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    <title>The New Barcelona Post | Barcelona Good News Journal</title>
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    <description>News and current affairs from Barcelona. Business information, culture, lifestyle, gastronomy, opinion, social stories. GoodNews, TrueStories.</description>
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      <title><![CDATA[From the silence of 'Solitudes' to the underwater work of 'Muljil': 5 plays for this week]]></title>
      <link>https://www.thenewbarcelonapost.com/en/from-the-silence-of-solitudes-to-the-underwater-work-of-muljil-5-plays-for-this-week/</link>
      <pubDate>Tue, 21 Jul 2026 10:16:43 +0200</pubDate>
      <dc:creator><![CDATA[Elia Tabuenca]]></dc:creator>
      <category><![CDATA[BCN Shows]]></category>
      <category><![CDATA[Arts]]></category>
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      <description><![CDATA[Korean, Basque, and Catalan artists star in the most talked-about premieres on this week's theater agenda. From Monday to Friday, Barcelona's theaters are filled with very interesting proposals, which one will you choose?]]></description>
      <content:encoded><![CDATA[This week, the Grec continues at its peak and, within the framework of the festival, highly anticipated theatrical proposals are premiering. One of the most awaited shows comes from a Korean collective that presents a scenic proposal with water tanks and a powerful social message. But the theater billboard has many other gems premiering in the coming days! 1. Qui hi ha at the Fundació Espai Brossa From July 13 to 22. At the Fundació Espai Brossa, they present a proposal that delves into psychological suspense with the premiere of Qui hi ha, the new proposal from Cia. Amaga. Directed by Marc Cartanyà Pena, the show places us on a New Year's Eve night where Pere, the protagonist, sees his home completely invaded. The character embodies two of the rawest and most recognizable solitudes of our current times: that of the user in front of an internet screen and that of the exhausted caregiver of a sick person. The Barcelona-based company presents a satire on fear and social isolation, to show how the need for affection and love can sometimes push us to open the door to absolute evil. The show stands out for a mix of languages where the aesthetics of horror cinema, visual poetry, and illusionism tricks go hand in hand. 'Qui hi ha' by cia Amaga premieres at Fundació Brossa 2. Solitudes at Teatre Condal From July 10 to 19. The Basque company Kulunka Teatro presents the second of its shows within Grec 2026: Solitudes. This show has been awarded several Max Awards, and consists of a bittersweet comedy that completely dispenses with words to delve into the problems of lack of communication. The plot follows the daily life of an elderly man who feels invisible to his surroundings; a man for whom life has become a long wait and who now only desires simple things that others do not pay attention to. [articles:300242] The protagonist of this work decides to fight with dignity to make his small daily wishes come true, something that will unleash unpredictable consequences for both him and those around him. Through the expressive power of masks and a soundtrack that guides the entire story, Kulunka Teatro manages to build a universal story. 'Solitudes' by Kulunka Teatro at Teatre Condal 3. L'última entrevista (Roig/Capmany) at Sala Atrium From July 14 to 31. The theater becomes a television set with the premiere of L'última entrevista (Roig/Capmany), a tribute that can be seen from July 14 to 31. Under the direction of Raimon Molins and Mar Monegal, the show imagines a fictional encounter between two of the most brilliant thinkers, writers, and activists of 20th-century Catalonia: Maria Aurèlia Capmany and Montserrat Roig. The audience will witness a television program where these two women, symbols of the Republic and Transition generations respectively, speak openly about literature, journalism, politics, and the soul of pre-Olympic Barcelona. The play uses the real words and most critical thoughts of both authors, with doses of irony and a sense of humor. A proposal that vindicates the legacy of two of the freest, most combative, and influential minds in our history. The proposal premiering at Sala Atrium within the Grec 4. L'esquerda en el món at Sala Versus Glòries From July 15 to 26. Director Rodrigo García Olza takes the helm of one of the latest creations by Roland Schimmelpfennig, the most performed contemporary playwright in German, to present L'esquerda en el món. The plot begins as a comedy of errors when Tom, a billionaire satellite magnate, and his wife Sue invite an artist to spend a weekend at their high-mountain mansion with the promise of funding her projects. However, the unexpected appearance of the artist with her new partner will completely destabilize their stay. [articles:300218] The play is a satire that speaks about moral miseries, hypocrisy, and the rottenness of a sick world. Despite the devastating portrayal, the play leaves room for hope through art and the possibility of sincere communication between different social classes. 'L'esquerda del món' is the play by Versus Glòries for this Grec 2026 5. Muljil at Teatre Lliure July 15 and 16. The Grec Festival of Barcelona once again opts for the most avant-garde international proposals with the Korean collective Elephants Laugh, who will present Muljil. The term that gives the piece its title refers to the ancient and dangerous diving practice of the haenyeo or "sea women" on Jeju Island, who free-dive to collect seafood. The work takes this ritual as a metaphor, and transfers that feeling of drowning to characters from our daily routine, who perform their tasks submerged in tanks full of water. It is a very impactful performance that analyzes the limits of survival, and the moment in which the human being is forced to look at their own mortality. Founded in 2009, Elephants Laugh is an artistic group from South Korea that uses the channel of performing arts to show the experiences of marginalized communities. The Korean company presents this surprising show at the Lliure Barcelona's theater billboard this week is full of proposals that will stir consciences, make us think, reflect, and be amazed. ]]></content:encoded>
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      <title><![CDATA[Barcelona will be the new host city for the Ídolo Awards]]></title>
      <link>https://www.thenewbarcelonapost.com/en/barcelona-will-be-the-new-host-city-for-the-idolo-awards/</link>
      <pubDate>Tue, 21 Jul 2026 10:16:08 +0200</pubDate>
      <dc:creator><![CDATA[Elena Busquets]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
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      <description><![CDATA[The fifth edition of the awards stops being held in Madrid and chooses Barcelona for the first time]]></description>
      <content:encoded><![CDATA[The influencer industry is betting on Barcelona. The Ídolo Awards, the main awards for the content creator economy in Spain, will celebrate their gala for the first time in the Catalan capital, which takes over from Madrid coinciding with the fifth edition of the event. Driven by content creator and businesswoman Aida Domènech, better known as Dulceida, the awards thus begin a new stage from Barcelona, hand in hand with Must Media Group. The arrival of the Ídolo Awards in Barcelona comes at a time when the city is strengthening its position as a hub for creative and audiovisual industries. The gala, which will bring together the main names of the Spanish digital ecosystem next December 2, opens a new stage with the aim of continuing to promote the professionalization of the content creator sector. The agreement continues the relationship initiated between Aida Domènech and Must Media Group with La Gran Cita, the 3Cat dating show presented by Dulceida and co-produced with Incís, the group's audiovisual production company. The program, which has already announced a second season, was a great success and achieved, in just three weeks, nearly a million views. [articles:300192] The relocation of the Ídolo Awards is relevant for the city not so much for the parade of celebrities who may walk the red carpet but because it comes at a time of expansion of the creator economy. In 2025 alone, the influencer marketing industry moved 245 million euros in Spain, 49% more than the previous year, according to IAB Spain and Primetag, consolidating itself as one of the fastest-growing segments of the new digital economy. "Five years ago we committed to recognizing a profession that was transforming the way of communicating, creating, and connecting with people. Today content creators are part of contemporary culture and the Ídolo Awards have consolidated as the space that celebrates this talent," highlights Domènech. According to the founder of the awards, the arrival in Barcelona responds to the role the city has acquired as a driver of creativity: "It means doing it in a city that understands creativity as a motor of transformation and that shares with these awards an open view to the future." Aida Domènech, known as Dulceida, businesswoman, content creator and founder of the Ídolo Awards - The change of venue also coincides with the fifth anniversary of the Ídolo Awards, which since their creation in 2021 have become the main event for the content creator industry in Spain. What began as a pioneering recognition for influencers has evolved into a meeting point for creators, brands, platforms, agencies, and marketing and communication professionals; and into the model that other awards promoted by content creators have subsequently followed. "We want to contribute, through the Ídolo Awards and the rest of the group's projects, to the development of Barcelona's creative, cultural, and audiovisual industry," says Adrià Barrio, general director of Must Media Group, the publishing company of The New Barcelona Post. "Our aim is to reinforce the city's role as one of the great hubs of the new creative economy." In 2025 alone, the influencer marketing industry moved 245 million euros in Spain The last edition of the Ídolo Awards, held in 2025 in Madrid, honored creators such as Carlota Marañón, Lola Lolita, Guitarricadelafuente, Sofía Surferss, Diego Doal, and Peldanyos, among others. Furthermore, for the first time since its inception, the gala opened its doors to the general public with ticket sales, a sign of the growing interest in an event that has transcended the sector to also become a phenomenon of popular following. The influencer sisters Lola Lolita and Sofía Surferss at the Ídolo Awards 2025 © Brava_Es - Now, the focus shifts to Barcelona. For now, the organization has only confirmed that the fifth edition will be held on December 2, while the location, nominees, and format of the gala will be announced in the coming months. It also remains to be seen whether the Ídolo Awards will maintain the public opening debuted last year or return to an exclusive format for guests.]]></content:encoded>
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      <title><![CDATA[Mariona Sanz]]></title>
      <link>https://www.thenewbarcelonapost.com/en/mariona-sanz/</link>
      <pubDate>Tue, 21 Jul 2026 10:16:04 +0200</pubDate>
      <category><![CDATA[Influential]]></category>
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      <title><![CDATA[Ramon Solsona]]></title>
      <link>https://www.thenewbarcelonapost.com/en/ramon-solsona/</link>
      <pubDate>Tue, 21 Jul 2026 10:15:40 +0200</pubDate>
      <category><![CDATA[Influential]]></category>
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      <title><![CDATA[Is Barcelona a happy city?]]></title>
      <link>https://www.thenewbarcelonapost.com/en/is-barcelona-a-happy-city/</link>
      <pubDate>Tue, 21 Jul 2026 10:15:20 +0200</pubDate>
      <dc:creator><![CDATA[Elena Busquets]]></dc:creator>
      <category><![CDATA[Lifestyle]]></category>
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      <description><![CDATA[The Happy City Index places Barcelona as the 12th happiest city in the world, but what is the perception of Barcelona residents about their own well-being?]]></description>
      <content:encoded><![CDATA[To what extent does the place we live in condition our happiness? The question is as old as it is difficult to answer. Year after year, Finland tops the major global happiness rankings, thanks to factors such as quality of life, trust in institutions, and security. But if, instead of asking citizens how they feel, we measure other indicators, countries like Indonesia, Mexico, or Paraguay appear among those who smile the most. Now, what happens if we reduce the scale? If we stop talking about countries and focus on cities? Is it possible to measure if one metropolis is happier than another? This is precisely what the Happy City Index 2026 attempts to answer, an international study that analyzes which cities offer the best conditions for their inhabitants to live well. And Barcelona occupies a prominent position: it is the 12th city in the world, the first in Spain, and one of the few cities in Southern Europe that manages to enter a top 15 dominated by Nordic and Central European capitals. It is not a minor ranking. In this sixth edition, led by the Institute for Quality of Life based in Paris and the Happy City Hub Ltd based in London, 466 researchers have analyzed more than 150,000 data records corresponding to 3,400 cities worldwide. And only 251 ended up being part of the final classification, which was officially presented at the British Parliament in London this spring. Now, what exactly does it mean to be a "happy city"? Interestingly, the index does not ask citizens if they are happy. Instead, it suggests that happiness also depends on the conditions a city is able to offer its inhabitants. That is why it evaluates 82 indicators grouped into six broad areas: citizenship, governance, environment, economy, health, and mobility. In Barcelona's case, the ranking depicts a well-connected, healthy, and highly digitized city. The study scores very positively the intensive use of public transport —with 406 trips per inhabitant, more than double the average of the analyzed cities—, a fully accessible network, and a life expectancy of 84.45 years, also higher than the index average. Partial view of the Barcelona coastline © Vicente Zambrano González - The study also scores the digitalization of public services very positively. Barcelona obtains the highest rating in aspects such as the open data portal, the possibility of carrying out municipal procedures online, booking an appointment with the City Council, or reporting incidents on public roads from a mobile phone. Added to this is a high density of educational centers, access to internationally prestigious universities, and the existence of municipal strategies in areas such as mental health, biodiversity, or the prevention of hate speech. The dominance of Northern Europe and a great absence Although the authors of the study insist that the objective is not to determine which is the best city in the world, or the happiest, the final result inevitably takes the form of a ranking, with all the limitations that this entails. To begin with, only 251 of the more than 3,400 cities analyzed end up being part of the final classification. In Spain, in addition to Barcelona, Zaragoza (64th), Bilbao (76th), Valencia (88th), Palma (147th), Las Palmas de Gran Canaria (149th), and Córdoba (190th) appear. One of the most surprising absences is Madrid, which after occupying the 132nd position in the 2025 edition, this year completely disappears from the final classification. [articles:300342] Global leadership remains in the hands of Nordic and Central European countries. Copenhagen tops the ranking, followed by Helsinki, Geneva, Uppsala, and Tokyo. Trondheim, Bern, Malmö, Munich, Aarhus, Zurich, Barcelona, Espoo, Oslo, and The Hague complete the top 15. The cost of well-being The Happy City Index is not the only attempt to put numbers to a concept as subjective as happiness. In fact, the World Happiness Report, considered the main global reference in this field, follows a completely different methodology: it does not classify cities, but countries, and directly asks citizens how they rate their lives. Because what a society considers a good life does not always coincide with what other countries value. There are places where economic security weighs more, others where free time, community life, trust in institutions, or simply a different way of understanding social relations prevail. The World Happiness Report is, by the way, this study that year after year continues to place Finland at the top of the world ranking.And what happens if we ask the same question to Barcelona residents? According to the Observatory of the Subjective Well-being Indicator of the Generalitat, citizens rate their well-being with a 6.9 out of 10. Perhaps it is what Plato already pointed out more than two thousand years ago: "A city is what it is because its citizens are what they are". Although it could also be read in reverse: citizens are, in part, a reflection of the city where they live. Barcelona residents rate their well-being with a 6.9 out of 10 But well-being is not the same for everyone within the same city. And, in fact, there are studies that analyze it from another perspective and that, to the conditions offered by the territory, add another key variable: income. That is, it is not enough for a city to gather the ingredients to live well in it; it is also necessary for its inhabitants to have the economic capacity to enjoy them. A recent study by Remitly, based on research from Purdue University, estimates that in Barcelona the income threshold associated with maximum well-being is 88,562 euros per year. This figure is more than double the average gross salary in the city, which is around 35,000 euros per year. In Spain, only Madrid has a higher threshold (89,759 euros), while Palma de Mallorca occupies the third position, with 88,263 euros. However, knowing how many households in Barcelona actually reach this income threshold would make for another Barcelona in figures. And we'll save that for another Monday.]]></content:encoded>
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      <title><![CDATA[Memory as a character]]></title>
      <link>https://www.thenewbarcelonapost.com/en/memory-as-a-character/</link>
      <pubDate>Tue, 21 Jul 2026 10:15:15 +0200</pubDate>
      <dc:creator><![CDATA[Jordi Cabré]]></dc:creator>
      <category><![CDATA[BCN Shows]]></category>
      <category><![CDATA[Arts]]></category>
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      <description><![CDATA[Chronicle of the play "L'Albada", by La Perla 29, at the Biblioteca de Catalunya]]></description>
      <content:encoded><![CDATA[Three hours and forty minutes (with intermission). You have been warned. It is not one story, but several; it is not one situation, not even a conflict: it is an intergenerational, exhaustive, and complex portrait of how the Civil War and Francoism continue to navigate our present. Well, it must be said that there is little of the present: the protagonist —more than a protagonist, Alba is the link to the past through her university research— is set in 1992, surely because, if the action took place in 2026, the connection with the Transition or with Francoism would be too distant. A close link, or at least not too distant, with the trauma was necessary. Barcelona. 1936, 1939, 1944, 1976, 1992. Collserola up there, with persecuted republican militiamen. Not a single mention of the Arrabassada (it wouldn't have cost anything), but, in short, the losers of the war deserve their just homage, especially in light of the atrocities of Francoism. And in the end, the big question: if we are a synthesis of all that, if the trauma has really remained hidden under a great silence, to what extent have we been marked, damaged, and unresolved? In the Library, the spatial arrangement is semi-enveloping: stage in the center and audience on three sides, with a scenic narrative constructed through projections, videos, photographs, very little furniture —tables and chairs— and abundant supporting props —flags, rifles, guitars—, along with costumes that recreate each era and, above all, intertwine them. We see a militiaman crossing a conversation set in 1992 or Lluís Llach singing in 1976 while a Francoist militant has just said goodbye to his wife. The message is that ghosts continue to run among us and within our veins, whether we want it or not, and that resource is accurate and effective. Perhaps, then, the dialogues could be shorter and more direct, the scenes more to the point, and the emotions, the empathy with the characters and their situation, more intense. The historiographical will, and the attempt to find a fair balance between eras and mentalities, perhaps neutralize emotions and the necessary love for the characters too much. Sometimes, not always, but on occasion, scientific research seems to become the objective, when it is through emotion, through intense storytelling, that we can learn the most. *La letra con sangre entra* (Learning comes with pain), as they used to say. ]]></content:encoded>
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      <title><![CDATA[Jordi Herreruela]]></title>
      <link>https://www.thenewbarcelonapost.com/en/jordi-herreruela/</link>
      <pubDate>Tue, 21 Jul 2026 10:15:10 +0200</pubDate>
      <category><![CDATA[Influential]]></category>
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      <title><![CDATA[Well yes: Cruïlla is home!]]></title>
      <link>https://www.thenewbarcelonapost.com/en/well-yes-cruilla-is-home/</link>
      <pubDate>Tue, 21 Jul 2026 10:14:53 +0200</pubDate>
      <dc:creator><![CDATA[Elia Tabuenca]]></dc:creator>
      <category><![CDATA[BCN Shows]]></category>
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      <description><![CDATA[The Cruïlla 2026 Festival closes its edition with 73,000 attendees after four days of music, art, and pure spectacle.]]></description>
      <content:encoded><![CDATA[One more year, Cruïlla has shown that it is one of the most Barcelona-like festivals in our city. Why? Well, because just by crossing its door, where they launch their claim that Cruïlla is home, you find yourself in a space where you really feel at home: many local people, families, people of all ages, and a lineup where national and international talent converge perfectly. The 16th edition of the festival managed to gather 73,000 people who were distributed throughout the 4 days of its duration. The Parc del Fòrum became a kind of shared home where you could enjoy live musical performances, eat at its food trucks, have a drink on one of its terraces, or enjoy a comedy or dance show by the sea. Music, nostalgia, and fun This year's lineup has been presented as the most complete and balanced in the festival's history. Among its artists, we found a great variety of musical styles that show that the organization shies away from genres and labels with the aim of bringing together international artists and essential names from our home. Garbage, Pixies, Suede, Standstill, Sidonie, Mishima, Mazoni, Maika Makovski, David Byrne, The Black Crowes, Ezra Collective, Bomba Estéreo, Alizzz, La La Love You, Ultraligera, or Zahara Rave were some of the artists we could enjoy on Thursday and Friday nights. One of the big surprises was the Arde Bogotà concert on Friday under the name of Bigger Splash: the band announced hours before that, behind that pseudonym, their performance was hidden. [articles:300286] Saturday afternoon greeted us with cloudy skies, reducing the impact of the sun's rays and allowing the public to breathe a little more. Because the co-star of this edition of Cruïlla has been the thermometer: in the midst of a heatwave, the Fòrum and its cement became an unappealing place to visit. But the festival organization had everything planned and, for that reason, they gave straw hats to attendees, as well as cardboard fans to help deal with the high temperatures. Els Pets was one of the groups that opened Saturday afternoon, offering a nostalgic, fun, and very intimate concert. Lluís Gavaldá, the band's vocalist, gave himself to his audience in an effusive way and ended up going down to the floor to mingle with the crowd. His people, all closer to their forties than their thirties, were euphoric remembering the songs that marked their youth and, for that reason, there was a moment of explosion and fun among the audience who decided to throw their straw hats and create a dance in the air to the rhythm of their songs. Rigoberta Bandini shone on the Cruïlla stage ©CescMaymo And that was just the beginning of a musical day that would extend until five in the morning and on whose stages Jon Batiste, Rigoberta Bandini, La Ludwing Band, Polo & Pan, The Hives, Two Doors Cinema Club, Svetlana or Judeline, among many others, could be seen. Much more than concerts But, in addition to music, the highlight of Cruïlla is its commitment to art in every sense. And it is that, unlike many other festivals where you can only go from concert to concert, here you have at your disposal a wide variety of proposals suitable for all audiences. Because, what happens if you have two "dead" hours in which there is no artist you know? Cruïlla has covered that niche with a vast cultural program that moves between stand-up, urban dance, street art or gastronomy. There is no time to get bored: on the Bon Preu-Esclat stage, a construction by the sea that offers stunning views of the beauty of the Fórum and its saltwater pools, is where the performing arts are concentrated. Monologuists and comedians from here take to the stage to offer their show of laughter, humor and complicity. The audience is located in the side stands or seated on the artificial grass next to the stage; all this generates a unique feeling of closeness and authenticity. Cruïlla closes with 73,000 attendees ©CescMaymo On this same stage is also where the dance battles take place in which a duo of dancers competes with another duo in front of three judges; those who pass the battles, compete in new encounters until only one is crowned the winning duo. Hip-hop, breakdance, contemporary dance and ballet movements were seen in the bodies of these artists who earned the ovation and applause of the audience. [articles:300175]The wide variety of offerings at Cruïlla is what makes it a family-friendly festival, especially in the afternoon. Groups of friends with sons and daughters danced and played in the Fòrum, thus opening up the "festival" universe to all ages. Because, as they well emphasize in this year's slogan, Cruïlla is home and, in a home, one feels security, tranquility, and fun. In the Fòrum space, there is room for everyone, and there were even installations such as Imagin Music Sessions, a portable music studio where you could become the protagonist of a music video. Popular culture has also been present this 2026 with the participation of one of the most significant elements of Catalan festivals and traditions: els Gegants. The Federació d'Entitats de Cultura Popular i Tradicional de Barcelona Vella exhibited its figures and offered a show of traditional and folkloric dances that enlivened the entire "square" of Cruïlla. The spirit of the main festival was experienced in the Parc del Fòrum. But there's more! Because if you walk through "the streets" of this mini-city called Cruïlla, you will find a great variety of artistic installations, graffiti, and drawings by artists who manage to give it, even more, that unique and personal touch that the festival has. One of the most striking proposals of this edition was the statue in the style of Venus de Milo holding a hairdryer in her hand; it will surely be one of the images of this edition! People of all ages enjoyed this new edition ©Xavi Caparros A Barcelona festival made for Barcelona Unlike other major music festivals in Barcelona (such as Sónar or Primavera Sound), the majority audience of Cruïlla is people from Barcelona. In fact, according to the organization, this year 95% of attendees have been local public and, most strikingly, the average age is between 35 and 45 years old. These two factors are very different from other large musical events held in our city. This makes the atmosphere close, relaxed, easygoing, and where good vibes and complicity are what is most palpable in the environment. And Cruïlla's commitment to progress and solidarity has been clearer than ever this year thanks to the Escenario Transforma't, a space where people danced under the motto "Jo no ballo amb l'odi" (I don't dance with hate) and where people were encouraged to enjoy world music and, at the same time, to reflect on the hate speech that is currently on the rise. But also, the solidarity aspect was seen in its affiliation with Worldcoo and its campaign "Cruïlla per Gaza", where a portion of the money was allocated to humanitarian tasks in the Strip. [articles:300275] One more year, the Cruïlla Festival has once again shown that a macro-festival can be made designed for the people of Barcelona, for families, for young people, for people not so young, and for anyone who wants to enjoy culture and music in a space by the sea. Counting the days until Cruïlla 2027! ]]></content:encoded>
