PuigCuyàs1Jeweler Ramón Puig Cuyàs, accompanied by art critic and historian Daniel Giralt-Miracle, participated in the LOEWE Talk “The human factor in current creation” that took place last week in Loewe Barcelona. This store now houses Ramón Puig´s brooches, fostering a unique opportunity to admire and learn about the work of the Spanish jeweler and his link with the new LOEWE collection.

Ramón Puig explained that from the very beginning he has tried to “make jewelry that would appeal to people who do not like jewelry”. “The value of materials”, so important in this field, is not a priority for him. He believes in modernising jewelry which means “connecting the pieces with their origin, with their symbolism, and avoiding ostentation”. A true artistic “creation is the act of doing it all by yourself, of participating in the whole process”, and “doing things well really makes you happy”.


The jeweler says that “reviewing the past to build the future is key”. He insisted that “in order to transform something we must be aware of where we come from” and he defended the idea of ​​”recovering old traditions by inserting them in different time frames”.


That was precisely the goal of Jonathan Anderson in his collection created from these jewels. T-shirts feature abstract prints inspired by the work of Ramón Puig Cuyàs, a perfect metaphor for LOEWE’s creative spirit and philosophy.

Exhibition of brooches by Ramón Puig Cuyàs, throughout October 18 at the LOEWE Store in Paseo de Gracia, 35, Barcelona.

Photographs: Ramón Puig Cuyàs and Daniel Giralt-Miracle, brooch by Puig Cuyàs and T-shirt from the LOEWE Fall Winter Men’s Collection 2015 © Poncho Paradela for LOEWE, 2015.

Hay Festival in Segovia

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The LOEWE Foundation has returned last weekend to the Hay Festival in Segovia, “Imagine the World”, with reflections and poetry.

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In the Gardens of the Convent of los Padres Carmelitas, within the context of the V Centenary of Teresa de Jesús, there was a special remembrance of the prodigious meeting between her and Juan de la Cruz in the sixteenth century, a historic moment for spirituality and mystic creation. Antonio Colinas, Clara Janés, José María Muñoz Quirós, Luis Alberto de Cuenca and Carlos Aganzo, approached them from their own poetic thought.

Antonio Lucas -winner of the LOEWE Poetry Award- and journalist Jesús Ruiz Mantilla analysed at the Church of San Nicolás, together with the film director and screenwriter Fernando León de Aranoa, his film A perfect day. The emotions and relationship between international voluntary workers living critical and frightening situations -both unreal and dramatic- led their conversation. “I like reality, but not realistic forms”, said the filmmaker. In the movie, a well contaminated by a corpse thrown inside with the evil will to intoxicate the water, brings irrational situations to the protagonists. León de Aranoa wished to reflect in his film a “living and brilliant energy… not melancholic”. Voluntary workers frequently turn to humour to overcome difficult situations. The conversation inevitably led to the situation that currently refugees live. León de Aranoa remembered that unfortunately this is a “recurrent problem in History”. It is necessary to “look for the source of the problem” and not to fall, as Antonio Lucas said, “into a false sense of goodness in the distribution of refugee quotas”.

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In the last talk of the day supported by the LOEWE Foundation, also in the same Church, the journalist Manu Llorente spoke with Luis Antonio de Villena -man of letters and Jury of the LOEWE Poetry Award- about the situation of culture nowadays. Villena laments the current arid situation that has resulted “not from the lack of creation but from the absence of audience.” The poet believes that “only those with the best knowledge should go to university. It is not a place for everyone, only the best people from all economic levels should be able to attend university.” In his opinion, the lack of interest of young people in culture is a consequence of their precarious education and he insisted in culture as a fundamental condition in the formation of individuals. But he warns: “culture is a right for all and, if it is deficient, it will need the support of the government to survive.”

Photographs: Talk at the Gardens of the Convent of los Padres Carmelitas. Antonio Lucas, Fernando León de Aranoa y Jesús Ruiz Mantilla; Luis Antonio de Villena y Manu Llorente at the Church of San Nicolás © Javier Salcedo, 2015.