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      <title><![CDATA[The Generalitat's budgets reach a record figure: 49,162 million for services, housing, and investment]]></title>
      <link>https://www.thenewbarcelonapost.com/en/the-generalitat-s-budgets-reach-a-record-figure-49-162-million-for-services-housing-and-investment/</link>
      <pubDate>Tue, 21 Jul 2026 10:14:48 +0200</pubDate>
      <dc:creator><![CDATA[The New Barcelona Post]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/the-generalitat-s-budgets-reach-a-record-figure-49-162-million-for-services-housing-and-investment/</guid>
      <description><![CDATA[Three out of four euros will be allocated to social policies and those linked to the welfare state, without forgetting items aimed at boosting the economy and preparing Catalonia for future challenges]]></description>
      <content:encoded><![CDATA[The Government of the Generalitat has approved the budgets for this year, new accounts that reach the highest figure in history, with a total allocation of 49,162 million euros. This amount represents an increase of 9,126 million euros compared to the last approved budgets, corresponding to the year 2023, that is, it represents a growth of 22.8%. The new accounts have as their main objectives to reinforce public services to respond to the needs of citizens, increase investment and promote strategic projects in areas such as housing, infrastructure or energy transition. More resources for essential public services One of the great priorities of the budgets is to improve the provision of basic public services. For this reason, the departments that concentrate a greater budgetary allocation are Health, Education and Vocational Training, and Social Rights and Inclusion. In total, three out of every four euros of the budget are allocated to social policies and those linked to the welfare state. The Health sector will have a budget of 13,840 million euros, the highest departmental allocation in the accounts. Compared to 2023, this department increases its resources by 2,428 million euros. Among the planned actions, the reinforcement of Primary Care stands out, which will have an additional 616 million euros, as well as the incorporation of nearly 6,000 new positions for health and administrative staff. The second major area of expenditure will be Education and Vocational Training, with 8,356 million euros, 1,642 million more than in the last approved budgets. Among the planned measures is the incorporation of 4,162 new teachers into the educational system and the increase in the allocation for aid for school transport and dining, which doubles to 253 million euros. The budgets foresee the incorporation of 4,162 new teachers into the public education system. © Júlia Arnau For its part, the department of Social Rights and Inclusion will have 4,248 million euros, with an increase of 930 million compared to 2023. In this area, the accounts foresee, among other measures, the creation of 1,000 new residential places and an increase of 118 million euros in the program contract for social services with local entities. Housing and investment, two of the main axes of the accountsBeyond the reinforcement of public services, the 2026 budgets place housing as one of the Government's great priorities. The accounts foresee a record allocation of 1,900 million euros in housing policies to increase the official protection housing stock and facilitate access to affordable rental, with the forecast that this item will reach 2,500 million by the end of the legislature. Housing access policies are one of the Government's great priorities Another major protagonist of the budgets is the increase in public investment, which reaches 4,146 million euros. In this way, investment becomes a key tool to improve infrastructure and equipment and promote cohesion and territorial structuring. Among the main investments foreseen in the 2026 accounts are the 314 million euros allocated to schools, institutes and Vocational Training centers or the 463 million for health equipment, as well as investments in projects linked to sustainable mobility, such as the Camp de Tarragona tram. Resources to boost the economy and prepare Catalonia for future challenges The budgets also reinforce areas linked to the generation of prosperity and economic development. In this sense, close to 11,000 million euros will be allocated to policies to boost knowledge, the business fabric, water management and energy transition. Among the projects with a more strategic vision, the Pla de Pobles, endowed with 400 million euros until 2030, stands out, and aims to contribute to the reactivation of urban centers in small municipalities. Also with a long-term horizon, the Regenera program will be deployed, aimed at rehabilitating degraded residential housing stock throughout Catalonia. The 2026 accounts of the Generalitat also include 355 million allocated to Rodalies. © Albert Segura / ACN In addition, the 2026 accounts also incorporate resources to maintain the T-Usual and T-Jove bonuses, with an allocation of 194 million euros, as well as 355 million allocated to Rodalies de Catalunya and 185 million for the Local Cooperation Fund. And, in the area of security and emergencies, the call for new positions for Mossos d'Esquadra, Firefighters and Rural Agents is foreseen, as well as investments in fire stations, police stations and judicial equipment.Beyond the figures, the 2026 budgets outline the main priorities of the Government's action for the coming years. The strengthening of public services, the promotion of housing policies, and the increase in investment position these accounts as a tool to respond to the immediate needs of citizens but, at the same time, aspire to transform Catalonia and prepare it for future challenges.]]></content:encoded>
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      <title><![CDATA[Pangea inaugurates a plant in L'Hospitalet to manufacture engines for the European space race]]></title>
      <link>https://www.thenewbarcelonapost.com/en/pangea-inaugurates-a-plant-in-l-hospitalet-to-manufacture-engines-for-the-european-space-race/</link>
      <pubDate>Tue, 21 Jul 2026 10:14:12 +0200</pubDate>
      <dc:creator><![CDATA[Ainara Valadez Medina]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/pangea-inaugurates-a-plant-in-l-hospitalet-to-manufacture-engines-for-the-european-space-race/</guid>
      <description><![CDATA[The new facilities, spanning 1,000 square meters and with an initial investment of one million euros, will allow the startup to move from prototype development to industrial manufacturing of engines and propulsion systems for satellites and rockets, at a time when Europe seeks to strengthen its space autonomy]]></description>
      <content:encoded><![CDATA[No rocket reaches space without an engine. Before the countdown, before liftoff, and before a satellite enters orbit, there is an essential technology that makes the mission possible: its propulsion system. Pangea Propulsion has built its business on this technology. Eight years after being founded in Barcelona Activa, the Catalan startup has inaugurated a new 1,000 square meter plant in L'Hospitalet de Llobregat from which it will manufacture, assemble, and test engines and propulsion systems for satellites and rockets. With this new plant, the company wants to leave behind the prototype development phase to make the leap to industrial production and become one of the great European specialists in space propulsion. An ambition that is reflected as soon as one crosses the entrance of the facility, where a large message greets visitors: "We don't just dream about the future of space exploration. We engineer it." More than a simple motto, the phrase summarizes the moment of change and growth in which Pangea finds itself. Because, as Adrià Argemí, CEO of the company, summarized during the plant's inauguration, the new facilities "mark the transition from technological demonstration to product manufacturing." The new plant occupies an old industrial building located in the area where Barcelona is promoting one of its major future projects with the expansion of Fira Barcelona. There, Pangea has invested one million euros —the first of a seven-million-euro plan foreseen for the next three years— to launch facilities that will mark the beginning of its industrial stage. The goal is to concentrate the entire manufacturing process under one roof, from component production to the assembly, integration, and validation of its propulsion systems. Adrià Argemí, CEO of Pangea Propulsion at the new plant. © Pangea This industrial leap comes amid growth for the Catalan company, which also has a base in Toulouse, one of the continent's main aerospace hubs. Pangea Propulsion closed 2025 with a turnover of four million euros and, a few months earlier, had raised 23 million euros in a financing round led by Hyperion Fund, the first operation of the fund promoted by Pablo Casado. A boost that has also translated into the team: the workforce has grown to nearly a hundred employees, around 60 of them engineers, and the forecast is to incorporate thirty more professionals over the next three years. [articles:200371] Between 3D printers, precision machinery, and a clean room for assembling critical components, Pangea wants to write the next stage of its growth. The new facilities will allow Pangea to produce its catalog of propulsion systems: Nereus, for satellites; Arkos and Kronos, engines for reusable rockets; in addition to developing customized solutions for other companies in the sector. An engine for European space autonomy But the company also aspires to go further and play a key role in a European space industry that seeks to reduce its technological dependence on powers like the United States or China. Because although Pangea does not manufacture complete rockets, it does manufacture the engines and propulsion systems that make them possible to take off. Thus, in the same way that aeronautical manufacturers like Airbus or Boeing turn to specialized companies to equip their planes with engines, the Catalan startup wants to become that provider for the European space industry. Its goal is to supply engines and propulsion systems to launcher manufacturers, satellite operators, and other companies in the sector. Mock-up of one of Pangea Propulsion's devices. © TNBP "Today we are not only inaugurating a new plant, but we are taking on a role in European technological sovereignty. We want to be the European specialist in propulsion; to manufacture engines for the entire ecosystem," Argemí stated during an event that brought together a broad institutional representation linked to industry, defense, and the aerospace sector."Now we depend too much on others; we need to build our own European path," defended Jordi Hereu, Minister of Industry and Tourism during the inauguration, which was also attended by Miquel Sàmper, the Minister of Business and Labor; David Quirós, mayor of L'Hospitalet de Llobregat; representatives from the Ministry of Defense, investors, industrial partners, and members of the diplomatic corps. "Hopefully soon we can get excited about the launch of a large European rocket and know that its heart, its engine, is made in Barcelona," added the minister. [articles:300372] An ambition also claimed by Argemí, convinced that space will be one of the great industrial engines of the coming decades: "Galleons transformed global trade, trains changed commerce, airplanes connected continents. Today we are already entering the space revolution. Let's not be spectators in this revolution, but leaders". A space revolution for which Catalonia not only has Pangea Propulsion, but an entire space sector that already has 83 companies, generating 237 million euros in turnover and employment for more than 1,800 professionals. ]]></content:encoded>
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      <title><![CDATA[Is it possible to forgive a monster? 'Ricard 111' arrives at La Beckett]]></title>
      <link>https://www.thenewbarcelonapost.com/en/is-it-possible-to-forgive-a-monster-ricard-111-arrives-at-la-beckett/</link>
      <pubDate>Tue, 21 Jul 2026 10:14:07 +0200</pubDate>
      <dc:creator><![CDATA[Elia Tabuenca]]></dc:creator>
      <category><![CDATA[BCN Shows]]></category>
      <category><![CDATA[Arts]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/is-it-possible-to-forgive-a-monster-ricard-111-arrives-at-la-beckett/</guid>
      <description><![CDATA[Quim Àvila signs one of the best works of his career in this monologue that transits between compassion and guilt. A proposal that transfers the shadow of Richard III to a real prison.]]></description>
      <content:encoded><![CDATA[Eleven years after the premiere of Ricard de 3r at the old Sala Beckett in Gràcia, the company À Trois Teatre brings back the character from its history to show us what became of him and how he lives eleven years later in the prison where he remains incarcerated: this is Ricard 111. This proposal can be seen at the renovated Sala Beckett in Poblenou, an institution that has once again backed this company, recovering that first success from 2015 and giving it the possibility of creating a theatrical diptych in which the continuation of the story of that young Ricardo, who, at just 18 years old, protagonized a massacre, can be seen. Both works can be seen together or separately, as they are independent pieces. However, it is advisable to see both proposals in order to appreciate the work the company has done and also to learn the history and evolution of the character that inspired their story. Because yes: the character played by Quim Àvila (in Ricard 111) and by Brandon Caritg (in Ricard de 3r) is inspired by real events. He is a person who existed, who murdered his parents, started shooting at his schoolmates, and was imprisoned with an exemplary sentence: 111 years in prison. Prison is the setting for Ricard 111 Gerard Guix signs this production that presents us with the same character, but eleven years later. Ricard has already spent eleven years in prison, but he still has a century left to serve his sentence. Literally a century. The reason why the company À Trois Teatre decided to bring back this character is because, last year, when ten years of incarceration were completed, the condemned man offered an interview. It was the first one he granted, and in it, he opened up completely, recounting his daily life in prison, the crime he committed, his mental illness, and his deepest reflections. With this basic material, the company decided to bring back its character and show him to the public already in his adulthood, a character nearing thirty years old, and with the enormous weight of his crime on his shoulders. [articles:300242]On the stage of the Sala de Dalt of the Beckett, we find ourselves with Ricard's daily life in prison. With the few elements of Anna Alcubierre's successful set design, we get to know his routine: welcoming younger prisoners, listening to music, reading books, doing laundry, repairing appliances, and playing basketball. That is his life; that is what his human existence is reduced to. These activities allow him to continue, not to give up, not to surrender, and, however little it may be, to try to be happy. But the sentence weighs on him, stones him, dynamites him. It is a condemnation that acts as a shadow of himself; no matter how much he tries to flee, distract himself, look away, the shadow remains there, unmovable. Music plays a very important role in his daily life: it helps him not to fall apart, to lift his spirits when bad thoughts appear, when voices appear. It is his way of injecting positivity, energy, and not faltering. But the voices are there. He has learned to live with them, to limit them, to silence them, thanks to therapy and, above all, medication. So when his daily dose is reduced due to budget cuts, fear invades Ricard: will he be able to control his monster? Or will he commit another atrocious crime if his mind is unleashed? The symbol of the butterfly appears at this moment: his mind can fly free again, be untethered, and who knows where it might lead him. Scene from 'Ricard 111' at Sala Beckett. ©Àgata Casanovas Is forgiveness possible? Ricard decides to grant an interview, the only one he has accepted in all these years. He doesn't want to be a role model for anyone; he has always hidden so that no one would recognize him, no one would turn him into a symbol of anything. But now he is ready to show his face and, who knows, perhaps become a role model, but of the opposite: a role model for change, for reinsertion, for the possibility of healing. Because, as he himself says, "I am possible because I exist." He wants to show that he is not that monster the media created; he was simply a sick and undiagnosed young man. But he killed his parents. He killed two of his companions. And he injured 25 more. "I am possible because I exist." It is in this duality that the work constantly moves: between compassion and guilt. We see a boy eager to live, with energy, with enthusiasm for small things; but he is a boy who will not escape his confinement, who will never go to a concert, who will never again have intimacy because his hands are stained with blood (an effect that, by the way, we see in a very subtle moment of the work and that reflects the barbarity he committed with his own hands, the same ones he now uses to repair appliances or read a book). The debate about whether he deserves that condemnation or deserves forgiveness is what floats throughout the course of the work. A doubt that directly challenges the audience, since the text does not lean towards any option, it simply shows the dilemma and encourages each person to generate their own internal discourse. Can he be forgiven? Can such a person be rehabilitated? What weight does mental health really have in this type of crime? Does he deserve a second chance? [articles:300218] Quim Àvila in one of the best works of his career The monologue starring Quim Àvila does not falter at any moment. And this is due, in part, to the impressive work Àvila does on stage. His interpretation is very restrained and reflects, at all times, those conflicting feelings between hope for second chances and resignation to live with guilt. The mental illness he supposedly has is not mentioned or labeled at any time, nor does he cling to it as an expiation of guilt; he only mentions it, uncovers it, to explain (and explain to himself) the reason for his crime. The topic of mental health is touched upon in more depth in the letter his sister writes for the trial. In it, the girl explains in detail that her brother is not a monster nor has he ever been: her brother is sick and, when he committed the murders, it was because he was not treated. An allegation that also remains unclear whether it is real and truthful or if it is the way the sister has found to live with the trauma and forgive her brother. Because, if she doesn't cling to that idea, what is left for her? To live with the idea that her brother is a murderer? It is much simpler to accept that he is sick and, thus, not be absolutely alone in the world. Àvila transits through all emotions: the positivity of the beginning, dejection, guilt, and with fear, above all, with fear. He has genuine terror of his own monster. When his dose is reduced, he is terrified of encountering that part of himself again that he has been fleeing for eleven years. The therapist helps him understand that, during all this time, he already has tools to control his impulses, but fear completely invades him. The shadow of Richard III is felt throughout the play Shakespeare's villain, Richard III, is present in the play all the time. His shadow accompanies the character of Ricard subtly and with overwhelming sentences. When some passages from Shakespeare's work are quoted, we feel the weight of the proposal we are seeing: they fit perfectly, they seem like tailor-made reflections and thoughts. A reflection on the possibility of redemption, on mental health, and on guilt. Guilty or not guilty? That is the question. The reading of book passages, with the musical selection, the moments of silence, and the therapy moments give a very agile rhythm to the production. It is a very dynamic proposal that, beyond the specific story of this Ricardo, wants to launch a reflection on the possibility of redemption, on mental health, and on guilt. Guilty or not guilty? That is the question. ]]></content:encoded>
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      <title><![CDATA["A Shared Dream": Aitana and El Mago Pop Buy Teatre Aquitània]]></title>
      <link>https://www.thenewbarcelonapost.com/en/a-shared-dream-aitana-and-el-mago-pop-buy-teatre-aquitania/</link>
      <pubDate>Tue, 21 Jul 2026 10:14:02 +0200</pubDate>
      <dc:creator><![CDATA[Elia Tabuenca]]></dc:creator>
      <category><![CDATA[BCN Shows]]></category>
      <category><![CDATA[Arts]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/a-shared-dream-aitana-and-el-mago-pop-buy-teatre-aquitania/</guid>
      <description><![CDATA[The two artists are partnering to acquire the venue on Sarrià Avenue, the former headquarters of the Filmoteca, with the aim of reopening it as a laboratory for emerging creators and new Km 0 productions.]]></description>
      <content:encoded><![CDATA[Bomb news for Barcelona's culture: the Aquitània Teatre has been acquired by two very recognized artists of current culture, el Mago Pop (Antonio Díaz) and Aitana. The venue, located at number 33 Sarrià Avenue, has a capacity of 326 seats and, thanks to its design, offers a hall that guarantees great proximity between the audience and the performers. The artist from Sant Climent de Llobregat signs, with this purchase, her first major foray into the cultural real estate sector, a field that Antonio Díaz already masters thanks to his previous operations, such as the purchase of the Teatre Victòria or the purchase of the rights to Mar i cel from Dagoll Dagom. According to what they have confirmed, the intention is to create a solid and long-term cultural project that bets on quality, new stories, and the creation of its own and local productions. A shared dream Through a statement and a joint video that quickly went viral on social media, the artistic couple has shown their excitement for this project and has highlighted the importance of theatrical venues in the 21st century for connecting with the audience without screens in between. Aitana explained that "Antonio and I had been dreaming of doing a project together for a long time and we can't think of a more beautiful way to start than by betting on culture and the future of performing arts. We deeply believe in the future of theaters and for us it is a privilege to be able to contribute to preserving and growing such a special space as the Teatre Aquitània. We are very excited to give it a new life and we will work to make Barcelona proud of this project." We are very excited to give it a new life and we will work to make Barcelona proud of this project. With the title of the world's highest-grossing performing artist according to Forbes and with a history of unbeatable records on Broadway, Antonio Díaz has expressed the pride of investing at home again. The magician also took the opportunity to lavish praise on the singer:"We deeply believe in the transformative power of culture and it is a privilege to be able to invest in our land. We hope to do our part so that Barcelona continues to be an international benchmark for the performing arts and so that more and more artists and professionals find a place here to develop their talent. I had never had any partner in any of my projects and, for that reason, it makes me especially excited that my first partner is Aitana, an artist whom I deeply admire and who, with her talent, her work and her charisma, has consolidated herself as one of the artists with the most impact and relevance in our country." We deeply believe in the transformative power of culture and it is a privilege to be able to invest in our land. From neighborhood cinema to talent laboratory: the thousand lives of the Aquitania The acquisition of the venue by the two artists opens a completely new chapter in the history of one of the most changing venues in the Sarrià district. Its doors originally opened in 1945 under the name of Cine Infanta. After decades operating as a cinema under the name of Cine Aquitania, the space experienced its golden age in the most cinephile sector by becoming the official headquarters of the Filmoteca de Cataluña for twenty years (from 1991 to 2011), before the institution moved to the heart of Raval. The Aquitania Teatre was the old Filmoteca de Cataluña After a two-year closure period, the venue underwent a transformation and reopened in 2013 as a local theater. Since then, the management of the venue has passed through different hands, such as the company of Teatreneu, the producer Toni Coll or Barc Produccions managing for the company Artisteando SL. During this last period, the venue had focused on commercial comedy, humor and plays for a family audience, but they also had to face various economic problems that led to temporary eviction orders for non-payment of rent. The Aquitania's billboard has featured great theatrical successes such as Kràmpack, the comedy Ovelles (which can now be seen at Espai Texas), Els dies mentits or the second part of Guillem Clua's great success Smiley: después del amor. 'Smiley después del amor' premiered at Aquitania in the 2020/21 season Antonio Díaz's empire gains ground in BarcelonaThis acquisition by Antonio Díaz confirms the artist's commitment to Barcelona's cultural properties. The illusionist already took a giant step in 2019 by buying the Victoria Theater from the companies Dagoll Dagom, El Tricicle, and Anexa. Later, in 2023, he acquired a large theater in Missouri (United States) to host his arrival in America. Recently, the magician from Badia del Vallès had admitted his interest in adding the Regina Theater to his catalog, but the operation was discarded because the property requested the complete purchase of the building. Now, with the Aquitània under his arm and hand in hand with the most influential singer of current Spanish pop, Díaz adds a new creative laboratory in Barcelona.]]></content:encoded>
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      <title><![CDATA[Nomon and the golden touch of interiors around the world]]></title>
      <link>https://www.thenewbarcelonapost.com/en/nomon-and-the-golden-touch-of-interiors-around-the-world/</link>
      <pubDate>Tue, 21 Jul 2026 10:13:57 +0200</pubDate>
      <dc:creator><![CDATA[Anna Badia López]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/nomon-and-the-golden-touch-of-interiors-around-the-world/</guid>
      <description><![CDATA[From its workshop in Barcelona to the MoMA in New York, the Barcelona firm has transformed its watches, lamps, and furniture into unique and distinctive pieces recognized internationally.]]></description>
      <content:encoded><![CDATA[A quarter of a century ago, furniture designer José María Reina and jewelry designer Àngels Arrufat merged both worlds to shape a new concept: the wall clock made into a jewel. Now, after more than two decades and after also embracing furniture and lighting design, Nomon stands as a benchmark in this concept, with clients all over the world and at the highest level. The latest collaboration illustrates its relevance: for a few days now, the MoMA in New York has been displaying one of the clocks from the Barcelona brand. Nomon's clock for MoMA, now available in the museum store. This latest clock breathes the same essence with which the firm was born more than two decades ago. "The intention was to elevate the wall clock to the category of a jewel, to give it back the importance it had years ago, with a new aesthetic," explains Albert Pablo, head of the design and production area of the company. All Nomon designs stem from the determination to "take care of details" with a sophisticated aesthetic that combines materials such as wood, marble, and metal. The "obsession with well-made" is the hallmark of the house, which is summarized in a maxim: "We make jewelry for the home," whether in the form of clocks, furniture, or lamps. In fact, this is how they convey it to the architects and interior designers they work with: Nomon does not aspire to fill a living room with its pieces, but for a single one to be responsible for filling the space, for giving it a specific atmosphere. Just as, when one dresses, the last thing one puts on is jewelry, Nomon's pieces are presented as the finishing touch that completes a space, with their characteristic and unique lines. Nomon clock in a living room. "Nomon's success is its identity. A Nomon piece may be liked more or less, but it can always be located. We like that there are people who love Nomon, and also people who don't like it. It doesn't leave anyone indifferent," highlights Pablo, with a decade of experience in the company. The firm works on this identity through a team of about twenty people, including those in the office and workshop. However, many other professionals intervene in the creation process of each piece, as Nomon works with artisans and suppliers from the Barcelona area: "The only thing that is not local is the marble, which comes from Italy."The pieces by local artisans and suppliers are assembled in their workshop in Barcelona and, from there, are exported to more than 90 countries. With showrooms in Barcelona and Seoul, the Barcelona firm is internationally recognized for giving the final and characteristic touch to spaces with its pieces, which share "a unique style that is transmitted to each product typology." Nomon bar cabinet. "We dedicate ourselves to the romantic part of a space. We create warm environments that allow people to feel comfortable," as they also do in the field of lighting. "The sector is moving towards more technical lighting, and we are romantics of the past. We like to reinterpret classic lamps incorporating Nomon's own materiality and identity." Nomon pendulum clock. Since its origin marked by wall clocks, the firm has not only opened up to other pieces but has also evolved its business model. "Before, we worked mainly with retail. Now we are refocusing our business strategy and are working a lot with interior designers and architects," more through specific projects than in stores. Nomon seeks to create warm spaces with lighting. In these projects, Nomon also designs ad hoc pieces, including the clock that already tells time at MoMA. The commission came from the New York museum and was received with enthusiasm by Nomon, after other collaborations of the firm with museums and companies, such as the prestigious Italian Poliform. Now, Nomon is working on new collaborations for next year, from lighting to furniture, to continue putting its stamp of romanticism and that golden touch on spaces around the world.]]></content:encoded>
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      <title><![CDATA['Flex living' gains scale with the merger of Badi and Caterina]]></title>
      <link>https://www.thenewbarcelonapost.com/en/flex-living-gains-scale-with-the-merger-of-badi-and-caterina/</link>
      <pubDate>Tue, 21 Jul 2026 10:13:44 +0200</pubDate>
      <dc:creator><![CDATA[Redacció TheNBP]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/flex-living-gains-scale-with-the-merger-of-badi-and-caterina/</guid>
      <description><![CDATA[The two Barcelona companies unite to create a flexible housing platform that will manage more than 250 million in assets]]></description>
      <content:encoded><![CDATA[The real estate sector adds a player that will give weight to flexible housing: Barcelona-based Badi and Caterina merge to create a platform specialized in flex living with which they aspire to become one of the main players in the sector. The new company will start with more than 250 million euros in assets under management and expects to exceed 7,000 operational units in the next four years, with Madrid, Barcelona, and Valencia as the main growth markets. Thus, the operation represents a meeting point for two companies that until now had followed different paths, although with many points of confluence: Caterina focuses on corporate living, aimed at professionals who temporarily relocate for work reasons, while Badi was born a decade ago to connect people looking for a room in the city, on a platform that has expanded its focus and specialized in flexible medium and long-term rentals. However, for now "both brands are maintained," as Badi co-founder Carlos Pierre explains. "We have a distinct demand, towards the same asset. Now we will be able to offer the same asset to both types of demand, regardless of who manages it," summarizes Pierre, who will lead the project alongside Badi co-founder Álvaro Córdoba. With this objective, the company will integrate both activities under the same technological platform, with the aim of covering the different flexible stay formats. With more than five million registered users and 20,000 flexible rental listings in Spain, Badi will contribute its digital dimension, which will coexist with Caterina's operational experience. The platform, which will also be enhanced with new functionalities, aims to offer a service to individuals as well as companies, and also investors. So much so that the new company wants to position itself as a partner for institutional investors and family offices interested in developing these flex living assets in Spain. To do this, the company's proposal is to "accompany the entire process," from identifying investment opportunities to the daily management of buildings and their tenants, as Pierre emphasizes: "We want to be the benchmark and the partner for institutional investors and family offices who want to invest in the real estate sector." Views of Barcelona. © Martí Petit Boost with Meridia and Barlon CapitalThe operation will be accompanied by a capital increase led by Meridia and Barlon Capital, who are already current reference shareholders of Caterina and Badi, respectively. The resources will serve to strengthen the team, boost technological development, and incorporate new assets into the platform. "The Badi and Caterina teams are complementary, and so are the investors," Pierre emphasizes. From Meridia, Javier Faus has agreed to highlight that the operation "combines two highly complementary platforms," while Javier Rubió, founder of Barlon Capital, has argued that the agreement "lays the groundwork for scaling to thousands of beds." Caterina co-founder Manuel Vidal-Quadras sees it similarly: "This operation represents the next step in Caterina's evolution, transforming a specialized corporate living operator into a platform with greater scale." [articles:176410] It also represents a step for Badi, which aims to build the reference platform for flexible rental, and which opens a new stage with this merger, and with new strategies: in Barcelona, it will focus on large projects outside the city center: "The plan is to increase the number of homes in the park, instead of renovating what already exists," Pierre highlights regarding this new stage that the company is now opening. ]]></content:encoded>
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      <title><![CDATA[From Harry Potter to neighborhood parties: Everything you can do this weekend]]></title>
      <link>https://www.thenewbarcelonapost.com/en/from-harry-potter-to-neighborhood-parties-everything-you-can-do-this-weekend/</link>
      <pubDate>Tue, 21 Jul 2026 10:13:40 +0200</pubDate>
      <dc:creator><![CDATA[Elia Tabuenca]]></dc:creator>
      <category><![CDATA[BCN Shows]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/from-harry-potter-to-neighborhood-parties-everything-you-can-do-this-weekend/</guid>
      <description><![CDATA[Discover the most outstanding plans in Barcelona from July 16 to 19, 2026: free concerts, the Poble-sec festivities, drone shows, theater, and much more.]]></description>
      <content:encoded><![CDATA[This weekend, our city is full of proposals for all tastes (and budgets!). Because we will be able to enjoy many free activities in the streets thanks to celebrations such as the Poble-Sec Festival or the Pride 2026 event. But, in addition, we will also be able to insert a little magic with a drone show inspired by Harry Potter, get excited with the theatrical proposals of the Grec Festival or throw in the towel and watch an open-air movie. There are many plans for the coming days in Barcelona, so start selecting your favorites and... make the most of your weekend! The Cinema Lliure en la Playa cycle begins with Molt lluny Thursday, July 16. This Thursday, the new edition of Cinema Lliure a la Platja in Barcelona opens. Sant Sebastià beach (in Barceloneta) will feature the screening of the film Molt lluny, Gerard Oms' debut film, which arrives preceded by great critical acclaim (Award for Best Debut Film in Guadalajara, Biznagas de Plata in Malaga, and a Gaudí nomination for its protagonist). The story follows Sergio (Mario Casas), a man who, after suffering a panic attack at Utrecht airport, decides not to take the flight back to Barcelona and start from scratch in the Netherlands without money or a home. As an appetizer, the short film La gent normal will be screened. An ideal, summery, and totally free plan. DroneArt Show: Harry Potter™ at Parc del Fòrum Friday, July 17. On Friday night, the sky of Barcelona will take us to Hogwarts castle. Parc del Fòrum hosts the premiere of DroneArt Show: Harry Potter™, a tribute to the most famous wizard of recent years. A total of 1,200 drones will fly synchronously to recreate some of the most mythical scenes of the saga: we will be able to see a Quidditch match or even the final battle against Lord Voldemort. The show will be accompanied by a violinist who will perform pieces from the original soundtrack live. Harry Potter DroneArt Show arrives at Parc del Fòrum Falstaff at the Gran Teatre del Liceu All weekend. Another of the best proposals for this weekend in Barcelona can be found at the Liceu. The venue bids farewell to its opera season with the last performance of Falstaff, Giuseppe Verdi's crepuscular comedy inspired by Shakespeare. With musical direction by Josep Pons and a staging by Laurent Pelly, the show features an stellar cast led by Luca Salsi and Ambrogio Maestri. SOUNDIT Festival in El Prat de Llobregat Friday, July 17. If you like electronic music, this weekend you have to go to the Parc Nou del Prat de Llobregat. The SOUNDIT Festival is held here, an event that will feature four independent stages to host great current electronic DJs such as Helena Hauff, 2manyDJ's, Nina Kraviz, Blawan, Oscar Mulero, Skee Mask, Kode9 and Tim Reaper. In addition, this year sees the premiere of the RESSÒ space, dedicated to community radio with live talks and interviews. SOUNDIT Festival 2026 in El Prat de Llobregat this weekend Free Concerts for Pride Barcelona 2026 All weekend. Pride Barcelona 2026 will fill Plaça Universitat and Passeig de Lluís Companys with music, color, and demands with a program of totally free concerts. The party will start on Friday, July 17, on both stages, where you can dance to the rhythm of Catalan Julieta's pop, the electronics of British Clean Bandit, the urban rhythm of María Escarmiento, and the nostalgia of Las Ketchup. On Saturday, July 18, the great demonstration will take place (starting at 6:00 p.m. from Gran Via with Universitat), to give way to a night of great performances with names such as Gala, Zahara Rave, Kate Ryan, Beth, and Ouineta. Finally, on Sunday, July 19, the celebration closes with performances by Clan Bandit, Leire Martínez, María Peláe, and Metrika. Concerts at Pride Barcelona 2026 Poble-sec 2026 Main Festival All weekend. Poble-sec is preparing to experience its first weekend of Main Festival with a very varied program that includes popular culture, sports, and free concerts in the street. The kick-off will be on Friday at 9:30 p.m. with the traditional Toc a la festa, the giants' exhibition, and the proclamation, which will give way to the first night of the Sec a Sac music festival in the Tres Chimeneas gardens, with the electronic pop of Fades and the performance of Gloria Ribera. On Saturday afternoon it will be the turn of the giants' parade and the concert of Valencian Sandra Monfort, who will bring her fusion of roots music and electronics. To close the weekend, on Sunday morning the neighborhood's popular race will be held, followed by the concerts of l'Espardenyu FolkFest. L'Albada by La Perla 29 at the Teatre Biblioteca de Catalunya All weekend. El Alba is the text that Jaume Viñas presented 10 years ago and that has now become a major production under the direction of Oriol Broggi. The play sets us in the preparations for the Barcelona '92 Olympic Games, where Alba, who is finishing her History degree, undertakes an investigation guided by a university professor and another young historian. This path will take her from the Civil War to Olympic euphoria, facing bureaucratic obstacles, closed archives, and witnesses who do not want to remember. A theatrical puzzle that rebels against oblivion, fear, and the generational silence of a country. [articles:300387] Belle & Sebastian at BARTS Festival 2026 Friday, July 17. The refined and delicate pop of Belle & Sebastian returns to Barcelona to star in one of the most anticipated nights of the BARTS Festival. Stuart Murdoch and his band have been the essence of British indie thanks to their songs that are a celebration of life. On this special occasion, the Scottish band will offer a concert where they will review from top to bottom one of their most acclaimed masterpieces, the album If You're Feeling Sinister, along with a selection of their greatest hits. Melancholy, rhythm, and a lot of nostalgia in Poble Espanyol. Sala Montjuïc screens the film Battle after Battle Saturday, July 18. If you are looking for a more relaxed plan, the lawn of the Santa Eulalia moat of Montjuïc Castle awaits you. On Saturday, July 18 at 8:45 p.m. you can enjoy the Belén Natalí concert, which will serve as a prelude to the screening of Una batalla tras otra (Battle after battle), the latest cinematic proposal by Paul Thomas Anderson, and winner of the Oscar for best film. A visceral and fun proposal where an ex-revolutionary (Leonardo Dicaprio) has to rescue his daughter from the hands of an enemy. [articles:300180] Human Requiem at Saló del Tinell within Grec 2026 Saturday, July 18. Within the program of the Grec Festival and the Palau de la Música Catalana, the Saló del Tinell (in Plaça del Rei) becomes the stage for a scenic version of Johannes Brahms' A German Requiem. Under the direction of Simon Halsey and Jochen Sandig, the Orfeó Català choir will sing mixed among the audience, thus eliminating any physical barrier with the public. It will be a totally immersive choral experience. 'Human Requiem' at Saló del Tinell within Grec 2026 Pablo López at Les Nits Occident 2026 Saturday, July 18. The pianist and composer from Malaga arrives at the gardens of the Palau de Pedralbes as part of the Nits Occident festival. He is one of the most transversal voices in national pop and on stage he will present his new tour El Niño del Espacio en Concierto, a show designed for the piano to be the common thread of the night. The artist will offer a repertoire that will travel from the intimacy of his greatest hits of all time to the premiere presentation of his new single El Niño del Espacio, the song that marks the starting gun for a new artistic stage. [articles:300303] Ricard 111 at Sala Beckett All weekend. Eleven years have passed. Ricard's name no longer echoes in the hallways of a high school, but in those of a prison where he is serving a 111-year sentence. The boy who one day saw himself reflected in Shakespeare's monster now tries to live a normality made of routines, books, and silences, but aware that the voices and the blue butterfly pushed him to kill. The show Ricard 111 places the viewer before an enigma: what happens when evil can no longer be attributed to ghosts, but to oneself? Ricard asks us if redemption is truly possible or if there are shadows that inhabit us forever. [articles:300392] Diana Krall at Les Nits Occident 2026 Sunday, July 19. The queen of contemporary jazz and one of the most elegant figures in international music arrives at the gardens of the Palau de Pedralbes. Diana Krall is the only jazz singer who has consecutively placed 8 of her albums at number 1 on the Billboard charts and in Barcelona she will offer an intimate evening accompanied by her piano and her voice. The artist's career spans more than 25 years and includes 2 Grammy Awards, 10 Juno Awards and collaborations with legends such as Paul McCartney, Tony Bennett and Barbra Streisand. At Les Nits Occident, Krall will review her discography, from When I Look in Your Eyes to her work This Dream Of You. Brunch Electronik at Parc de la Trinitat Sunday, July 19. Sunday, the Parc de la Trinitat offers a daytime session (starting at 1:00 p.m.) dedicated to house and minimal by the hand of the new edition of Brunch Electronik. This week's lineup is topped by international heavyweights such as The Martinez Brothers, Carlita and Traumer on the Main Stage, while the Barcelona collective La Aso will be in charge of the local talent stage. There will be foodtrucks, shaded areas and the Petit Brunch for those who come with children.[articles:300355] ZZ Top at BARTS Festival 2026 Sunday, July 19. The Texas legend and one of the most iconic power trios in rock history returns to Barcelona after two years of absence. As part of the BARTS Festival program, the band ZZ Top will offer an energetic concert at Poble Espanyol as part of their European tour "The Big One!". With more than 50 years of career, over 60 million albums sold worldwide, and a place of honor in the Rock and Roll Hall of Fame, the band led by Billy F. Gibbons will deliver a blast of blues rock and electric riffs. It will be a golden opportunity to enjoy live songs from their catalog, including the great hits from the album Eliminator. ZZ Top is one of the mythical rock groups that will come to BARTS Festival This weekend, music, theater, and culture will fill our city. Don't stay home! ]]></content:encoded>
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      <title><![CDATA[Propelling innovation: 78 million in aid, and a new system]]></title>
      <link>https://www.thenewbarcelonapost.com/en/propelling-innovation-78-million-in-aid-and-a-new-system/</link>
      <pubDate>Tue, 21 Jul 2026 10:13:35 +0200</pubDate>
      <dc:creator><![CDATA[Anna Badia López]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/propelling-innovation-78-million-in-aid-and-a-new-system/</guid>
      <description><![CDATA[The Generalitat raises aid by 30% to 78 million and deploys a roadmap until 2030 with a stable model of support for innovation]]></description>
      <content:encoded><![CDATA[To transform the economy and competitiveness, innovation is basic. And to advance in innovation, financing is basic. Faced with this challenge, the Govern will increase aid for innovation by 30%, up to 78 million euros, through a new Catalonia Business Innovation Strategy 2026-2030. But, to boost innovation, not only is financing basic: so is the ecosystem. And ordering and connecting it is the key. And it is that, even if resources are increased, progress cannot be made if the different actors in the ecosystem move in different directions. With this strategy, the commitment is to align companies, technology centers, universities, and administration towards the same horizon, to build a more ordered, connected, and impact-oriented ecosystem. The will is to redefine the way innovation is supported in Catalonia, with a more stable model, easier for companies to understand, and with an ecosystem that functions in a coordinated manner. This will comes after the innovation ecosystem has grown over the last decades, with universities, spin-offs, research centers, startups, international hubs, technology centers, large companies, and public organizations. "The challenge we have is to organize ourselves well internally within the Catalan innovation ecosystem. The model is important. We will gain efficiency here," defends the Secretary of Business and Competitiveness and CEO of Acció, Jaume Baró. "We have to structure ourselves well on how this game system works among all the innovation agents we have in Catalonia," Baró emphasizes, also focusing on technology centers and their role in bringing innovation closer to companies, with Eurecat and Leitat as reference technology centers in Catalonia. This strategy to build a new, more coordinated model has been addressed with the different actors in the ecosystem who, in fact, also see it as a necessity, as Ramon Pastor from Leitat highlighted in an interview: "We must order the innovation system to make it more agile, to avoid duplications, to clarify the roles of each one and to have much more complicity among the different actors. We are in a good situation to face this change and this reflection."This good moment is what the Govern assumes to give this boost to innovation, as also highlighted by the Minister of Business and Labor, Miquel Sàmper. "Catalonia and Europe are in a good moment. And at the moment when the economy in general terms is working well, that's when you have to do even more," looking already to the future decades. Thus, according to Sàmper, it is necessary to "bring innovation down to the business world," and doing so requires that other basic pillar: financing. Because, as the executive director of Acció, Joan Romero, points out, innovating and betting on R&D&I usually entails uncertainty for companies: "It may be that the technology does not end up working out or that the product design does not end up working. If there were no public support, innovating would be more difficult for companies." The BSC, by Àngel Bravo To facilitate this path, the Govern increases aid by this 30% up to 78 million. And not only does it increase them, but it also organizes them: "Instead of having a multitude of aids from different lines and Ministries, we have made a change of strategy and have unified them," with the aim that companies have a clear map of aids and can also count on their continuity over time. With this objective, the subsidy lines will focus on three types: those aimed at the experimentation of new technologies; those aimed at companies that have already experimented and now want to incorporate these technologies into their production processes, and research and development projects in which the company itself develops new technologies. At this point, deeptech startups will also play a relevant role, on which the Govern focuses due to their role in advanced technology and innovation. [articles:217803]Within the ecosystem, another actor also stands out: the multinational hubs that decide their innovation strategy from Barcelona. In this sense, the Generalitat sets a specific milestone, with a 2030 horizon: to reach 250 multinational technology hubs in Catalonia, as well as 3,000 startups and 12,000 innovative companies. These will be the pillars of a complex (but ordered) innovation ecosystem through which the Government sets another clear objective: to increase business R&D expenditure from 1.1% of GDP to 2%, thus exceeding the current European average, which stands at 1.49%. "We have to get closer and closer to those who have overtaken us," Sàmper emphasizes. And now is a good time to gain momentum, as Baró highlights: "If we all believe in it and get organized, it is possible." ]]></content:encoded>