The Gran Teatre del Liceu welcomes the swans of the English National Ballet

The English National Ballet (ENB), directed by the Spanish dancer Tamara Rojo, will be dancing Swan Lake, perhaps the most popular title of the entire repertoire of classical ballet. With these performances, starting September 16, the Gran Teatre del Liceu opens a new dance season sponsored by the LOEWE FOUNDATION.

English National Ballet, Swan Lake in the round technical rehearsal

The version that ENB will be performing in Barcelona was staged by Derek Deane -former Director of the company- using the original score by Tchaikovsky. As Tamara Rojo explains, “it continues the British tradition based on Nicholas Sergeyev’s revival, from the notation written by Petipa and Ivanov for the original ballet; it was made for the Ninette de Valois’s Vic-Wells Ballet in 1934″. This production, she says, “emphasizes the virtuosity of both the corps de ballet and the soloists, holding until the end of the ballet all the dramatic tension.”

English National Ballet, Swan Lake in the round technical rehearsal

The company that Tamara Rojo leads has become very popular among the English people since its foundation in 1950. Rojo says it has been “honouring the great classical ballet without sacrificing modern works, and promoting the creativity of contemporary choreography”. ENB, during the past decades, has developed as a “travelling company, both in England and in the rest of the world” and for that reason, explains its Director, it has extended “the love for dance on the basis of artistic excellence and creativity.” Tamara Rojo says that being able to direct ENB is “the culmination of my artistic aspirations because it allows me to address important aspects about the practice of our art that would be impossible for me as a dancer.” She also admits to be interested in the “artistic challenges associated to the strategies that make possible to integrate the artistic, commercial and creative goals for our company and to achieve the purposes of artistic excellence, sustainability and commitment to social responsibility”.

TamaraRojoEncuentroLOEWEDanzaLiteraturaThe last time Rojo was on this same stage back in 2010, she was still Principal Dancer with London’s Royal Ballet. “I danced Sleeping Beauty about the time the Spanish football team won the World Cup,” she jokes. She returns to the Liceu to meet an audience that has always treated her “with love” and that she defines as “very enthusiastic”.
In 2008 Tamara Rojo participated, together with poet Luis Antonio de Villena in the LOEWE TALK Dance-Literature held at the Residencia de Estudiantes in Madrid. It was moderated by Elna Matamoros, adviser of the LOEWE FOUNDATION. Rojo remembers that event, on dance and literature, as “very satisfactory”. She emphasizes the importance of “linking dance with other arts such as poetry or painting, which are complementary”. A summary of the talk can be downloaded from the link at the end of this article [only in Spanish].


More information at 90253 33 53 (

Photographs: Swan Lake performed by the English National Ballet with Tamara Rojo and Matthew Golding © Arnaud Stephenson for ENB, 2013. Tamara Rojo at the LOEWE TALK Dance-Literature © Residencia de Estudiantes, 2008.


The Staatsballett Berlin opens the 2015-16 dance season at the Teatro Real in Madrid

After several years away from Spain, Nacho Duato -former Director of the Compañía Nacional de Danza for more than two decades- returns to Madrid, this time leading the Staatsballett Berlin.

Sleeping_BeautyYanRevazoThe dance season of the Teatro Real -with the support of the LOEWE FOUNDATION- will raise the curtain up the 4th of September with the ballet The Sleeping Beauty. A new version created by Nacho Duato in 2011 for the Mikhailovsky Ballet -the company he directed for two years- will be performed in Madrid.

Duato created his ballet from the original score and script by Tchaikovsky and Vsevolozhsky. This new ballet is full of references to Marius Petipa, the first choreographer of the piece. The magnificent designs by Angelina Atjalić and the stage lighting by Brad Fields bring richness and historical evocation to this production. In these performances, the Orquesta Sinfónica de Madrid will be conducted by Pedro Alcalde.

A very different program performed by the Statsballett Berlin gets to show the new course being taken by the company since the arrival of Duato. The ballet And the Sky on that Cloudy Old Day, with choreography by Marco Goecke and music by John Adams will be performed together with two pieces by Duato himself. With Static Time -his newest ballet- especially created for the Staatsballett Berlin, Duato offers a sign to farewells and memories. White Darkness, premiered by the CND in 2001, will be closing the evening.