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      <title><![CDATA[Felipe Cabezas: "I wrote 'King Lear's Jester' with my own fears"]]></title>
      <link>https://www.thenewbarcelonapost.com/en/felipe-cabezas-i-wrote-king-lear-s-jester-with-my-own-fears/</link>
      <pubDate>Tue, 21 Jul 2026 10:13:30 +0200</pubDate>
      <dc:creator><![CDATA[Elia Tabuenca]]></dc:creator>
      <category><![CDATA[BCN Shows]]></category>
      <category><![CDATA[Arts]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/felipe-cabezas-i-wrote-king-lear-s-jester-with-my-own-fears/</guid>
      <description><![CDATA[The actor, director, and alma mater of Sala Fénix returns to the stage with the ninth season of his monologue. A look at the creation process, the precariousness of the sector, and the relevance of Shakespeare.]]></description>
      <content:encoded><![CDATA[After a rehearsal, changing clothes, drinking water, and with hope in his eyes. This is how Felipe Cabezas welcomes us at Sala Fènix, before the re-premiere of King Lear's Fool for the ninth consecutive year. "That's theater," he says, laughing, as he finishes removing his makeup. This July 15, one of the plays that has already become a classic of the theatrical billboard returns to this small, intimate venue in Raval. Felipe Cabezas, actor and director of Sala Fènix, pays homage to Shakespeare's fool character, giving him a voice and allowing him to tell us the story of King Lear. We sit down with the actor and director to learn more about his story, his creation, and his experience in the world of theater in our city. —This July 15, you are presenting the ninth season of King Lear's Fool. How do you feel about bringing this show to the stage in Barcelona for the ninth time? As always when the premiere approaches, at first certain insecurities assail me. I ask myself: "Will I be good doing this for another year?" But the truth is that, once immersed in the season, I am immensely happy. The play has elements deeply rooted in 2017, in the time of the referendum and everything that happened around it, and every year people in the audience tell me: "Hey, you've changed things, you've added new digs...", and I tell them no. What happens is that some passages are naturally highlighted by the contingency of the moment; it seems like I'm talking about the most strict current events, but the text is exactly the same. Felipe Cabezas applying makeup to create his fool ©Genia Badano —Is the dramaturgy entirely yours? How did you work with the original text? It is my own dramaturgy built from small passages by the author. It consists of taking King Lear and having a single secondary character —in this case, the Fool— tell you the whole story. It is written in my own words. I have replaced original passages with others invented by me. Thus, when classic characters like Lear or his daughters speak, I do use original fragments to give them that imposing Shakespearean voice. But in global terms, being a narrator's show —almost a minstrel's—, this character expresses himself with my own voice. — Being the only actor on stage, how do you manage directing yourself?When I started the project nine years ago, I had the help of Jordi Pérez as an external eye and acting coach. He was in charge of balancing the rhythm and ensuring that the characters didn't look too similar on stage. As the general director of the project, I decided which advice to apply, but having his professional judgment helped me lay the foundations of the show. Now, after so many years, it's enough for me to watch the video of the play just once before resuming the season as a reminder. I have the text ingrained in my skin. In fact, I just did a full run-through without reviewing the script beforehand. I lost count of the performances when I passed 150, but I estimate I must have accumulated between 150 and 200 performances. I have the text ingrained in my skin. — Where did the idea to create this show come from? I came from working purely as an actor. I had been doing a Shakespearean spin-off called Bruto —about the protagonist of Julius Caesar— written and directed by Marcela Terra. I was fascinated by that formula of taking a peripheral character to discover their vision of events. As a result, I started devouring his works and fell in love with King Lear. Additionally, I fell in love with a recording of a spectacular version by the Piccolo Teatro di Milano, directed by Giorgio Strehler, which used a beautiful circus imagery. Since I had specialized in Commedia dell'Arte for many years, I wanted to apply those physical codes to the staging to invent a kind of contemporary Commedia dell'Arte. A work that draws from updated Commedia dell'Arte. ©Genia Badano — Have you abandoned Commedia dell'Arte over the years? I have stopped thinking about it at the level of personal creation. I still teach occasionally, but I like to constantly change my focus and not get stuck. I dedicated myself body and soul to this discipline, traveling through France, Italy, and Spain to train with great masters. In Barcelona, there were very few people with that specialization. But, at the same time, you see professionals who have been doing exclusively that for 40 years, and I felt that I didn't want to end up there. I didn't want to become a dinosaur of Commedia dell'Arte. The classic contents of Commedia dell'Arte have expired: they carry conventionalism and sexism. I wanted to rescue the political aspect of those who reinvented the discipline, like Dario Fo. The classic contents of Commedia dell'Arte have expired: they drag conventionalism and machismo. I wanted to rescue the political aspect of those who reinvented the discipline, like Darío Fo. — And how did you apply those codes in this work? From the classical technique, I have only kept the mask work and the physical construction of the characters. Beyond that, there is nothing else from traditional Commedia dell'Arte, especially because I defend the stage completely alone. I believe the show is much closer to the figure of the minstrel who narrates Lear's tragedy. — In the play, there is a secondary story that alternates with the classic one: the story of a contemporary actor who wants to stage, precisely, King Lear. How do they intersect? King Lear is one of the few Shakespeare plays that has two identical parallel plots that enhance each other: that of the king betrayed by his daughters and that of Gloucester with his sons. What I did in my dramaturgy was to eliminate the entire Gloucester plot and replace it with my own contemporary story. Both run in parallel, enhance each other, and, in the end, merge. I have not destroyed the original structure; I have simply replaced one piece with another. It is not my reality, but it is my fears. — In that metatheatrical part, you talk about the precariousness and instability of the profession. Do you base it on your own experience? Many spectators think that everything I explain has happened to me because the character is an actor at his wits' end, in a very precarious professional and personal situation that drives him to madness. That is not my reality, but it is my fears. I am inspired by the fear that this could happen to me someday. Although there is a real trigger: years ago, I had a project practically closed for a season in a large theater in Barcelona. Everything was agreed upon, but when the programs were presented in June, I discovered that I had been left out without even receiving a call. It hurt me a lot, I felt very betrayed, and it affected me emotionally for a long time. I poured all that pain and frustration into the character. I use that plot to deliver a very honest discourse about the profession, the emotions of artists, precariousness, and how treacherous this sector can be. My professional career is divided into two: before and after opening Sala Fénix. Before, my relationship with other venues was very complicated and painful. Building Fénix gave me the freedom to forge my own path without depending on the dynamics of other theaters in the city. I use that plot to deliver a very honest discourse about the profession, the emotions of artists, precariousness, and how treacherous this sector can be. — Sala Fénix is part of "On el teatre batega". How did this network come about and how do you help each other? We are founding members. The project was born very organically in 2020, in the midst of the pandemic, when the director of the Grec Festival invited ten local venues to be part of a section of the festival. When the lockdown hit, we decided to reinvent ourselves together: we created radio theater, online productions, and designed a joint website to make the circuit visible. We realized that we were people of the same generation who shared exactly the same daily challenges. We decided to move forward and the circuit has consolidated a lot. [articles:300354] — Don't you usually tour your productions among the different local venues? The truth is no, because the artistic line of each venue is radically different. For example, this play could fit in El Maldà in terms of space, but their programming is very focused on musical theater and a very specific type of comedy with an idiosyncrasy linked to a very deep "Catalanness". Although I've been here for 25 years and feel fully Barcelonian, I handle a different theatrical language. Perhaps it would fit better in Versus or Badabadoc, but the market is so small that the local audience already has us all very well located. Cabezas is inspired by the character of the jester. ©Genia Badano — Speaking of this "Catalanness", have you encountered difficulties in launching your project in Barcelona?If I were to complain about Barcelona, it would be very unfair. Institutionally, the support we have received has been proportional and fair to the size of a small project like ours; we live off of this thanks to aid from the Generalitat, the City Council, and the Provincial Council. Socially, Barcelona is an extraordinarily open and multicultural city, so we have never had audience barriers. — For someone who has never heard of El Bufón del Rey Lear, what will they find when they enter the theater? They will find a show with traces of minstrel theater, very artisanal, but which at the same time breathes a contemporary and very fresh reinterpretation. Even the purely Shakespearean passages have been brought down to a very simple language. That's why I always say it's a Shakespeare for a very broad, non-elitist audience; one of the best options to approach the author for the first time without the barrier of that elevated language that sometimes distances the viewer from the classic. It's a Shakespeare for a very broad, non-elitist audience; one of the best options to approach the author for the first time. — What would you say are the main themes that run through your monologue? Ambition and selfishness are Shakespeare's great drivers, and they are omnipresent here. But in my particular version of King Lear, I would say the core is totalitarianism, stubbornness, and structural machismo. I wanted to portray a violent, irascible, and very aggressive King Lear, but one who combines that aggressiveness with a folksy attitude of "owner of the estate." It is precisely that arrogance and stubbornness that ends up unleashing chaos in his kingdom, in his own head, and in the lives of those around him. The play shows us how the blindest stubbornness —and the inability to recognize our own mistakes— is capable of dragging us to the worst of human beings. All the music in the play is made with my own voice. — The soundtrack of the show is created entirely from sounds emitted by yourself. How did that idea come about?If I don't tell you, you won't believe it! All the music that plays—melodies and real rhythmic bases—is made with my own voice. The idea came from Orestes Gass, who is an extraordinary musician with a very long career in theatrical sound design. He wanted to investigate and proposed that I do a test. The next day he showed up in the room with two microphones and we were locked in for a couple of hours recording. I have a video saved from that day where I end up shirtless, soaked in sweat and screaming like a madman in front of the microphone. Literature and theater go hand in hand in this proposal. ©Genia Badano — Next July 18, you are organizing an accessible performance that includes a "tactile visit." What exactly does this initiative consist of? Accessible performances and tactile visits are a structural initiative of Sala Fénix that we have been developing for two years, often in collaboration with ONCE. It consists of adapting the theatrical space for blind or visually impaired people through several specific actions. The first is audio description. We send them an audio of about ten minutes in advance where I detail the aesthetics of the work: the colors, the textures and the spatial dynamics. The second action is the tactile visit itself. Before the performance begins, attendees go up to the stage and touch absolutely everything with their hands: they feel the masks, the set design, the costumes, and they even touch me and feel my face to locate me. It is a very powerful sensory, olfactory and tactile experience that reinforces the previous audio description. Afterwards, they enter the room to enjoy the performance. King Lear's Fool is a reading of the present through the echoes of the past. — Why do you think we should continue interpreting Shakespeare in the 21st century? I believe that Shakespeare analyzes the human being like very few people have achieved in the entire history of theater and art in general. He knows how to describe human nature in a unique way. In fact, Harold Bloom in his book The Invention of the Human states, almost literally, that Shakespeare invented our conception of the human through his characters, and that since then we reflect ourselves in them. No other author has that conceptual greatness. And may the defenders of the Spanish Golden Age forgive me, with whom I have had more than one discussion and artistic fight on this subject, but "William" is an authentic genius! His production has too many jewels and his range is so wide that it is inexhaustible. He captures human beauty and misery with a seriousness and depth that goes a long way. Felipe Cabezas returns one more year with his jester. ©Genia Badano However, I believe there is a clear distinction between his texts: his tragedies have aged much better than his comedies. Tragedies remain timeless because power struggles continue to occur in exactly the same way as in his time. In contrast, his romantic comedies have aged worse; our society and our affective dynamics have changed radically, while ambition and greed remain identical. Shakespeare analyzes the human being as very few people have achieved in the entire history of theater and art in general. — And to close, if you had to complete the sentence: "King Lear's Jester is..." A reading of the present through the echoes of the past.]]></content:encoded>
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      <title><![CDATA[Arepas against distance]]></title>
      <link>https://www.thenewbarcelonapost.com/en/arepas-against-distance/</link>
      <pubDate>Tue, 21 Jul 2026 10:13:16 +0200</pubDate>
      <dc:creator><![CDATA[Anna Torrents]]></dc:creator>
      <category><![CDATA[Lifestyle]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/arepas-against-distance/</guid>
      <description><![CDATA[Chefs, pastry chefs, and restaurants promote dinners, recipes, and solidarity projects to raise funds for Venezuela after the earthquakes]]></description>
      <content:encoded><![CDATA[It is said that, when Alonso de Ojeda and Amerigo Vespucci arrived in 1499 in the waters near Lake Maracaibo, the stilt houses built over the water reminded them of Venice. From that image, Veneziola, the small Venice, would have been born, and later, Venezuela. The history of the name has other theories, but this one has always interested me: a country baptized from a resemblance, from the human need to look at a new place and seek in it something we already know. Perhaps, when a country is far away, we do the inverse. We look for it in an arepa, in a papelón, or even in a tequeño. The latter is almost an infallible detector. A restaurant may not present itself as Venezuelan, and its chef may do creative, French, or completely free cuisine, but if a tequeño appears on the menu, it's easy to suspect that in some corner of the kitchen there is someone from the country. Gastronomic memory has these discreet ways of making itself visible. Since the earthquakes that shook Venezuela on June 24, that memory seems to have gained strength. In Barcelona and other parts of Spain, several chefs, many of them Venezuelan, though not exclusively, have begun to organize dinners, create dishes, open restaurants on days off, or transform projects they already had underway into tools to raise funds. Meanwhile, in Venezuela, restaurants, cooking schools, and volunteers have kept the stoves lit to prepare food. Chef Andrés Torres, from Casa Nova restaurant. Andrés Torres, from Casa Nova restaurant, in Penedès, is currently in Venezuela directly participating in humanitarian actions. Before leaving, he worked with Antonio Bachour, a renowned international pastry chef, on a solidarity dessert made with cocoa, passion fruit, and mango. It will soon be available at Forn Enrich, Pastisseria Xarel·lo, and Pastisseria Hofmann, among other establishments. Beyond its composition, what matters is the initiative: to convert an ingredient linked to Venezuelan territory into a concrete way to help it from a distance. Bachour also participates in a proposal that extends this network beyond a single elaboration: a digital recipe book with formulas altruistically donated by chefs and pastry chefs such as Jordi Roca, Miquel Guarro, Saray Ruiz, and Andrea Dopico. To obtain it, one must make a donation to one of the NGOs working in Venezuela and send a screenshot of the receipt via direct message to pastry chef Ester Roelas, who manages the sending of the book. At the Franca restaurant, the response from chefs Joshua McCarty, Fran Baixas, and Gianmarco Greci, the latter Venezuelan, has taken the form of an arepa. The establishment, which usually closes on Sundays, has decided to open its doors to serve arepas and papelón and dedicate one hundred percent of the proceeds to Venezuela. There is something especially powerful in that image: a kitchen that opens precisely on the day it should be closed because, across the Atlantic, there are people who need help. Solidarity t-shirt created by Junior Martínez in homage to Venezuelan artist Gerd Leufert, for sale on the Bar Brutal website. Junior Martínez has chosen another language. He has created a limited edition t-shirt that pays homage to Venezuelan painter Gerd Leufert through the visual identity of Maiquetía International Airport. Located in La Guaira, one of the territories most affected by the earthquakes, the airport is also one of the main gateways for the departure and return of the Venezuelan diaspora. The profits will go to World Central Kitchen and, on July 15, Bar Brutal will bring together wine, music, and these t-shirts in a solidarity event. Chef Alejandro Serrano has also given a solidarity dimension to the birth of Nexo Rosa, a platform conceived to connect gastronomy, art, fashion, music, design, and other disciplines. The first guest will be Venezuelan chef Santiago Fernández, with whom he will share a creative residency that will pass through different cities in Spain. The project will culminate on July 19 and 20 in Miranda de Ebro with a solidarity menu whose profits will go to those affected by the earthquakes. Strawberry dish by Alejandro Serrano, chef who has given a solidarity dimension to the birth of Nexo Rosa. And there will be more. This week, Juntos por Venezuela has brought together musicians, comedians, DJs, cooks, and artists in a solidarity event with empanadas from La Poderosa and arepas from Ïnta. Next week, Aula Canal will host a pastry sale by Anna Katherina, with all proceeds going to World Central Kitchen. Faced with the emergency, everyone has sought how to help from what they do best: cooking, baking, designing, convening, or mobilizing their community. This response also makes visible a Venezuelan presence in Barcelona much deeper than what we often know how to see. In quiet moments, cooks can afford to move away from their original cuisine, deconstruct it, mix it, or even leave it behind for a while. When things go wrong, however, it seems the body remembers before we do. We return to the dish we know how to make, to the flavor everyone recognizes, to the recipe capable of bringing a community together in a few hours. These days, community is not an abstract idea, but a chain of concrete actions: cooking, opening, selling, and fundraising. An arepa cannot rebuild a country, but it can bring together the people who are still looking for ways to help it. Perhaps the llanera soul is not only the one born "on the vibrating bank of the Arauca." It is also the one that, when that bank is far away or wounded, lights the fire so that distance does not occupy everything.]]></content:encoded>
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      <title><![CDATA[DART celebrates a decade expanding through Barcelona]]></title>
      <link>https://www.thenewbarcelonapost.com/en/dart-celebrates-a-decade-expanding-through-barcelona/</link>
      <pubDate>Tue, 21 Jul 2026 10:09:29 +0200</pubDate>
      <dc:creator><![CDATA[Anna Badia López]]></dc:creator>
      <category><![CDATA[Arts]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/dart-celebrates-a-decade-expanding-through-barcelona/</guid>
      <description><![CDATA[The international film and art festival commemorates its tenth anniversary by leaving cinemas to tour various districts of the city, coinciding with the World Capital of Architecture]]></description>
      <content:encoded><![CDATA[When it was born ten years ago, DART occupied a practically unexplored space in Barcelona: that of documentary cinema dedicated to visual arts. Since then, the festival has turned the big screen into a window to better understand contemporary art, its creators, and the debates that cross disciplines such as photography, design, architecture, or video art. On its tenth anniversary, the event goes a step further and expands its scope with a program that will leave cinemas to spread across different neighborhoods of Barcelona. On this tenth anniversary, it also coincides with the World Capital of Architecture. This coincidence will mark a good part of this year's proposal, which will unfold from October 8 to November 25, with ten free screenings distributed throughout various districts of the city, and with part of the festival entirely dedicated to architecture. The opening will itself be a declaration of intent: it will be on October 8 at the Casa de la Arquitectura, located in the former headquarters of Editorial Gustavo Gili. In addition, the inauguration will be held in collaboration with the Barcelona International Architecture Film Festival (BARQ), reinforcing the dialogue between two events that share the desire to explain architecture from a cultural perspective. Afterwards, the festival will land in various spaces of the city to explain art through the screen, in locations and with a program that have not yet been revealed. [articles:224254] This territorial extension is one of the great novelties of an anniversary that seeks to bring the festival closer to new audiences. While in its usual editions the bulk of the screenings are concentrated in a single venue, this year DART will invite spectators to explore Barcelona through cinema, turning different cultural facilities into meeting points to discover stories linked to buildings, architects, and movements that have left their mark on the way cities are inhabited.The selection of documentaries will approach architecture from diverse perspectives: there will be space to revisit essential figures, explore currents that have marked the evolution of the discipline, and reflect on the role of built spaces in contemporary life. Beyond technique, the program presents architecture as an artistic and social expression capable of transforming the way we relate to our environment. The DART festival in a previous edition. © Leafhopper After this tour of the city, the festival will return to its usual format: from November 26 to 28, Cines Bosque will once again be the epicenter of DART with national and international premieres dedicated to visual arts and a schedule of parallel activities that will include meetings with filmmakers, artists, and professionals from the sector within the DART Lab program. Thus, for almost two months, the city will become a decentralized screen where cinema will serve to view art from new perspectives. It will be a way to celebrate a decade of projected stories that, this year, also invite us to rediscover Barcelona through architecture and documentary, after ten years explaining art through cinema. ]]></content:encoded>
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      <title><![CDATA[Alejandro Latinez: Do not pursue dreams that are not your own]]></title>
      <link>https://www.thenewbarcelonapost.com/en/alejandro-latinez-do-not-pursue-dreams-that-are-not-your-own/</link>
      <pubDate>Tue, 21 Jul 2026 10:09:24 +0200</pubDate>
      <dc:creator><![CDATA[Alberto Valle]]></dc:creator>
      <category><![CDATA[Arts]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/alejandro-latinez-do-not-pursue-dreams-that-are-not-your-own/</guid>
      <description><![CDATA[The guitarist and composer has just debuted with a trio album alongside his mentor, bassist Joris Teepe, and legendary drummer Mike Clark]]></description>
      <content:encoded><![CDATA[When he was nine years old, rummaging for sweets at his grandparents' house, he opened a cupboard and there was that guitar that seemed to be calling him. "I remember spending hours caressing its strings, tracing its contours, hypnotized." The rhythm of Wes Montgomery's In'n'out accompanies the sunset at the Bar while, leaning on the bar, Alejandro Latinez sips a negroni. "I think finding that guitar was the seed of everything that came after," he adds. To understand how this Lima native nurtured his musical passion, one cannot help but talk about Aldo, "he was my uncle, my mother's brother, and, although he made a living as a cameraman, he had played in several groups like Juego Sagrado. He taught my brother and me the first chords and instilled in us a love for progressive music." Bands and artists like Yes, Genesis, Spinetta or (especially) Rush, were Alejandro's first great loves who, with his brother, went in search of those difficult and expensive CDs to find in Peru in the late 90s. A mediocre student, things improved when he moved from a military school to Los Reyes Rojos school, more open to the artistic inclinations of students. At thirteen, he joined the reggae band Ya Vamos Jah and realized that what really excited him, what really motivated him, was playing. To keep learning. "When I finished my studies, I knew I wanted to be a musician. I had the support of my mother and my uncle Aldo and it was then that Teresa, his wife, who is Catalan, offered me the possibility of coming to Barcelona." Latinez's passion for music comes from his childhood. Two decades ago, not yet 18, the musician arrived here and immediately felt at home. Many things started to happen, of course. "My first big project was playing with Dani Lança for several years, with him I gained experience on tours and concerts for thousands of people." Other interesting projects included being part of the Always Drinking Marching Band, or writing and arranging repertoire for the album Jatarishun, by Winiaypa, "an Ecuadorian Andean music band mixed with reggae and pop with whom we still tour the United States and Latin America." But, despite an increasingly frantic activity, there was something, a void, that the musician felt he had to fill. Ending up answering the call of jazzMore than his own dream, Alejandro Latinez seemed to be sublimating the frustrated aspirations of his uncle Aldo. "He didn't like jazz, but ever since I had my first contact with this music, through the guitarist Andrés Prado, I felt like it was calling me." This need to grow musically was what led him to enroll in the Liceu conservatory. There, between studies and passionate listening to Bill Frisell's albums, the foundations of where his musical career was going to go were laid. The final step that pushed him into the world of jazz, definitively moving him away from that inertia of playing rock and pop, was when he enrolled in the New York Comes to Groningen master's program. "I moved to Holland and studied a lot. I had to practice, play all the hours I could, not leave other music aside, of course, but focus on jazz." The double bassist Joris Teepe, director of the master's program, realized the seriousness of that student. "He became my mentor and I went with him to New York, where I realized the enormous level of the musicians there. You could say that there I found the meaning, the direction, that I had been looking for. My dream, and not my uncle Aldo's." Alejandro Latinez on guitar. © Alix Levi One night, in New York, Joris made an incredible proposal. "He raised the possibility of recording an album under my name and by the end of the evening everything was ready: I had eight days to prepare the repertoire, because he and I were going to record together with Mike Clark, the legendary drummer of Herbie Hancock's Headhunters." This is how Introducing Alejandro Latinez Trio (Club del Disco) was forged, the acclaimed debut of the guitarist, who announces that it will have continuity in the form of a tour of Spain and a second album already in preparation. Nourishing the sense of belonging "My grandfather always told me that life was going to be difficult, but that you always have to look forward." The musician's persistence is based, to a large extent, on this life lesson. "I've worked a million things before being able to dedicate myself to music, especially being a terrible waiter," he laughs. Even so, what has not been difficult for him has been integrating into Barcelona. "I have felt welcome. From the first moment I felt it was my home, I immediately started studying Catalan and now I speak it with some fluency." Latinez recording in New York From the city, what stands out most is the sense of community, of belonging to the host place. Even in increasingly difficult situations —"like that of housing, always more inaccessible"— there can be magic, "like what happened during the season when a community of musicians lived in an occupied building in La Ribera, filling that neighborhood with music and strengthening ties with the neighbors," he recalls, as he takes the last sip of his negroni. — What creates a lot of caliu and community is our gastronomic offer. Perhaps you'd like to have something for dinner, it's already time. A drum roll anticipates the start of The Villa by trumpeter Kenny Dorham. The sky has darkened and the bar's clientele is livening up. Alejandro Latinez lets himself be carried away by the atmosphere. — We could start with a burrata salad and then a good cut of meat, accompanied by a good red wine —he ventures, smiling. Alejandro Latinez Trio, with Mike Clark and Joris, Teepe, at the Jamboree. © Hal Masonberg Photography — You certainly know how!]]></content:encoded>
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      <title><![CDATA[LATIR 2026: The festival that breaks the clichés of Latin music]]></title>
      <link>https://www.thenewbarcelonapost.com/en/latir-2026-the-festival-that-breaks-the-cliches-of-latin-music/</link>
      <pubDate>Tue, 21 Jul 2026 10:09:20 +0200</pubDate>
      <dc:creator><![CDATA[Elia Tabuenca]]></dc:creator>
      <category><![CDATA[BCN Shows]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/latir-2026-the-festival-that-breaks-the-cliches-of-latin-music/</guid>
      <description><![CDATA[Latin America and Barcelona join hands with the LATIR 2026 festival, the fourth edition of this artistic gathering that aims to function as a cultural launchpad on both sides of the pond.]]></description>
      <content:encoded><![CDATA[This Thursday, July 16, 2026, the fourth edition of the LATIR festival kicks off in Barcelona, an event that, this year, is 100% free and that for three days will create bridges of cultural connection between Europe and Latin America. This event takes place in different spaces such as Casa Amèrica Catalunya, Ca L'Alier and the Paral·lel 62 hall, and has a clear mission: to offer a showcase of the musical and creative trends brewing on the other side of the ocean. LATIR 2026 Program This year's proposal is divided into three differentiated days with activities ranging from professional reflection and musical discovery to a great collective celebration. Thursday, July 16, is the inauguration at Casa Amèrica Catalunya, an opening day (from 7:00 p.m. to 9:00 p.m.) that will feature the professional talk "The Voices of Vinyes." This is a round table that will analyze the sustainability and projection of Latin American music in Europe. The debate will feature speakers of the caliber of Isabel Villanueva (director of BIME), researcher Manel González and Jordi Cubino (producer and musical director of Eufòria on 3Cat). Afterwards, there will be a concert by Zumbao, a Colombian group that will present its proposal of "joropo and progressive folklore," music that crosses the llanera tradition with the freedom of avant-garde jazz. Full poster of LATIR 2026 On Friday, July 17, the talk "Where do stories come from?" will be organized, an encounter that will unite live illustration, oral narration and music to reflect on how stories travel across borders. Creators such as Heitor Corrêa, the Catalan illustrator Serena, Aldo Zolev, Ela Rincón, Pablo Larraguibel, Li Morenita and Adolfo Córdoba will participate. Saturday, July 18 will be the grand musical closing at Sala Paral·lel 62 with a night dedicated to dance, experimentation and miscegenation. An evening that will feature live performances by Ácido Pantera, María Mulata, Meli Perea, Juandas, Super Simio, Los Migrañas and mixes by the collective DJ RUD4. Behind the festival: The will to connect two worldsBehind the festival lies the diagnosis of the difficulties artists face in crossing the Atlantic. David Hernández Salazar, co-founder of LATIR, details how saturation and the lack of communicative channels in a cultural city like Barcelona motivated the birth of the project: "There were many projects in circulation, on international Latin American tours —many of them Colombian— that could be bands with a lot of trajectory in their origin and would arrive in Barcelona to play for ten people. There was no loudspeaker. And if you manage to build one, there is so much on offer in Barcelona every day that it is very difficult for it to be heard. There is a lack of a direct communication structure and a clear showcase for contemporary Latin American culture." There is a lack of a direct communication structure and a clear showcase for contemporary Latin American culture. This imbalance has been aggravated by what Hernández Salazar calls "the mirage of networks," meaning that apparent digital popularity rarely translates into physical ticket sales in concert halls: "There is a huge oversupply and converting is very difficult no matter how many million likes you have. Networks sometimes function as a mirage; you think 'I'm going to rock it' and then you get to the event and say, what happened?" Given this reality, LATIR acts as a real support and a point of assistance along the way. It not only offers the stage, but also accompanies them throughout the journey so that crossing the pond is not an impossible mission. The organization extends official invitation letters to facilitate access to government mobility aid and promotes an "alternative Latin American programming cartography in Europe," forging alliances with other European venues and promoters so that bands can undertake multi-week tours. The talks and concerts, the heart of the festival Beyond the cumbia cliché As David Hernández Salazar explains, when looking at Latin America from a general European perspective, one often falls into the simplification of reducing all its music to cumbia or folklore. From LATIR, they want to break with that label to demonstrate the immense variety of musical maps in the region. For the co-founder of the festival, this cultural reductionism is as absurd as if abroad one were to try to summarize all Spanish culture with the image of a bullring. This perception of musical genres also conditions the creators themselves. Hernández Salazar points out that "even the artist from the region sometimes thinks that by doing folklore they will make it big in Europe, and that's not really the case. It's a process of building an identity as a project, and within that there can be folklore, but you don't necessarily have to do it to generate a solid project." That is why LATIR's artistic selection does not fear experimentation or extreme sounds. In fact, in previous editions, the festival has hosted proposals of heavy metal or punk from bands with decades of experience such as Masacre or I.R.A. It is a process of building an identity as a project, and within that there can be folklore, but not necessarily. More than 1,000 proposals for a single lineup To put together this edition's lineup, the festival team had to carry out a meticulous selection process among 400 bands registered in Barcelona and 750 in the Bogotá call. "We try to do that filtering to look for bands that we feel are already mature, that have enormous potential to allow for a showcase, and that have at least minimally built an audience and a solid project identity," the organization points out. [articles:300283] This professional rigor has gone hand in hand with a logistical maturation of the festival. In its beginnings, LATIR was born as a street event in collaboration with the La Rotllana foundation in Badalona, and they organized their concerts outdoors. However, to guarantee the viability of international bands traveling 8,000 kilometers, the festival made the decision to migrate to private venues in the city's circuit: "Being linked to certain foundations that are tied to political issues made us juggle. You run the risk that an internal political decision in the city council in power will change things a week before. You can tell a neighborhood band that they ultimately won't play; but when you organize with someone who comes 8,000 kilometers away, the damage to the bands is irreparable if you cancel at the last minute. That's why we started to generate this transformation towards top academic spaces for debates and the best venues in Barcelona for concert nights." [articles:300409] "Community": the word that defines this transatlantic journey LATIR's management is clear that the brand's future lies in sustainability, warmth, and dialogue. "We don't want to be a mega-festival. On the contrary, we are in line with what is often discussed in Barcelona about the challenges of medium-sized festivals," concludes David Hernández Salazar. "We seek it to always be a very beautiful, very kind, and enriching experience." The idea is not only for us to bring projects from there to here, but for LATIR to become a two-way platform. The festival also wants to function as a launchpad for local creators from Barcelona and Catalonia to find a viable, safe, and institutionally supported path to stages in Latin America. The goal is to open doors for cultural exchange, and for bands from here to be able to tour festivals and venues on the other side of the ocean. As David Hernández Salazar rightly points out: "The idea is not only for us to bring projects from there to here, but for LATIR to become a two-way platform. We want to build the necessary channels so that talent from Barcelona can cross the Atlantic with the same guarantees of support, logistics, and projection with which we currently receive Latin American bands." Hernández Salazar summarizes the festival in one word: "Community." Because that is, in reality, the true essence of LATIR. ]]></content:encoded>
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      <title><![CDATA[The new National Pastry Awards and the sweet moment of Catalan pastry]]></title>
      <link>https://www.thenewbarcelonapost.com/en/the-new-national-pastry-awards-and-the-sweet-moment-of-catalan-pastry/</link>
      <pubDate>Tue, 21 Jul 2026 10:09:15 +0200</pubDate>
      <dc:creator><![CDATA[Redacció TheNBP]]></dc:creator>
      <category><![CDATA[Lifestyle]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/the-new-national-pastry-awards-and-the-sweet-moment-of-catalan-pastry/</guid>
      <description><![CDATA[The announcement was made during the closing of the competition held in Flix, an event that once again brought together some of the most prominent names in Catalan pastry and bakery such as Oriol Balaguer, Xecma Misut, Rafel Muria, Roger Canela, Àlex Lera, Pau Carranza or Llorenç Peral]]></description>
      <content:encoded><![CDATA[Flix has been the capital of the sweet world for two days thanks to the celebration of GastroDolç 2026. And no better place and time could have been chosen for this announcement: the creation of the National Pastry Awards of Catalonia, awards that will see the light in 2027, with the aim of recognizing the excellence of the sector, preserving its gastronomic heritage and promoting the talent of new generations. The announcement was made by the general director of Agri-food Companies, Quality and Gastronomy of the Generalitat de Catalunya, Joan Gòdia, during the closing of GastroDolç Flix 2026, a meeting that has consolidated itself as the great forum dedicated exclusively to the culture of pastry, bakery and sweet cuisine in Catalonia. According to Gòdia, these awards are born with a double vocation: to recognize the work of professionals who keep alive one of the most emblematic trades in the country and to project, within and outside our borders, the enormous richness of Catalan pastry. The objective also involves stimulating generational change and giving greater visibility to a sector that is going through a particularly brilliant moment. The capital of the sweet world and bakery It is no coincidence that the announcement was made precisely at GastroDolç. For two days, the Municipal Market of Flix has brought together some of the most representative figures of the current pastry scene, turning the municipality of Ribera d'Ebre into the great showcase of pastry and bakery talent, craftsmanship and creativity. All of them have coincided in the same demand: the need to preserve a trade "in danger of extinction", especially that of artisan baker. A trade that, however, remains alive thanks to the passion of a new generation of professionals who collect the legacy of their elders without renouncing innovation and avant-garde. A luxury closing by Oriol BalaguerThe session by Oriol Balaguer was the icing on the cake, never better said. Trained with the best masters and distinguished with some of the most prestigious awards in the sector —among them the titles of Best Pastry Chef in Spain and Best Pastry Chef in the World granted by the International Academy of Gastronomy—, the Barcelona pastry chef captivated the audience with his presentation The refinement of the exquisite. A true lesson in sensibility, technique, and creativity in which he defended a pastry based on flavor, balance, precision, and emotion, demonstrating why he continues to be one of the great references in international haute patisserie. Tartaleta de Oriol Balaguer in GastroDolç. © Eric Artigas Shortly before, the large audience filling the Municipal Market of Flix was able to discover some of the secrets of the desserts from one of the best restaurants in the world. Xecma Misut, a member of El Celler de Can Roca's team, offered a masterful session worthy of his master, Jordi Roca, who was ultimately unable to attend after undergoing surgery days earlier from which he is recovering favorably. Even so, Jordi wanted to be present at GastroDolç through a video message in which he thanked the affection received and wished all attendees a great day. Misut took over from Jordi Roca to show the creative process behind some of El Celler de Can Roca's most emblematic desserts. A demonstration that maintained the spirit of a session conceived to share knowledge, creativity, and a way of understanding pastry that has made the Girona restaurant a global benchmark. Four live preparations served to illustrate one of the maxims that guides the team's work: "We must look to the past to move towards the future." A pastry chef four hands on stage Among the sweetest moments of GastroDolç 2026, the session that brought together on stage the young pastry chef from Flix, Pau Carranza, from Pastelería Larrosa (Best Cheesecake 2024 and Best Sant Jordi Bread 2025), and Àlex Lera, second generation at the helm of Pastisseria Sant Llehí (Best Cheesecake 2025 and Best Bonbon in Spain 2025), stood out. Both demonstrated the complicity that exists between them as they explained and prepared live —each with their own style— the cakes that have earned them these recognitions. Emerging talent also shone with its own name thanks to Llorenç Peral, second generation of Pastisseria Els Perxis, who on Sunday brought his spectacular Chocolate Sant Joan Coca to the stage, recognized this 2026 as the best in Catalonia in its category. A demonstration that confirms the excellent moment that the new batch of Catalan pastry chefs is going through. Closing of GastroDolç. © Eric Artigas Also Esther Real and Gerard Gil, fourth generation of Forn Gil in Barcelona, offered a lesson in craftsmanship and commitment to tradition. Their presentation highlighted the family legacy and demonstrated that it is possible to innovate without losing the essence of an artisan bakery that continues to be a benchmark in Catalonia. Technique, passion and local products The passion for the craft and the defense of local products were, precisely, the common thread of all sessions. Also those led by master bakers Roger Canela, from PaPanBread —distinguished with the Llesca d'Or de Catalunya—, and the Sistaré family, from Reus, representatives of the sixth and fifth generation, respectively, of one of the most recognized baking sagas in the country. Both championed the value of artisan bread, fermentations and the baking craft as an essential part of Catalan gastronomic and cultural heritage. One of Rafel Muria's desserts. © Eric Artigas The healthiest note was provided by Rafel Muria, chef of the Quatre Molins restaurant, in Cornudella de Montsant. The chef, distinguished with a Michelin star, placed honey as the main protagonist of a session that highlighted its gastronomic, nutritional and territorial qualities, demonstrating that such an ancestral product continues to offer infinite creative possibilities. The program also reserved a space to reflect on the future of the profession with the participation of the Barcelona Pastry Guild. Its president, Luis Izaguirre, together with Elena Sans, a bean-to-bar chocolate specialist linked to the Barcelona Chocolate Museum, and Ivan Prats, from Dolços Alemany 1912 in Amposta, championed training, specialization and generational succession as essential pillars to guarantee the excellence of future Catalan pastry. ]]></content:encoded>
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      <title><![CDATA[Rowing Against Cancer]]></title>
      <link>https://www.thenewbarcelonapost.com/en/rowing-against-cancer/</link>
      <pubDate>Tue, 21 Jul 2026 10:09:11 +0200</pubDate>
      <dc:creator><![CDATA[Xavi Casinos]]></dc:creator>
      <category><![CDATA[Lifestyle]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/rowing-against-cancer/</guid>
      <description><![CDATA[The Real Club Marítimo de Barcelona strengthens its social role and opens rowing to women who have undergone breast surgery and to Paralympic athletes]]></description>
      <content:encoded><![CDATA[A group of 16 women who have undergone breast cancer surgery have decided to include rowing in their recovery process. For this, they use the facilities of the Real Club Marítimo Barcelona (RCMB). They are part of Project Nereida, an initiative promoted by professor Sònia Güell that has found collaboration, among others, from Hospital del Mar and the historic Barcelona club. Being part of the project has zero cost for the women involved. For Albert Díaz, president of the RCMB, it is about helping to obtain social benefits for certain groups, in this case, oncology patients. "Clubs," he maintains, "must go beyond business" and get involved in this type of project. The program was born in 2024 with the aim of improving and transforming the lives of breast cancer patients. It is also an experience to investigate the impact of rowing on the recovery of women who have undergone this operation. So far, initial data indicate that this sport provides some lymphatic benefits that aid recovery. But there are others. The coordination required in rowing among team members also generates a sense of group, which affects the psychological health of patients. Now, project managers are studying how to expand the group and whether other sports practices also provide benefits to patients with other oncological diseases. "The Real Club Marítimo Barcelona has recently been recognized as the best in the country in Paralympic rowing" Project Nereida coincides at the RCMB with another initiative with social implications. The club has recently been recognized as the best in the country in Paralympic rowing, having won three medals in the Spanish Championship held last May in the Alava town of Legutiano. Thus, the RCMB has consolidated itself as the best club in adapted rowing and in mixed sport, in its Paralympic category. This success is due to the incorporation in recent years of three athletes, precisely the three medalists in Legutiano. These are Josefa Benítez and Mario Serrano, who won gold and silver medals, respectively. This category, called 2x PR3, refers to a boat with two rowers designed for athletes whose physical disability does not affect their arms, trunk, and legs. [articles:231481] Benítez is visually impaired and Serrano lost a leg in an accident. The regulations indicate that they must form a team with a non-paralympic athlete of the opposite sex. Benítez's partner is Albert Díaz, president of the club, and Serrano's partner is Ainhoa ​​Masana, rowing captain of the club. The involvement of both in paralympic competition, holding positions of responsibility in the club, is proof of the entity's commitment to the development of paralympic rowing. The third medalist —in this case bronze— in the Spanish Championship was Marc Vilà. This athlete, with some physical and visual impairments, competes in the 1x PR3 category, designed for athletes who, despite their limitations, can do so individually. Members of the Nereida project © Reial Club Marítim Barcelona The paralympic rowing section at the RCMB began in 2021, precisely when Josefa Benítez joined the club. She came from practicing cycling, a sport in which she had participated in the London Games. For the Tokyo Games, she already competed in rowing. For the president of the entity, the two initiatives are like a return to the club's beginnings. It was founded in 1902 as Real Club Barcelona, ​​when the Real Club de Regatas, mainly dedicated to rowing for 20 years, and the Real Yacht Club, which dealt with sailing, merged. In 1909, a split occurred from which the neighboring Real Club Náutico de Barcelona emerged. The Club de Regatas then acquired the name of Real Club Marítimo. Josefa Benítez and Albert Díaz in their canoe © Reial Club Marítim Barcelona Albert Díaz points out that rowing is a sport with deep roots in Catalonia. Its origin is said to date back to the fish trade, when sellers competed oar in hand to be the first to reach the fishermen's market. Today, those old races have evolved and the competition has reached the paralympic category and to overcome breast cancer.]]></content:encoded>