It seems a very promising opening for the dance season at the Teatro Real de Madrid. Sasha Walz, in March, and our Compañía Nacional de Danza, in July, will also be dancing on that same stage.

More information at + 34 915 060 660 (

Photographs: The Sleeping Beauty © Yan Revazo. Static Time © Fernando Marcos.

Sol León & NDT in Madrid

SCHMETTERLING © Rahi Rezvani_online_6 @The last dance show of the 2014-15 Season at the Teatro Real in Madrid -sponsored by the LOEWE FOUNDATION- will be performed by the Nederlands Dans Theater. The company will present two ballets by Paul Lightfoot -Director of NDT- and Sol León, both house choreographers of the company since 2002.

Sol León has been working with Paul Lightfoot since 1989 and the couple is one of the leading names in European creation. The Spanish choreographer explains that Sehnsucht (2009) and Schmetterling (2010), the two pieces performed in Madrid, “complement each other.” With them, she says, “we created a continuous feeling between space and time; past, present and future build a continuous spiral”. These pieces were created a year apart but they have been performed together because, says León, “we really like to have this little trip: we create a bridge between these two parts”. Two works with music as different as Beethoven, in the first part, and Max Richter and The Magnetic Fields songs in the second part. But she warns: “The intermission also becomes part of the show.”

SolLeónEncuentrosLOEWEConLaDanzaLeón feels “very lucky to create.” After 25 years choreographing, she knows that “time is powerful. If you are not insecure and you feel free to express whatever you feel, it becomes a magical act that makes me feel inspired and creative. Dance can express through motion, as poetry does with words”. She looks at the present time and is excited with the fact of “showing this work in Spain because these ballets have been already touring around the world.” Shortly before coming to the Teatro Real, they will be shown at the Bolshoi Theater in Moscow.

Following the departure of choreographer Jiří Kylián from NDT “the company was needing the spirit of the artist”, says León. “Since the last visit of the company to Madrid, creativity is again palpable in the house with the arrival of Paul (Lightfoot) three years ago.”

In 2008, Sol León participated with the film-maker Carlos Saura in the LOEWE Dance Talks, integrating this discipline with cinema as two complementary and parallel activities. The choreographer remembers “with a smile, with real affection” the talk held at the Residencia de Estudiantes in Madrid and moderated by Elna Matamoros, adviser of the LOEWE FOUNDATION. The reflections of Carlos Saura and Sol León, their own work and the stimulous given by the LOEWE Foundation to dance are compiled in the summary of that talk, which can be downloaded from the link at the end of this article [only in Spanish].



More information at + 34 915 060 660 (

Photographs: Schmetterling and Sehnsucht by Nederlands Dans Theater © Rezvani. Sol León in the LOEWE Talk Dance-Cinema  © Residencia de Estudiantes, 2008.

Carmen, the making of

CarmenJóvenesPortadaCNDCarmen, by Swedish choreographer Johan Inger, is the title chosen by the Compañía Nacional de Danza -José Carlos Martínez, Artistic Director- to publish a new Educational Book. This little publication explains in depth all the details regarding not only this version of the ballet but also those previously choreographed by other artists.

This book, easy to read, will allow audiences to enjoy and appreciate the many details that made this story one of the main works in the repertoire of most ballet companies worldwide.
Like the previous Educational Book published by CND, dedicated to the Russian-American choreographer George Balanchine, this publication is available in two versions; one for adults and another one for youngsters. Elna Matamoros, Ballet Master of the CND and advisor of the LOEWE FOUNDATION, is the author of both the text and the selection of images, which Anabel Poveda later designed.

This book delves into the origins of Carmen as a Spanish myth, starting from the novel written by Prosper Mérimée, through the opera composed by Georges Bizet and then through the multiple versions that have been choreographed. CND had two different versions in its repertoire in the previous decades, and they are also explained in the book.


The Educational Books of the CND are possible thanks to the support of the LOEWE FOUNDATION and are distributed for free to the people who attend the open rehearsals of the company; moreover, this Carmen book is also available to download in PDF through the website of the CND, and includes an explanatory text about this collection. You can also download Carmen, Educational Book, by clicking on the following links. [Only in Spanish]



Photographs: Carmen para los más jóvenes, cover. Rehearsals of Carmen with Johan Inger at Compañía Nacional de Danza © Domingo Fernández for CND, 2015.

The voices of Elena Medel and María Gómez Lara

Elena Medel wore black. María Gómez Lara chose a dress full of colours and a big green flower decorated her hair. They both belong to the same generation but their poetic voices are as different as their clothes, perhaps because a full ocean separates these two women. Medel, from Córdoba (Spain), reads her verses with a meticulous voice, full of rhythm, keeping her eyes on the book. Colombian poet Gómez Lara sways on her chair as pouring her strong voice which brings some anxiety to the room and tries to reach the gaze of the audience. Both of them, as different as they may seem, have been awarded with the 26th and 27th LOEWE FOUNDATION International Poetry Award for Young Poets, respectively.

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The LOEWE store at Gran Vía Street, in Madrid, hosted an evening of poetry reading bringing together two different ways of understanding and writing poems. “Poetry as a gaze to the world, not as a literary genre”, explained Medel. Gómez Lara, as soon as she started to read her work, said: “I am very happy that we write so differently and still we can enjoy poetry together”. These two women arose as poets from different referents.

Elena Medel remembered the women who shaped her personality (mother and grandmother) and read some poems she wrote still in her teens -Mi primer bikini- and also, among others, those written after her reflections on death. “My book Tara changed after my grandmother died”, explained Elena as she recited her poems on the multiple faces of love and loss.

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Poets like Emily Dickinson, the many heteronyms of Fernando Pessoa, her many changes of address and other personal experiences came out in the verses of María Gómez Lara. She read an unpublished poem recently inspired by the unpleasant weather of Boston, where she lives now. “I am from the Tropics: cold weather makes me sad”, she said. Years ago, when hurricane Sandy kept her hidden in her bathroom overnight, María wrote a poem titled “Conjuro”, which she also read.

“A poem -said Elena Medel- can be inside a novel, an essay, or a stage play”. Poems go beyond words and reach the readers. For María Gómez Lara, “To know that whatever you write alone has an impact on other people, is very nice”.

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Photographs: Elena Medel and María Gómez Lara with Sheila Loewe © Daniel Mordzinski para FUNDACIÓN LOEWE, 2015.

Tina Modotti, in PHotoEspaña 2015

Committed and wise, artist Tina Modotti (Udine, Italy, 1896 – Mexico City, 1942) had a strong personality that built her life as an exciting story to tell. The character behind her life and her political commitment have, too often, come to hide her exceptional talent as a photographer.


Now -in its fifth collaboration with PHotoEspaña- the LOEWE FOUNDATION has made possible what will be the first solo exhibition of Modotti’s work in Spain. Curated by María Millan, this showing synthesises a special moment in the history of the twentieth century: the inter-war period that she lived intensely.

NaturalezaMuertaModottiAs a disciple and partner of the American photographer Edward Weston, Modotti was devoted to photograph the many details of diverse laborious atmospheres. Her work borders on anthropology and shows people as being part of a fascinating social reality that she could never ignore. Moreover, the photographs of the first period of her life display some wonderful still-lifes and shadowing studies that she used to transform any daily scene into abstraction.

Among the 50 selected images gathered in this exhibition, those devoted to crafts, its dedication and creative rigor, will gain special prominence. Those values ​​have shaped the identity of LOEWE through the years, and Modotti herself showed special respect to them through her camera.

Tina Modotti, PHotoEspaña 2015. Photographs courtesy Throckmorton Fine Art. LOEWE at 26, Serrano St., Madrid. Throughout August 30th, 2015.  [Monday – Saturday: 10:00 to 20:30h. Sunday and holidays: 11:00 to 20:00h].


Photographs by Tina Modotti: Roses (1924), Still life (1928-29), Hands resting on a shovel (1926).

John Allen, the emotion of colours

The wise and relaxed conversation between John Allen and journalist Anatxu Zabalbeascoa -leading the LOEWE Talks titled A bag is a landscape- inundated recently the emblematic LOEWE store in Gran Vía, Madrid, and the Galería LOEWE in Barcelona. Using the patterns previously created by British knitter and master weaver John Allen, Jonathan Anderson -LOEWE’s Creative Director- has designed a new collection. Allen’s flat drawings -created to be hung on the walls, as carpets- have developed into accessories. “I couldn’t imagine my designs as three-dimmensional objects”, said Allen. Besides beach towels and totes, Allen’s colours have reached wallets, key-rings or espadrilles. The John Allen Collection, with British landscapes drifting towards abstraction, reveal the understanding between Allen and Anderson. “We trusted each other”, explains Allen. “It was like giving him my baby”.