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      <title><![CDATA[A roadmap for the metropolis of the future]]></title>
      <link>https://www.thenewbarcelonapost.com/en/a-roadmap-for-the-metropolis-of-the-future/</link>
      <pubDate>Tue, 21 Jul 2026 10:08:41 +0200</pubDate>
      <dc:creator><![CDATA[Anna Badia López]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/a-roadmap-for-the-metropolis-of-the-future/</guid>
      <description><![CDATA[The AMB advocates for a metropolitan vision to address housing, sustainability, and social cohesion, looking beyond 2040]]></description>
      <content:encoded><![CDATA[The water that comes out of the tap, waste that is collected, parks and beaches, the bus and metro that connect streets, cities, metropolises. These are elements that are encompassed within Barcelona's metropolitan vision, with a joint strategy that aims to respond to the challenges it faces, from housing to climate change. This long-term metropolitan vision was concretized in the AMB 15 years ago, and now it focuses on the next 15 to shape the metropolis of the future. This future involves two pillars: social cohesion and sustainability, as defended by the vice president of Urban Planning Policies and Natural Spaces of the AMB, Damià Calvet. And this also involves "strengthening our sovereignties: food, energy, water, to achieve this maximum social cohesion and sustainability," proclaimed the also councilor of the Barcelona City Council on the second day of the AMB 15+15 dialogues, which was approached from the Port Olímpic with a question: How do we want to live in the metropolis 15 years from now? Diversity in a transforming territory. And this diversity is key to understanding the AMB and the path it wants to trace in the coming years. "The AMB is not a sum of municipalities, but something much more complex. They are interconnected dynamics, an ecosystem. And we must be able to look at it from different scales," proclaimed the coordinator of Urban Planning of the AMB, Loles Herrero. These territories that not only add up, but also interact, do so from a diversity that, according to her, brings complexity and richness to the management and progress of the Barcelona metropolitan area, in a vision that should not overlook the perspective of each municipality, as defended by the writer and professor of Moral and Political Philosophy at the UAB, Victòria Camps. Round table with Josep Martínez, Loles Herrero and Victòria Camps. © Oscar Giralt Housing as a priorityIn this context of interrelation where municipal borders are blurred, the way of facing challenges also acquires a dimension that goes beyond the municipality. Among all these challenges, one stands out, which has emerged throughout the day: housing. This has been defended by speakers such as the mayor of Sant Adrià de Besòs, Filo Cañete, who has placed the priority for the next 15 years on "the housing emergency, accompanied by services and facilities that respond to this emergency, and also to the climate emergency." The mayor also emphasizes economic development and seeking territorial balance, in a context where new centralities are generated, such as the one Sant Adrià will gain in Les Tres Xemeneies. Furthermore, the difficulty of accessing affordable housing leads citizens to move from one municipality to another in a metropolis that responds to these movements with more displacements. And it is that, when one piece (like housing) can be moved, it generates effects on another (like mobility), in a chain of interrelations within the ecosystem. "The issue of mobility is essential, both to solve pollution and housing and displacements, and also because the space occupied by mobility cannot be occupied by other uses," highlighted the director of Public Space Services of the AMB, Albert Gassull, in a round table alongside Cañete. [articles:300325] This chain effect requires that "multi-scale perspective" that Herrero has called for, taking into account the diversity of situations and realities that coexist in the metropolitan area. Badia del Vallès is one of those diverse cases that require a different perspective: all its housing stock was built under official protection, and that has meant that its residents are the same ones who arrived decades ago, when the flats were built: "The children cannot stay because there is no capacity to grow more," and of the original residents, mostly women over 65, and now widows, continue to live in the blocks. This was explained by the mayor, Josep Martínez, illustrating that diversity of situations that must be addressed in a metropolitan key. Other of these realities occurs in a large part of its municipalities, and it is the maximum expression of the housing emergency: homeless people. The director of the Fundació Arrels, Bea Fernández, has also focused on substandard housing and invisible situations that show that "the solutions that have been proposed so far are not enough." Arriving from Milan, expert Alessandro Balducci outlines this invisible city and, in the inaugural address, has advocated for strengthening the metropolis through collaboration with other institutions and with civil society. "Territorial planning and, in particular, metropolitan planning, plays an essential role as a strategy to overcome crises," emphasized Balducci, full professor of Urban Planning and Policies at the Politecnico di Milano. Alessandro Balducci's presentation at the AMB conference. © Oscar Giralt Nature as infrastructure Although it may seem unexpected, in this metropolitan territorial planning, not only cities count, but also nature. And this conviction comes from afar: "The idea that the Barcelona project should include natural spaces has been there from the beginning," said the general director of the Consorci del Parc Natural de la Serra de Collserola, Raimon Roda. However, over the years the nuances have changed: "At first, the value given to these spaces was more for human use than for their intrinsic value." "From the preservation of these spaces, we moved to the idea of a network; then, of a matrix, and that nature is as important as other services. Now we are already talking about green infrastructure," Roda detailed. But being infrastructure is not just terminology, but "being infrastructure implies being something to which functions are attributed," as pointed out by ETSAB-UPC Urbanism professor Pepa Morán. And these functions depend, in turn, on the uses that are intended for natural spaces, as highlighted by the mayor of El Prat de Llobregat, Alba Bou: "We have to ask ourselves what we want natural spaces for and, depending on the answer, manage them in one way or another. And then provide it with structure and resources." Round table with Alba Bou, Raimon Roda and Pepa Morán, by Oscar Giralt The future in 15 years, and in 50The AMB's 15th anniversary is celebrated coinciding with another anniversary: the 50th anniversary of the Metropolitan General Plan (PGM), as highlighted by journalist Jofre Llombart, host of the event. But the half-century of planning that has shaped today's metropolitan Barcelona goes beyond being a symbolic commemoration, as the AMB is working to update the Metropolitan Urban Master Plan (PDUM), the roadmap that will define the design and territorial model for the future of the metropolitan area. Jofre Llombard with Filo Cañete, Albert Gassull and Bea Fernández, by Oscar Giralt The PDUM is being conceived as a flexible framework that allows adaptation to social and economic reality, which always advances more quickly than administrative planning. This double speed was also experienced with the constitution of the AMB itself: "Mayors dedicated many efforts not to building the AMB, but to reversing situations that had arisen from not having a metropolitan area before, such as cities without planning and endogenous perspectives," highlighted the mayor of Sant Joan Despí and vice-president of the Water Cycle and Metropolitan Policy Analysis of the AMB, Belén García. Now, under the metropolitan umbrella, that endogenous perspective looks towards its surroundings with a common strategy and, according to García, it must do so by pointing in three directions: balanced and sustainable development, social cohesion, and economic development: "We must be capable of developing these three axes in balance." Now, 15 more years open up to advance in this direction, with a new PDUM in which the challenge is no longer to build the institution, but to project a metropolis capable of adapting to an increasingly changing future. ]]></content:encoded>
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      <title><![CDATA[Virginia Woolf, Miguel Hernández and Blai Bonet at the Teatre Raval]]></title>
      <link>https://www.thenewbarcelonapost.com/en/virginia-woolf-miguel-hernandez-and-blai-bonet-at-the-teatre-raval/</link>
      <pubDate>Tue, 21 Jul 2026 10:08:37 +0200</pubDate>
      <dc:creator><![CDATA[Elia Tabuenca]]></dc:creator>
      <category><![CDATA[BCN Shows]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/virginia-woolf-miguel-hernandez-and-blai-bonet-at-the-teatre-raval/</guid>
      <description><![CDATA[The Teatre Raval has announced its program to open the 2026/27 season with a firm commitment to its own productions and the recovery of texts by very relevant artists.]]></description>
      <content:encoded><![CDATA[After the recent reopening of the space, Teatre Raval presents its new season with the proposals that can be seen from September to January. The artistic direction of Pep Tosar and Evelyn Arévalo (from the company Olvidaos de nosotros) focuses on self-production, complicity with like-minded companies, and a clear artistic identity, faithful to its essence. On stage, we will find proposals of high literary level, historical feminism, and poetic memory, by artists such as Woolf, Miguel Hernández, Blai Bonet, or the 30th anniversary of the Cia. Roberto G. Alonso. Teatre Raval's program for autumn/winter 2026 The season will officially kick off on September 16 with the revival of A Room of One's Own, Virginia Woolf's text, directed by María Ruiz and starring Clara Sanchis. The show combines text and live music and returns to Barcelona coinciding with the 10th anniversary of its premiere. [articles:233950] From October 7, the space will host the new major production by the resident company Olvidaos de nosotros: Vientos del Pueblo. Directed by Pep Tosar, with joint dramaturgy with Evelyn Arévalo, this piece reconstructs the poetic, vital, and tragic universe of Miguel Hernández. The work combines textual interpretation, live music, documentary video, and the presence of the emblematic contemporary dancer Andrés Corchero. Clara Sanchis stars in "A Room of One's Own" at Teatre Raval On November 17, Teatre Raval will exhibit Yo, travesti by Cia. Roberto G. Alonso. The Barcelona-based company celebrates its 30 years of trajectory on stage by reviving this production. Halfway between theater, music, and dance, Yo, travesti is a festive, but also very political, piece that pays homage to the art of drag and some of the most celebrated figures of the transvestite subculture and resistance in our history. The show 'Yo, travesti' returns to the billboard thanks to Teatre Raval The closing of the program coincides with the centenary of the birth of the Mallorcan poet and novelist Blai Bonet (born December 10, 1926). To commemorate this artistic event, Teatre Raval revives La casa en obres, the mythical show directed by Pep Tosar that originally premiered at the Grec Festival de Barcelona in 1998. Now it is presented completely reformed, with a new cast, a renewed staging, and from an updated perspective. Promotional image of 'La casa en obres' Cabaret and local music in Raval The small hall of Teatre Raval will host more intimate and experimental pieces, such as Noli me tangere. The company El Nen Congelat presents a return to cabaret understood as a space of absolute freedom, mockery, and reflection on our own vanities. Between songs, improvisations, and incisive dialogues, the show traces a portrait of a society that prefers appearances and prefabricated dreams rather than accepting its own contradictions. On December 12 and 19, it will be the turn of LaLorea. The Canary Islands singer-songwriter, established in Barcelona for more than two decades, celebrates 25 years on stage with her most personal and mature musical project. Accompanied by a formation of four top-level musicians, she will offer a varied repertoire where bolero, neighborhood rumba, and Latin son intertwine with singer-songwriter music. [articles:300143] Music and author flamenco with Les Grans Blue Nits The new management's commitment to live music is consolidated this season in the Sala Tadeusz Kantor through the special format of Les Grans Blue Nits. On October 17, flamenco singer-songwriter Ana Brenes will take the stage to present her new studio album, Mientras camino, live. Brenes is one of the most honest voices of the new Barcelona flamenco scene and proposes a journey that draws from the purest tradition, but dares to incorporate social poetry and self-criticism. The artist will be accompanied on guitar by Toni Abellán. Ana Brenes will present her album 'Mientras camino' The new season of Teatre Raval is designed to move us, shake us, and remember some of the most poignant voices in the history of literature. A golden opportunity to reconnect with these artists in a close, warm, and very welcoming venue. ]]></content:encoded>
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      <title><![CDATA[FIFA Darlings: the World Cup's brand building machine]]></title>
      <link>https://www.thenewbarcelonapost.com/en/fifa-darlings-the-world-cup-s-brand-building-machine/</link>
      <pubDate>Tue, 21 Jul 2026 10:08:00 +0200</pubDate>
      <dc:creator><![CDATA[Natalie Batlle]]></dc:creator>
      <category><![CDATA[Opinion]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/fifa-darlings-the-world-cup-s-brand-building-machine/</guid>
      <description><![CDATA[Each World Cup has two competitions. One is played for the trophy. The other, for our affection.]]></description>
      <content:encoded><![CDATA[Long before the final, the internet had already chosen its favorites. Algorithms were filled with improbable heroes, memes, and behind-the-scenes photos. My favorite narrative was another: the new FIFA darlings carrying Hermès Birkins. The World Cup is not just the biggest showcase for football. It is the most powerful brand building machine on the planet. For a month, billions of people look towards the same place. Never has there been so much concentrated attention at the same time. And when that happens, someone unknown on a Monday can become a global icon on Friday. Attention, however, is not equally distributed. If you are lucky enough to face football royalty —Spain or Argentina— you are not just playing against a powerhouse. You inherit their audience. Millions connected to watch Lamine Yamal and Messi. And they left talking about Vozinha… and wondering where Cape Verde was. That is the strange alchemy of the internet. A great performance not only turns a player into a star. It turns everything around him into a brand. In a matter of days, Vozinha went from unknown to global phenomenon. His Instagram followers skyrocketed and various media are already linking him to new opportunities in Miami. But he was not the only winner. FIFA Darlings. Collage by Lemar Agency The tournament also marked the big moment for Capelli Sport, the brand that dresses the Cape Verde national team. There is a branding lesson hidden in plain sight. Small brands can take risks that large ones rarely allow themselves. Capelli did not try to compete with Adidas or chase Brazil. It bet on Cape Verde. And, suddenly, it became part of the conversation. Small brands can take risks that large ones rarely allow themselves. But the real winner was not Capelli. Not even Vozinha. It was Cape Verde. Millions of people who had never heard of the archipelago opened their chat and asked: "Where is Cape Verde?" Almost overnight, Cape Verde went from being a somewhat known place to becoming a destination that aroused curiosity. TikTok did the rest. No tourism office could have bought such a level of exposure. The great tournament of a single goalkeeper opened opportunities not only for him, but also for an entire country. Cape Verde went from being a somewhat known place to becoming a destination that aroused curiosity. While watching all this, I couldn't stop thinking about one of my obsessions: brand equity. That emotional value we associate with a name. At a time when anti-immigration discourse is gaining strength in so many democracies, the World Cup invites us, almost without realizing it, to do just the opposite. We stop seeing countries as abstractions. We cheer for people whose language we don't speak. We learn their anthems and customs. We discover places we had never imagined visiting. Football reminds us that strangers are not so strange after all. My second FIFA darling couldn't be more different. If Vozinha is the fairy tale, Erling Haaland is the internet's boyfriend. In a matter of days, my feed became a carousel of Haaland dressed in Loewe one day, meditating the next, and celebrating a Viking ritual afterward. A sequence that achieved exactly what any brand dreams of: conquering the internet. Football reminds us that strangers are not so strange after all. The memes wrote themselves. And, naturally, brands wanted to join the conversation. Within hours, Marriott, Treatwell, British Airways, or Norwegian found a way to join the conversation. Because that's what happens when someone becomes the internet's boyfriend. Cultural conversation always moves faster than any communication plan. The smartest brands don't interrupt the moment. They join it. Every viral Haaland video is also selling Norway. The World Cup not only creates sports heroes. It creates cultural capital that everyone—from luxury brands to governments—wants to make their own. But beneath all those memes, there's something even more interesting. Every viral Haaland video is also selling Norway. The Viking celebrations. The fjords. The Nordic humor. That Scandinavian elegance that never seems to try too hard. Haaland is not just building a personal brand. He is exporting a country brand. That's the magic of a FIFA darling. It doesn't just make us fall in love with the player—or, in Lamine's case, also with his little brother…. It makes us want to discover the place he comes from. Because, in the end, every World Cup has two competitions. The one played for the trophy. And the one played for our hearts.]]></content:encoded>
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      <title><![CDATA[Talent, innovation and business dimension, the keys for the Catalan economy]]></title>
      <link>https://www.thenewbarcelonapost.com/en/talent-innovation-and-business-dimension-the-keys-for-the-catalan-economy/</link>
      <pubDate>Tue, 21 Jul 2026 10:07:56 +0200</pubDate>
      <dc:creator><![CDATA[Anna Badia López]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/talent-innovation-and-business-dimension-the-keys-for-the-catalan-economy/</guid>
      <description><![CDATA[The Annual Economic Report draws a favorable economic situation with signs towards an improvement of the productive model and with challenges and opportunities to increase productivity]]></description>
      <content:encoded><![CDATA[The Catalan economy is in a good moment and is taking steps towards a more productive model, despite the pending challenges to be resolved. These are the conclusions of the Annual Report on the Catalan Economy 2025, which serves not only to understand the evolution of Catalonia's economy —especially in an uncertain international context—, but also to analyze the challenges and opportunities it faces, and how to address them. Because in this approach to challenges and opportunities is where, often, the difference can be made. "We must look at opportunities and not just risks; pessimists, step aside," proclaims the President of the Generalitat, Salvador Illa, as a maxim. But, just as pessimism must be set aside, "there is also no room for complacency." "Misunderstood optimism closes its eyes to challenges, and that is dangerous," and even more so in a context of international uncertainty. And, as the general director of Economic Analysis and Foresight, David Lizoain, highlights, "the Catalan economy is in a good moment, but it could be otherwise; the good situation occurs despite the external context, and thanks to internal demand." Thus, despite a 2025 marked by tariffs and international conflicts —and a 2026 that follows the same trend—, the Catalan economy grew by 2.7% in 2025, "almost double the eurozone average" (1.4%). The average GDP per capita is also above the European average, and the unemployment rate is the lowest in recent decades. All this occurs at a time when the Catalan economy perceives underlying signals towards a transition —still incipient— towards a "better productive model," with jobs in value-added sectors. But these signals are not without challenges, such as those cited by the dean of Law and Political Science studies at the UOC and member of the Advisory Council for Productivity and Economic Leadership of Catalonia, Ignasi Beltran de Heredia: "The challenges we have ahead are of great complexity." Salvador Illa at the presentation of the report. © Maria Asmarat / ACN - "Some we have known for a long time, such as population aging or young people's access to the labor market, and others have emerged in recent years, such as climate change and AI," highlights the also professor of labor law and social security, who cites another challenge: that of equality between women and men in the labor market. The doctor in Economics and member of the same council, Jennifer Ruiz-Valenzuela, has emphasized the importance of women participating in the labor market with equal conditions and opportunities, and has stressed that "the problem is not so much inequality between men and women, but what happens when children arrive." [articles:300398] All these challenges and the way they are addressed condition the competitiveness and productivity of Catalonia and, therefore, its economy, and its capacity to redistribute it. Faced with these challenges in favor of productivity, the Minister of Economy, Alícia Romero, proposes a recipe with three ingredients: talent, innovation, and increasing the size of companies. Alícia Romero, Ignasi Beltran de Heredia and Jennifer Ruiz-Valenzuela at a round table. © Maria Asmarat / ACN "Talent is the most important element for a company to function and for productivity to increase," she emphasized. Innovation also plays a crucial role, which is why the Government has articulated a new strategy to promote it with more aid and, above all, with a more coordinated and connected system that improves the transfer of knowledge to the market. "To be more productive, it is essential that we are more innovative." And here the third ingredient is also relevant: business size. This is because 90% of Catalan companies have fewer than ten workers, when a larger size facilitates progress in areas such as innovation, export, and internationalization.They are three elements capable of multiplying productivity and competitiveness, and of raising the level of the Catalan economy and its GDP. However, as Lizoain has highlighted, "the entire economy cannot be reduced to GDP, nor can the entire country be reduced to the economy; the correct functioning of the economy is a necessary, but not sufficient, condition to respond to the challenges we have ahead." And it is that the good situation of the economy must translate into a "shared prosperity", into a model of wealth redistribution that Illa has valued, also through the Catalan budgets. "Ensuring that the prosperity generated by Catalonia is shared is both a moral imperative and something necessary for the functioning of the economy," highlighted the president, who went further: "Catalonia's shared prosperity model will not be for sale for a few tenths of GDP." ]]></content:encoded>
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      <title><![CDATA[Miró de calle]]></title>
      <link>https://www.thenewbarcelonapost.com/en/miro-de-calle/</link>
      <pubDate>Tue, 21 Jul 2026 10:07:52 +0200</pubDate>
      <dc:creator><![CDATA[Jordi Cabré]]></dc:creator>
      <category><![CDATA[Lifestyle]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/miro-de-calle/</guid>
      <content:encoded><![CDATA["My dear Miró Foundation is not for sale," said Robert Lubar, professor at the Institute of Fine Arts of New York University, as he resigned from the board of trustees of the Miró Foundation in protest of the appointment of the new director (Maribel López, director of ARCO). The crux of the matter has been the "evident" transfer of art market interests to the management of an internationally prestigious artistic institution. And, outside of institutions and museums, a city that sometimes also seems for sale. With Miró's works embedded in its streets, with the artist's explicit will to link his name to the city, one might ask if this urban museum has also been given away (or sold very cheaply) to market interests. That's what happens, at least, to a city everyone calls "beautiful": ending up believing it or becoming only that. Miró awaits us when we land at the airport, observes us as we cross the Rambla, and stands, monumental, between the old Escorxador park. If Gaudí or Domènech have turned the city into a promise of imagination in homes, palaces, and facilities (and temples), Miró has transformed it into a kind of open-air gallery. And, beyond that, he has created places that we already feel are our own: nobody says "let's go see Miró's mosaic," we say "see you at the Pla de l'Ós." Nobody visits Dona i Ocell as one visits a foreign monument, and the airport mural is an almost daily welcome and farewell mural. For that alone, among many other reasons, the airport should be called Joan Miró and not that ridiculous name that no one uses. Miró knew well the power of symbols. Despite having developed a good part of his career away from Catalonia, he never lost his connection with the Catalan capital. When he agreed to create these works, he was not seeking to monumentalize himself: he wanted art to leave specialized (or elitist) spaces and coexist with people. So that the child going to school, the tired tourist arriving after a flight, or the retiree strolling through the park (if this enormous sandy dog park that is Parc Joan Miró can be called a park) could encounter, unintentionally and yet always wanting to, a work of art. The first contact with Miró is usually the ceramic mural in Terminal 2 of the airport. © Vicentre Zambrano The first contact, as we said, is usually the ceramic mural at Terminal 2 of the airport. Inaugurated in 1970, it was made jointly with the ceramist Joan Gardy Artigas, an essential collaborator so that Miró's forms and colors could withstand the elements. The mural is enormous, almost impossible to embrace with a single glance (or a single Instagram photo). The red, blue, yellow, and black stains bask under the Prat sky while seeming to give it a dress, an accessory, a signature: here the sky and earth bleed, cry, tear their clothes just because the sky is blue or because the Earth revolves through the Universe. You are at the center of the world (with permission from Perpignan station): you are in the Mediterranean. And no, it is not just a geographical place. Neither an airport with planes, nor a skyline, nor a genre scene, but a different and passionate hospitality: color as a celebration, organic forms as a universal alphabet, vital vertigo as a way of understanding the world. A kind of flag of the human condition. A few years later, Miró left another mark in one of the most transited spaces in the country: el Pla de l'Ós, in the center of La Rambla. The circular mosaic was conceived to be stepped on, adopted as urban parquet, carpet, and indelible tattoo even when an Islamist van attack occurs. Art ceases to be contemplated from a distance to become a physical experience: the mosaic changes with the rain, with the shadows, with the street vendors, with the demonstrations, with the hurried tourists, and with the hustle and bustle of the subway. Barcelona passes every day, and it is Miró who remains. The Pla de l'Ós mosaic, on La Rambla, was conceived to be stepped on, adopted as urban parquet. © Vicente Zambrano Finally, there is the city's great sculpture: Dona i Ocell. Erected in 1983, shortly before the artist's death, it seems like a trophy hard-won by the residents of this end of the Eixample. The female figure and the bird, two recurring symbols in his iconography, climb one on top of the other as a single vertical presence, covered by ceramic shards also designed with Joan Gardy Artigas. The ensemble has something of an ancient totem and at the same time of a futuristic, Martian, hieroglyphic creature. Miró: a circle, a star, an eye, a bird. This economy of resources explains (in part) why his works are contemporary more than half a century later. They work because they appeal to a primitive, shared, spontaneous, and perfectly intelligible language. You don't need to fully understand it to feel it familiar, close, and crystal clear. Miró shouts, very clearly, and that's why anyone with imagination can read him without much effort, even if they can't write it. Tour cyclists with Joan Miró's sculpture Dona i Ocell in the background. © Àngel Bravo - Barcelona retains the privilege of having three works that were not conceived to become photographic attractions, but rather life companions. The mural welcomes us. The mosaic accompanies us as we walk. The sculpture waits patiently for us in the "park," as if it were a mother watching over her children. And we, meanwhile, putting our city, our museums, and our lives up for sale. Let Barceló be careful.]]></content:encoded>
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      <title><![CDATA[The most spectacular open-air cinemas in Barcelona]]></title>
      <link>https://www.thenewbarcelonapost.com/en/the-most-spectacular-open-air-cinemas-in-barcelona/</link>
      <pubDate>Tue, 21 Jul 2026 10:06:46 +0200</pubDate>
      <dc:creator><![CDATA[Elia Tabuenca]]></dc:creator>
      <category><![CDATA[BCN Shows]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/the-most-spectacular-open-air-cinemas-in-barcelona/</guid>
      <description><![CDATA[Towel on the ground, the starry sky and a giant screen about to tell us a story. Barcelona, in summer, fills with open-air cinemas with films acclaimed by the public and critics.]]></description>
      <content:encoded><![CDATA[Summer in Barcelona has some plans that are already classics. With the arrival of the heat, Barcelonians eagerly await cultural events such as the Grec Festival, music festivals like Sónar or Cruïlla and, of course, open-air cinema. And what would our summer nights be without those get-togethers with your loved ones, a cool drink in hand, and a good movie on the big screen? This year, our city once again offers open-air cinema series, ideal for the whole family: Sala Montjuïc, Cinema a la Platja, Gandules at the CCCB, and other cinephile gatherings in civic centers, shopping centers, and even on the rooftop of a luxury hotel in the city. Sala Montjuïc: the (already) classic open-air cinema in Montjuïc If there's a classic of summer nights in our city, it's Sala Montjuïc. This open-air cinema series is once again held in the moat of Montjuïc Castle, offering a plan that combines its famous rental sun loungers, a grass "carpet" to spread the picnic blanket, and live concerts before the screening. The 2026 program once again mixes current blockbusters with cult films such as, for example, Sirat, One Battle After Another, Three Goodbyes, among many other titles. Sala Montjuïc kicks off its event with a live concert Cinema lliure a la Platja But if you're more of a beach person than a mountain person, nothing beats going down to Barceloneta, specifically, Sant Sebastià Beach, to enjoy Cinema Lliure a la Platja. This series offers a free and open-access program, with great titles like The Light of Ahisa, Pilgrimage or The Mysterious Gaze of the Flamingo. The screenings take place every Thursday in July and begin at sunset, around 9:30 p.m. Few sensations surpass watching a good movie with the sound of the waves in the background and the Mediterranean breeze! Gandules 2026, open-air cinema at the CCCB The Pati de les Dones of the CCCB (Centre de Cultura Contemporània de Barcelona) will once again be filled with hammocks from July 28 to August 13, 2026, with its Gandules cycle. This year, film critic Desirée de Fez curates an edition that directly dialogues with the exhibition The Cult of Beauty. The cycle focuses on films that deal with the obsession with perfection, eternal youth, and aesthetic pressure with films such as Helter Skelter by Mika Ninagawa, Eyes Without a Face (Les yeux sans visage) by Georges Franju, The Substance (The Substance) by Coralie Fargeat, or The Fly (The Fly) by David Cronenberg. [articles:300063] Open air roof-top cinema at El Palace de Barcelona The Palace hotel offers an exclusive and sophisticated evening with its Open air roof-top cinema, an open-air film series that will run until July 31, 2026. Its Rooftop Garden installs a giant screen and has very limited seating (only 20 reclining hammocks and 4 sun loungers) to ensure an intimate atmosphere. The experience includes a reserved seat, a welcome St. Germain Spritz cocktail, and freshly made popcorn. Its program from Wednesday to Saturday, projected in original version with subtitles, features timeless classics and current hits such as Grease, Bridget Jones's Diary, Casablanca, La La Land, among others. Open-air cinema on the terrace of the Hotel Palace in Barcelona Open-air cinema at Illa Diagonal Behind the L'Illa Diagonal shopping center are the Jardins de Sant Joan de Déu which, on Thursday nights in July, become an open-air cinema. Starting at 10:00 PM, this series offers a very varied program that includes titles such as My Friend Eva, Hamnet or Calle Málaga. It's the perfect plan to break the week's routine: you can take advantage of the afternoon to do some shopping, have a quick dinner in the shopping center's gastronomic area, and then cross to the gardens to relax on the grass with a good movie. The atmosphere is relaxed and family-friendly, ideal for enjoying with friends or as a couple. Nits de Pel·lícula in the Parc del Centre de PoblenouEl Poblenou recovers the Nits de Pel·lícula (Film Nights) in the Parc del Centre del Poblenou with a proposal that goes beyond the screening: before each film, families and groups of friends can share an outdoor dinner in the park itself (by previously collecting a free ticket at the Casal de Barri Bac de Roda-Poblenou). The space has a zone with free chairs and a bar service to liven up its outdoor cinema nights. This year's program is Olivia i el terratrèmol invisible (Olivia and the Invisible Earthquake), Frontera (Border) and La cena (The Dinner). [articles:300180] Pantalla Barcelona, Barcelona's largest outdoor cinema series The civic centers of Barcelona once again present the largest cinema series in the entire city: Pantalla Barcelona. This initiative offers completely free screenings without the need for prior reservation, distributed across twelve screens in the city's ten districts. The events take place in spaces such as Plaça de Sant Felip Neri, Plaça del Rei, the Vil·la Florida gardens, or the Aqueduct Park and run until July 23. This year's lineup strongly features local talent with titles such as L'àvia i el foraster by Sergi Miralles, La furgo by Eloy Calvo, Los Tortuga by Belén Funes, or Molt lluny by Gerard Oms, among others. Finestrelles Shopping Centre and its family outdoor cinema series The Finestrelles Shopping Centre, in Esplugues de Llobregat, offers a fun plan suitable for all audiences. On the shopping center's restaurant floor, a completely free outdoor cinema series is held throughout the summer with screenings every Saturday night. Until September 12, you can enjoy its program, which is very focused on family and adventure cinema, with titles such as Pitufos (Smurfs), Blancanieves (Snow White), Los Tipos Malos (The Bad Guys), etc. Outdoor cinema at the Canòdrom The Canòdrom (Ateneu d'Innovació Digital i Democràtica) space returns this summer with its Cicle de Cinema a la Fresca 2026 (Outdoor Cinema Series 2026). Every Friday in July starting at 8:30 p.m., the square and stands of the space open to host free screenings (no prior registration required) that invite reflection and debate. This year, the series focuses on the values of social justice, feminism, and collective struggles with films such as Historias del buen valle (Stories from the Good Valley), L'Olívia i el terratrèmol (Olivia and the Earthquake) or Entre figueres (Among Fig Trees). Outdoor cinema can be enjoyed at the Canòdrom until July 24 Mecal Air Festival 2026Friday nights have their own name in Poblenou. The Mecal (Barcelona International Short Film and Animation Festival) moves to the gardens of Can Framis (Fundació Privada Vila Casas) with Mecal Air. Every Friday from 10:30 p.m., a selection of thematic short films is screened completely free of charge. The nights are thematic and, for example, we find nights dedicated to comedy, creative advertising or eroticism. In addition, this event has a bar service for drinks and food to enjoy while watching the shorts. As you can see, summer nights in Barcelona have a fantastic plan: popcorn, friends and a good movie under the stars. ]]></content:encoded>
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      <title><![CDATA[From Angélica Liddell to Ibsen: 5 plays for this week]]></title>
      <link>https://www.thenewbarcelonapost.com/en/from-angelica-liddell-to-ibsen-5-plays-for-this-week/</link>
      <pubDate>Tue, 21 Jul 2026 10:06:43 +0200</pubDate>
      <dc:creator><![CDATA[Elia Tabuenca]]></dc:creator>
      <category><![CDATA[BCN Shows]]></category>
      <category><![CDATA[Arts]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/from-angelica-liddell-to-ibsen-5-plays-for-this-week/</guid>
      <description><![CDATA[The week of July 20 to 26, Barcelona's theaters host some of the most anticipated premieres of the Grec, such as Angélica Liddell's new production.]]></description>
      <content:encoded><![CDATA[We have already passed the halfway point of the Grec and, this week, some of the festival's most anticipated proposals are premiering, such as the new and groundbreaking proposal by Angélica Liddell. The Girona-based creator proposes a show that can be seen in the early hours of Friday, Saturday, and Sunday, at 04:45 h. The Lliure stage will become a scenic poem that will pay homage to Yukio Mishima. But apart from this unconventional premiere, in the coming days we will also enjoy other works such as the adaptation of An Enemy of the People by Henrik Ibsen, the third proposal of the poetic and silent theater of Kulunka Teatro or the new Catalan and small-format musical by Jumon Erra. In the Penal Colony at Teatre Lliure July 24 and 25. The Teatre Lliure becomes the setting for a reflection on the decadence of the West with the premiere of In the Penal Colony, an adaptation of Franz Kafka's story that can be seen on July 24 and 25, 2026. Under the direction of Dobrin Plamenov, the Barcelona-based company La Mala Companyia transports the spectator to a remote tropical island that functions as a penal colony. In this unsettling place there are no courts or procedural guarantees; absolute power and justice fall upon a sophisticated and terrifying machine designed exclusively to judge, torture, and execute the condemned. The production arrives on the billboard endorsed by the prestigious Adrià Gual Award from the Institut del Teatre, aimed at promoting new talent and the professional insertion of young scenic creators. With this piece, the company closes its trilogy dedicated to analyzing the control and oppression that governments exert over the individual, a project that began with Se pronuncia camino (inspired by Albert Camus's The Plague) and continued with El último día del hombre perro (based on Aldous Huxley's Brave New World). A version of Kafka at the Teatre Lliure Forever at Teatre Condal From July 22 to August 2. The company Kulunka Teatro returns to Teatre Condal from July 22 to August 2, 2026 with its mask show Forever. After achieving overwhelming success and receiving numerous awards, such as the Max Award 2024 for Best Direction for Iñaki Rikarte and the Talía Award for Best Show, the Basque company once again demonstrates its mastery of gestural theater. The work delves into the story of a family that progressively moves away from everything it once dreamed of being. [articles:300376] The show functions as a carousel symbolizing the wheel of life, delving into the wound of its characters. It addresses complex themes such as maternity, education, living with disability, and lack of communication in the home. An experience that transcends words, with a language heavily influenced by cinema and supported by an ingenious rotating platform. The play 'Forever' by Kulunka Teatro at Condal Seppuku. Mishima's Funeral or the Pleasure of Dying at Teatre Lliure From July 24 to 26. The stage creator Angélica Liddell returns to Grec with the premiere of Seppuku. Mishima's Funeral or the Pleasure of Dying, which can be seen at Teatre Lliure. In this scenic poem, the playwright reflects on death and ritual suicide through a tribute to the figure of Japanese writer Yukio Mishima, one of the most influential authors in her artistic career. The show takes as its starting point the event of November 25, 1970, the day Mishima committed seppuku strictly following the samurai code, a meticulously planned end that he wrote about in his literary work. The production is inspired by the text of the Hagakure and is conceived as a ceremony where the public is invited to attend a death ritual conceived as the most absolute act of freedom and sincerity of the human being. Angélica Liddell with her new proposal at Grec Um julgamento at Teatre Lliure July 30 and 31. Brazilian director Christiane Jatahy presents her latest creation, Um julgamento, at Teatre Lliure, a show that investigates the frontiers and limits between cinematic language and live theater. The production takes as reference the classic work by Henrik Ibsen, An Enemy of the People, to transform the hall into a grand trial where the audience assumes the role of the popular jury. The plot places us two years after the events of the original play, accompanying Dr. Thomas Stockmann on his return to the city with the aim of asking for a second chance. [articles:300242] The cast is led by actor Wagner Moura and screenwriter Lucas Paraizo, and the production uses Ibsen's classic as a vehicle to talk about contemporary issues such as the fragility of truth in the information age, the clash between capitalism and the preservation of the planet, or the way modern fascism can exploit the mechanisms of democracy to destroy it from within. Scene from Um julgamento After Us at Espai Texas From July 30 to August 2. Espai Texas hosts the premiere of Después de nosotros (After Us), a small-format musical that talks about what happens after a breakup. Written and directed by Jumon Erra, with an original score by Miquel Tejada, the show stars Júlia Jové and Xavi Navarro, accompanied live on keyboards by Andrea Mir. The play poses an uncomfortable question: is it possible to continue loving each other in a different way when the romantic relationship has definitively ended? The story brings us closer to the lives of Lena, a music festival programmer, and Adrià, a soundtrack composer, one year after their separation. Despite the change in life, new jobs, and future partners, both have made a firm promise not to lose their bond or abandon each other. For ninety minutes, the show reflects on love, complicity, and the right to care for oneself. Jumon Erra presents his new musical This week, the stages of Barcelona will make us reflect, get emotional, and discover a new way of seeing and understanding theater.]]></content:encoded>
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      <title><![CDATA[The AMB is the most prestigious metropolitan administration in Europe]]></title>
      <link>https://www.thenewbarcelonapost.com/en/the-amb-is-the-most-prestigious-metropolitan-administration-in-europe/</link>
      <pubDate>Tue, 21 Jul 2026 10:06:12 +0200</pubDate>
      <dc:creator><![CDATA[Anna Badia López]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/the-amb-is-the-most-prestigious-metropolitan-administration-in-europe/</guid>
      <description><![CDATA[We spoke with urban planning expert Alessandro Balducci to analyze the present and future challenges of the Barcelona metropolis, within the framework of the reflection promoted by the AMB to review its 15 years of trajectory and focus on the 15 years ahead.]]></description>
      <content:encoded><![CDATA[Alessandro Balducci has been studying how cities evolve for decades. A professor at the Politecnico di Milano and one of the most influential voices in territorial planning and metropolitan governance in Europe, he argues that metropolises are complex organisms that do not understand administrative boundaries. For him, large cities—Barcelona included—must be interpreted as a region interconnected by flows of people, data, infrastructure, economic activity, and social relationships that cross administrative borders. This is how Balducci sees it, and this is what he defended on the second day of dialogues of AMB 15+15, which met on Wednesday at the Port Olímpic with a question: How do we want to live the metropolis in 15 years? This perspective also inspires the concept of the invisible city, and Balducci argues that urban transformations are often not perceived at first glance: digitalization and certain infrastructures and social and economic dynamics redefine cities, their challenges, and the way to address them. These include housing, climate change, and social cohesion, and designing policies capable of anticipating a reality that changes faster than institutions. All this also happens in Barcelona, which 15 years ago constituted the AMB to build a metropolitan strategy, which we now address with Balducci in an interview. — What is the balance of 15 years of the AMB? — The AMB is the most prestigious metropolitan administration in Europe. To begin with, because it is a relatively new institution, and it was already created with a structure that gives it a very important capacity for action. Despite its youth, it assumes very diverse competencies, ranging from territorial planning to transport, housing, water, and waste. — It's 15 years as AMB, but metropolitan cooperation goes back much further. — It is the heir to a tradition of strategic planning that goes back a long way, and which received a boost in the 90s. The strategic plan developed for the Olympic Games was probably the first of its kind in Europe. It introduced the idea that, to govern a city, a general urban plan is not enough: a shared vision of the future is needed. That model was renewed in different stages thanks to cooperation between Barcelona and its surrounding municipalities, a way of working that was later consolidated with the creation of the Metropolitan Area. Alessandro Balducci in Port Olímpic, where the conference was held. © Oscar Giralt — With 36 municipalities, and aiming for 3.5 million people. — And I believe that the institution has the capacity to address the challenges of an even broader territory. — The metropolitan region of five million. Should the AMB's limits be expanded? — I believe that, in reality, the debate about limits is endless. For years, academic literature has spoken of planetary urbanization. The economy and society evolve very quickly, and digitalization constantly expands our relationships. If we try to find the definitive limit of a metropolis, we will always end up expanding it a little more. — What should be done, then? — In this context, it is more useful to have a strong central institution that is aware that it does not represent the entire urban region and that, consequently, cooperates with the other administrations. In the case of Barcelona, this means working jointly with the Generalitat and with the surrounding territories through shared projects, instead of opening a permanent debate about administrative limits. Alessandro Balducci during the AMB conference. © Oscar Giralt - — Therefore, is cooperation the key? —Exactly. And this cooperation should go beyond the political color of the governments. If it depends only on the majorities of the moment, it is very difficult to build a solid metropolitan strategy. I would advocate for strengthening collaboration between existing institutions and developing concrete projects. If the challenge is to expand the public transport network, let's do joint projects. If the problem is access to housing, let's promote policies that allow living in more affordable municipalities, well connected by rail. The important thing is to solve problems. — Should Barcelona look to other European metropolises? — Without a doubt. But, more than copying specific models, I believe it should observe European initiatives that are experimenting with new forms of territorial governance, such as projects promoted by the European Commission that work on new functional geographies, territories that do not coincide with traditional administrative limits. [articles:300408] — For example?— These initiatives have developed flexible tools to foster cooperation between administrations. A good example is the Integrated Territorial Investments (ITI), which allow different institutions to develop common strategies without the need to create a new administration. It is a very interesting tool. — With your experience in Milan, what could Barcelona learn? — Barcelona and Milan share many characteristics. Neither of them is the political capital of their country, but both are the main economic engines. They also accumulate a long tradition of experimentation in urban policies. Just as Milan is a city of cities, this can also be applied in Barcelona, to stop considering the surrounding municipalities as peripheries and understand them as communities with their own identity, capable of sharing services, green spaces, and common projects. Balducci in Port Olímpic. © Oscar Giralt — Can other European experiences inspire Barcelona? — A very interesting case is that of the IBA Emscher Park, in the Ruhr basin, in Germany. It was created to regenerate a large declining industrial region and, instead of developing a traditional plan, an open call for projects and ideas was launched. In this way, a strategic vision driven by institutions was combined with initiatives arising from society. It is a good example of this relationship between top-down and bottom-up processes that I believe will be increasingly necessary in urban planning. — What should the Barcelona metropolis be like in 15 years? — I believe it should focus its efforts on two major challenges: housing and climate change. These are the two most urgent issues that any metropolitan institution must face. And to address them, we must reflect on another idea that may seem more abstract, but which will be increasingly important: hybrid proximity. — In what sense? — For a long time, we have understood proximity solely as a physical issue: living close to work, services, or social spaces. But today, digitalization is changing this reality. Many activities can be done remotely, without giving up the benefits of face-to-face contact when necessary. The challenge is to combine these two dimensions, physical and digital, to create new, more balanced forms of urban life. Presentation by Alessandro Balducci at the AMB conference, held at Port Olímpic. © Oscar Giralt — Is Barcelona moving in this direction? — It is already developing very interesting experiences in both housing and public space, such as with the superilles. The next step is to extend this innovation beyond the central core. Teleworking, for example, can reduce the need to commute daily to the city center and, at the same time, revitalize municipalities in the rest of the metropolitan region. If a part of the economic activity can be developed from other well-connected cities, opportunities, services, and quality of life can also be redistributed. — The central core can be decongested, and new centralities can be created. — In the past, attempts were made to decentralize by creating new poles of activity from the administrations, but those models often did not yield the expected results. Now, the combination of digital connectivity and physical proximity offers a different opportunity: to distribute urban value beyond the center without losing the intensity of metropolitan relationships. Along with the response to climate change and affordable housing, this is one of the great opportunities for the Barcelona metropolis in the next fifteen years. ]]></content:encoded>