Designer, craftsman, weaver… Allen does not care what other people call him. “I see myself as an artist, but that could seem very pretentious. I generate ideas for others”, he insists with remarkable humbleness. Moreover, he gets inspired “from everything” but his main creative source is colour. “Colours make me emotional, it´s about pushing boundaries”, he says. But as an artistic tool, explains Allen, “colour cannot be taught, we cannot learn to enjoy colours”. Allen has taught at the Royal College of Art, whose knitting department he also founded, until his retirement in 1989.


John Allen is an expert in reinventing himself, and he admits to keep certain “freshness” towards his work, perhaps emphasised by “having been working with younger people for so long”. “People never chase, never move on”, he complains. “I am somebody whose attitude has changed over the years. I am a man of the future”. When Zabalbeascoa asked him how we will perceive this collection in the next years, Allen was lost in thought, as if thinking ahead. Then he smiled and said: “I think it will age quite well”. Among all his works, Falling Leaves is “my favourite design I have ever done”. That’s why he carries his bag everywhere, because -he laughs- everytime somebody stops and says, ‘Oh! Where is that great bag from?’”.


Photographs: Cornish Harbour beach towel and canvas Falling Leaves duffle, John Allen Collection Spring Summer 2015 © LOEWE, 2015. LOEWE Talks A bag is a landscape with John Allen and Anatxu Zabalbeascoa at Galería LOEWE in Barcelona © Yolanda Muelas for LOEWE, 2015.

Pablo García Baena, poet and friend

GarciaBaenaWhen Spanish poet Pablo García Baena (Córdoba, 1921) resigned after 5 years as Jury of the Loewe Foundation International Poetry Award, the Loewe Foundation and his Honourary President, Enrique Loewe, wished to pay tribute to him. This homage to the poet was intended to thank and lavish him, but also to think over his extraordinary work.

Last Tuesday, the Instituto Cervantes in Madrid hosted this celebration of memories, love and admiration where he met friends, colleagues, readers and scholars who revealed the enormity of García Baena’s legacy. Víctor García de la Concha, Enrique Loewe, José Infante, Guillermo Carnero, Luis Antonio de Villena and Joaquín Pérez Azaústre spoke about the unquestionable excellence of his poems; García Baena was awarded with the Prince of Asturias Award in 1984 and the Premio Reina Sofía de Poesía Iberoamericana in 2008. Moreover, his friends and colleagues highlighted García Baena’s extraordinary humanity, his generosity and integrity.


The words of Víctor García de la Concha -Director of the Instituto Cervantes and President of the Loewe Foundation International Poetry Award – distilled admiration and repect towards García Baena; he rememberd that the poet always provided “the most serene and erudite doctrine” during the deliberation of the Jury, where he was always “the very last one to speak”. The poet José Infante had said before that “the best hommage for a poet is to read his poems”, and so it was. Pablo García Baena, again the last person to raise his voice that evening, read his unpublished poem titled “Las rosas” which will be included in his next book, to be published by Editorial Visor.

That morning, Pablo García Baena had deposited his legacy in La Caja de las Letras housed at the main building of the Instituto Cervantes in Madrid. The contents, that García Baena declined to reveal, include a message for his grandnephews and great-grandnephews: words, the memories of the past and the complicity with the future well preserved inside a Loewe box.


Photographs: Pablo García Baena. Guest speakers: Joaquín Pérez-Azaústre, Luis Antonio de Villena, Guillermo Carnero and José Infante. La Caja de las Letras at Instituto Cervantes: Guillermo Carnero, José Infante, Joaquín Pérez-Azaústre, Luis Antonio de Villena, Pablo García Baena, Sheila Loewe, Enrique Loewe, Víctor García de la Concha and Carla Fernández-Shaw © Juanjo del Río – Instituto Cervantes, 2015.