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      <title><![CDATA[Rosalba Sortino]]></title>
      <link>https://www.thenewbarcelonapost.com/en/rosalba-sortino/</link>
      <pubDate>Tue, 21 Jul 2026 10:06:02 +0200</pubDate>
      <category><![CDATA[Influential]]></category>
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      <title><![CDATA[Pep Salazar]]></title>
      <link>https://www.thenewbarcelonapost.com/en/pep-salazar/</link>
      <pubDate>Tue, 21 Jul 2026 10:05:11 +0200</pubDate>
      <category><![CDATA[Influential]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/pep-salazar/</guid>
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      <title><![CDATA[Javier Cottet: "Ego is failure and destroys everything"]]></title>
      <link>https://www.thenewbarcelonapost.com/en/javier-cottet-ego-is-failure-and-destroys-everything/</link>
      <pubDate>Tue, 21 Jul 2026 10:04:28 +0200</pubDate>
      <dc:creator><![CDATA[Víctor Costa]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/javier-cottet-ego-is-failure-and-destroys-everything/</guid>
      <description><![CDATA[The businessman claims that "Catalonia is a country without a State with a very strong civil society," while also warning about the culture of prohibition and the risk of Barcelona dying from success]]></description>
      <content:encoded><![CDATA[Javier Cottet is president of Cottet Óptica. From the 68 generation. He studied Law, started working during the Barcelona'92 Olympic Games in the Cottet warehouse to earn some money. The family sold Indo for one euro after a chaotic handover and internal wars, but overcame the 2008 crisis at Cottet with austerity and a good dose of reality. One also learns from mistakes. He believes in the figure of the external advisor, but not in the Sunday advisor. He recommends that family businesses have bylaws, a shareholders' agreement, and a family protocol. He says he is bad at being calm. His motto is to always look at the good side of life and he does not renounce his critical spirit. His — and Mr. Puig's — is the rule of the 3Hs: Humility, Humanity, and Humor. He would have liked to run the Dakar. — You come from a family of entrepreneurs. Any memories? — It's a mix of excitement and responsibility. I remember, as a child, my parents talking at home about the future of the company. Cottet is our legacy. I grew up thinking that one day it would be my turn to lead and make decisions. — What is Constantino Cottet's legacy? — I never got to know him, but I would say it's the passion for optics. We have been working on the same thing since 1840. "Cottet is our legacy. I grew up thinking that one day it would be my turn to lead and make decisions" — There are business decisions that are slow-cooked at home. — Absolutely true, and that's an advantage, but also a drawback. — Why did you decide to study Law? — I'm from the 1968 generation. In my time, everyone wanted to be a doctor, architect, economist, lawyer, or engineer. I've always been quite weak in math and physics, so I hesitated between Business and Economics, but I ended up studying Law because I thought it would give me a solid foundation. I wasn't even sure about working in the family business. — And when did you become sure? — In my fifth year of Law, coinciding with the Barcelona Olympic Games, I told my father that I wanted to start working mornings in the warehouse to have some money. I liked it, I got hooked, and I've never left it since. — How do you remember the Barcelona Olympic Games? — It was spectacular! I worked on one of Alcatel's boats where we organized all the client activities for the Olympic Games. "It's dangerous to enter a position of responsibility in a family business without having started from the bottom or having worked outside" — You ran in the Catalonia Enduro championship. — Yes, I took a lot of spills in races, but I would have loved to race the Dakar. I've never done it for work, economic, and personal reasons. — You also went through IESE, EADA, and ESERP. — I trained in general management with the PDG from IESE, but before that I also wanted to study marketing, accounting, finance, and management. — You took over as general manager of Cottet in 2003. — I started in the warehouse, I was in purchasing and finance, I spent a year selling in stores and then I was marketing director. I recommend working in different areas of the family business or even spending a few years outside to learn to obey and be managed. — Learn to obey. — It's dangerous to enter a position of responsibility in the family business without having started from the bottom or having worked outside. — You promoted the professionalization of the brand and quality improvement. — Cottet was very linked to our older brother, which was the listed company Indo, which sold in more than 110 countries. We were a very commercial local company that needed to professionalize with, for example, a business plan or a marketing department. We grew spectacularly, from 1996 to 2008. — And then the crisis came. — Which affected us a lot because consumption fell significantly. In 2005 we had bought 50% from my first cousins and we went into debt, so the company was obliged to have performance and profits to repay the debt. It was tough. "The best is when the family is entrepreneurial and the paradigm is the Puig family" — How did you overcome it? — With a lot of austerity and a good dose of reality. We understood that if you earn 80 and spend 100, you're missing 20. You're not going to sell more, so reduce expenses however you can. We did an ERE and closed stores. You have to accept reality and make the necessary decisions, no matter how tough they are. — How do local and global coexist? — It has a lot to do with the ownership of the company. Cottet was the original company, but it was the small one where my father and my aunt went more to enjoy than to demand. — Is Cottet a family business or an entrepreneurial family? — Great question that all families should be asked. Are you an entrepreneur? Are you a rentier? Have you inherited an asset and a good? Depending on the answer, different decisions must be made. The best is when the family is entrepreneurial and the paradigm is the Puig family. — And in your case?— We are working on it, although it is not easy. The entrepreneur has to like risk knowing that they can lose what they already have. Buying the main competitor, but not collecting dividends for years? You have to understand shareholders who are not involved in management and also have their rights and obligations. Not everyone has to be an entrepreneur. "The entrepreneur is born and made. They have to like risk knowing that they can lose what they already have" — Is the entrepreneur born or made? — The entrepreneur is born and made. — How do we distinguish ownership and leadership? — In a family business, it is essential to distinguish between siblings who help each other, between partners who talk about profitability or risk, and between employees. You cannot fire your brother; it is very difficult to tell him no to a salary increase or to comply with his work schedule. It is much more complex to talk to your brother than to a boss or an employee. — How to have difficult conversations with family? — With a lot of education, from a young age, and always speaking with the appropriate hat on. Being a brother is not the same as being an employee or being an owner. There is a schizophrenia there that, if you are not educated with it, the logical thing is that you end up fighting. And if you also bring in politicians from outside... It gets incredibly messy. — Why is it important to have a board and a family protocol? — It is essential to have external advisors who can give you honest opinions about this schizophrenia, giving or taking away your reason. I remember we had a refractive surgery company in Madrid; the two minority doctors made an offer to buy my father's and my aunt's share. I managed it, and it was sold for a much higher figure than expected. "In a family business, it is essential to distinguish between siblings who help each other, between partners who talk about profitability or risk, and between employees. You cannot fire your brother" — Family congratulations, with or without bonus? — My aunt congratulated me, and my father gave me a nice watch. It made me very happy, but if I had been an external professional, I would surely have received a bonus and a success fee. — Without bonus. — Being part of the family, it was included with my obligation. This is just one example, but this does not happen with an external board. Or imagine that in a family business there are siblings who want to expand and others who want to sell. In a family business, there are no golden cages. — What does a good external advisor need? — To be impartial, not to have what one charges as an external advisor as a modus vivendi, and to be clear that one works for the company. I don't believe in the figure of the proprietary director because they are the generator of a large part of governance problems, since it cannot be that they defend a shareholder against the company. — Against the company? — The director must be a person with moral authority and with a business background for when there is a problem. Things happen when you don't want them to. When the dog is thin, all are fleas. — When the dog is thin, all are fleas. — Even if there is a sibling who wants to leave, if you save the family and company assets, they will end up thanking you years later. Because I, I, I... In the end, an external person is an external person and you pay them to help the company. The best thing is to have two external advisors: one with a more administrative, financial, and legal mindset, and the other, with a more commercial and growth mindset. "The external advisor must be impartial and have moral authority, be clear that they work for the company, but not have what they charge as a modus vivendi" — Professor Alfonso Chiner says that "executives are the pilots of the plane and the board of directors is the control tower." — That's right, because the larger the family, the more flights and more planes there can be, both in terms of education and training, and in terms of needs and expectations. — What are the key documents for a family business? — In a family business, there must be bylaws, a shareholders' agreement for dividend policy, indebtedness or CEO election, and also a family protocol. [articles:300205] — Is there any mistake in advancing these 120 years of Cottet's history? — In 1996, I was marketing director and I prepared a business plan and an organizational chart for an annual meeting we held at the Parador de Vic with the management team and the ownership. I left very happy after the presentation, and then the IT director, who was also a partner, came and told me that I had screwed up because I hadn't presented it to the general director. What was my mistake? — Not respecting the hierarchy. — Thinking that because I was the owner's son and the owner's nephew, I could present a plan in front of everyone without having agreed upon it with my boss, who was the general director. — You confused the company with the family.— The plan was very good, but the end does not justify the means, and even less so in a family business. I made a mistake; any marketing director would not present a plan without discussing it first with the general director. They couldn't fire me because I was the owner's son, who was the president, but I then destroyed a large part of my credibility. "The end does not justify the means, and even less so in a family business. I made a mistake; any marketing director would not present a plan without discussing it first with the general director." — Credibility is difficult to build, and very easy to destroy. — I had to go to Madrid to work in an ophthalmological clinic and was lucky that some very good years came in refractive surgery. In 2001, I regained the credit I had lost due to overconfidence and ego. The family must always respect managers who are not family members. — Any other mistakes? — There is another mistake that was made by the whole family. In 2014, we decided to replace my father after 40 years as president of Indo and also the general director. We were coming out of the crisis with a very large debt, we had a chaotic handover, and in two years we ruined the company until we sold it for one euro to the Sherpa Capital fund. We destroyed the company because we were focused on internal wars instead of looking at the top line of the income statement. — Internal wars. — You have to get people in line and tell the family to stop with the nonsense. Sherpa Capital sold Indo for 160 million euros to a German company a few years later. The company had value, and it's outrageous that the president and general director of a company leave without having a clear idea of who will replace them. "We destroyed Indo because we were focused on internal wars instead of looking at the top line of the income statement." — What is the 3Hs rule? — Mr. Puig, who was our general director, started working in the Indo and Cottet workshop after the civil war and had an innate capacity for common sense and problem-solving. — Common sense is the least common of the senses. — When Mr. Puig left, I asked him for advice, and he gave me the 3Hs rule. That is, humility, humanity, and humor. If you are arrogant, people will not listen to you, and even less so if you are the owner. Do not treat others as you do not want to be treated. And do not forget the importance of humor so that people work happily. — How do you see Barcelona? — Barcelona is a wonderful city, but in a dangerous situation of dying from success. The managers are not aware of the geographical and strategic situation of the city and the country. A large part of the success that Barcelona, Catalonia, and Spain have comes from decisions made in the past. You cannot continuously attack the present and future of the city. The worst enemy Barcelona has is ourselves. — Any examples? — Mobility. It is an outrage not to allow Catalans to come to Barcelona easily, whether by public or private transport. Punishing tourism with nine euros a day per person per night is another outrage and, moreover, without distinguishing whether it is a worker or a tourist. Another example? That we do not want the expansion of the airport financed by Aena, which is half ours. Then we complain... "The worst enemy Barcelona has is ourselves. It is a wonderful city, but in a dangerous situation of dying from success because the managers are not aware of its geographical and strategic situation. There is no long-term state mentality in Barcelona." — What else do we complain about? — There is no project to expand the AP7 to Valencia or France. For 40 years, no one has invested a penny. What else do we complain about? Tax policies. We have 28 more taxes than any other community or we have the highest personal income tax in Spain. If taxes are reduced, there are different studies that show that this amount of money goes to consumption, again you recover 21% through VAT and you make populations and cities richer because part of the consumption goes to commerce. — What kind of commerce? — Restaurants, bars, hotels, clothing stores, opticians, workshops... We are a consumer country. However, there is also no adequate industrial policy. Recovering factories here is ridiculous because there is much more aid outside. We do not realize the importance of the productive economy in Barcelona and Catalonia. We make decisions thinking in the short term to win the next elections. That is a risk and there is no long-term state mentality in Barcelona. — State mentality? — Then we complain that if they take away Formula 1, that if the Open Banc Sabadell is a Master 500 and not a Master 1000 like in Madrid... We don't realize the political and strategic position that Barcelona has with the sea, mountains, good climate, police security, or a Rule of Law. Barcelona could be a top 4 city in Europe if there were a medium or long-term policy. "Commerce is the integration of the productive economy into civil society. They are killing Ciutat Vella and the Barcelona City Council continues with the culture of prohibition. If the city center dies, there will be a very serious problem" — Commerce is the life of towns and cities. — Commerce is the integration of the productive economy into civil society. A city with commerce has much more life, light, and joy than a dormitory city. [articles:300362] — Is commerce supported? — No, the perfect example is Ciutat Vella, which they are killing. Barcelona's shopping centers are growing at double digits, while the city center is dying at double digits. Many business owners have told the City Council what is happening, but they are not paying attention to us. They continue with the culture of prohibition. — The culture of prohibition? — They ask us, we tell them, and they don't listen to us because they continue with political ideals. Prohibiting everything doesn't solve anything. In Ciutat Vella, they have even prohibited opening gyms, and then cannabis shops and 24-hour supermarkets appear. — What is your recipe? — Management, promotion, enthusiasm, and no prohibition. Who pays attention when you prohibit something? The good guys or the bad guys? Let's face the reality of life, and it's not enough to punish the good guys. If the city center dies, there will be a very serious problem. — Is public-private collaboration a reality? — Fira de Barcelona comes from the transition, but they were about to ruin it. It's a successful format that should be repeated like the Circuit de Catalunya. More public-private collaboration is needed to, for example, recover Ciutat Vella. A pact like the one made with Procibesa during Maragall's time is needed. "Catalunya is a country without a State with a very strong civil society. Wasting talent and investment capacity is a shame" — What role should civil society play in the construction of a city? — In a Rule of Law State, there is an executive, legislative, and judicial power. Law enforcement agencies are very important, but you have to count on civil society. Catalonia is a country without a State with a very strong civil society and with entities like Foment, Pimec, FemCat, Barcelona Global, or Barcelona Oberta. Wasting talent and investment capacity is a shame. How do we solve the housing problem? — You tell me. — All entrepreneurs are very clear about it because we understand the law of supply and demand. Why don't we build flats instead of prohibiting? Between 20% and 30% of the construction cost are municipal taxes. They lack political capacity, enthusiasm, desire, and courage. We need to build housing and make housing prices go down. — The previous interviewee Joan Gaspart asks you the following questions: What is the secret to success and what is the secret to failure? — To succeed, you must not be afraid, but you must remember that the graveyard is full of brave people. If you don't take risks, you won't succeed and there won't be success. Ego is failure and it destroys everything. Seven Lives 1. Role model: All those who have done well like Ghandi or Ronald Reagan. 2. Book: Any book by Isaac Asimov. 3. Movie: Gladiator, Star Wars or Blade Runner. 4. Song: Songs by ACDC or Hans Zimmer. 5. Favorite spot: The United States and specifically, Washington. 6. Life motto: Always look on the bright side of life. I'm bad at being calm. 7. Dream: To see my children grow up well and travel more for adventure, for example, in Alaska. I would have liked to run the Dakar. ]]></content:encoded>
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      <title><![CDATA[Luca Carlucci]]></title>
      <link>https://www.thenewbarcelonapost.com/en/luca-carlucci/</link>
      <pubDate>Tue, 21 Jul 2026 10:04:08 +0200</pubDate>
      <category><![CDATA[Influential]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/luca-carlucci/</guid>
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      <title><![CDATA[The World Cup and the football that moves Barcelona]]></title>
      <link>https://www.thenewbarcelonapost.com/en/the-world-cup-and-the-football-that-moves-barcelona/</link>
      <pubDate>Tue, 21 Jul 2026 10:03:52 +0200</pubDate>
      <dc:creator><![CDATA[Elena Busquets]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/the-world-cup-and-the-football-that-moves-barcelona/</guid>
      <description><![CDATA[From the World Cup final to neighborhood fields: this is the industry that generates 1,521 million euros annually and projects Barcelona worldwide]]></description>
      <content:encoded><![CDATA[Last night, Barcelona had its eyes on New York. Well, actually on New Jersey. And not because Americans have a special gift for packaging any sporting event with a great show —which they do— nor because La Roja is precisely a team that awakens unanimous fervor among Barcelonians, but because in the World Cup final between Argentina and Spain, Barça was very present. And Barcelona too. It was very present, of course, because of Ferran Torres' goal, which marked the victory of the Spanish national team. But also because eight Barça players were part of Spain's squad and because, on the other side of the field, was Leo Messi. And despite the fact that the great photograph many expected —Messi against Lamine Yamal— ultimately did not end up defining the match, it did keep the culé spirit alive, nostalgic and with opposing feelings; and that is also very culé. In fact, close to 30,000 people followed the final from the giant screen installed at the Fórum. And to this figure should be added the thousands of people who watched it from home or in bars. It was enough to open the window and listen. Or return home after the final whistle and find a city spontaneously celebrating in the streets. An euphoria that, on a global scale, had 2.2 billion people in front of the television worldwide, sharing one of the most followed sporting events on the planet. But what millions of people saw on Sunday is also the result of an industry with a long tradition and talent deeply rooted in our territory. An industry that, moreover, has an enormous economic weight. In fact, according to the report El fútbol que mueve Barcelona (The Football that Moves Barcelona), prepared by the Barcelona Chamber of Commerce, the football industry generates 1,521 million euros annually in gross added value in Barcelona and sustains 27,822 full-time jobs.This impact, by the way, stems from a direct expenditure of 981 million euros within the Barcelona area and a tax collection of 311.9 million euros by public administrations, derived from the clubs' operations, payroll, service contracting, match day activity, and consumption associated with fans and families linked to football. Specifically, 242.6 million euros, 77% of the total, come from personal income tax (IRPF) and Social Security contributions, VAT linked to club activity and match days represents 66.7 million euros, and local fees and taxes add another 2.6 million. [articles:300395] Most of the impact of the football industry in Barcelona, of course, corresponds to FC Barcelona, responsible for about 1.3 billion euros of gross added value. According to the Chamber of Commerce study, Barça supports 23,726 jobs and contributes 271 million euros annually in taxes. It is followed by RCD Espanyol, with 201 million euros, 3,689 jobs, and a tax return of 36.8 million euros. But the report also highlights the role of local clubs. UE Sant Andreu generates 5.7 million euros and 100 jobs; CE Sabadell, 5.2 million and 92 jobs; CE Europa, 5.1 million and 92 jobs; FC Terrassa, 3.5 million and 63 jobs; and CE L'Hospitalet, 3.4 million and 60 jobs. Despite having much more modest budgets, the study emphasizes that these clubs have a particularly relevant impact on commerce, restaurants, and mobility in their surroundings thanks to the recurring influx of fans throughout the season. But these figures only tell part of the story. The other part forces us to look outwards. FC Barcelona has been, for decades, one of the city's great international ambassadors. Match days and visits to the Spotify Camp Nou Experience, for example, attract more than 1.3 million international tourists each year, generating more than 1.4 million overnight stays in Barcelona. Barça match days and visits to the Spotify Camp Nou Experience attract more than 1.3 million international tourists annually It is not only, therefore, a football club; it is one of the main gateways to the city. It is responsible for 5% of the tourism that arrives in the Barcelona region. It is the first word we are answered with worldwide when we say we are from Barcelona. Brief and direct: "Barça?". It is what makes us "this city that bears the name of our club," even if it is a slip of the tongue. And it is, of course, responsible for the fact that when the world looks at football, it often also ends up looking at Barcelona. And yesterday was no exception.]]></content:encoded>
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      <title><![CDATA[8 very refreshing monologues for this summer]]></title>
      <link>https://www.thenewbarcelonapost.com/en/8-very-refreshing-monologues-for-this-summer/</link>
      <pubDate>Tue, 21 Jul 2026 10:03:44 +0200</pubDate>
      <dc:creator><![CDATA[Elia Tabuenca]]></dc:creator>
      <category><![CDATA[BCN Shows]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/8-very-refreshing-monologues-for-this-summer/</guid>
      <description><![CDATA[Barcelona combats summer nights with a burst of laughter. The theater billboard confronts the heat with monologues that travel from nineties nostalgia to social criticism, generational crises, and the wildest humor.]]></description>
      <content:encoded><![CDATA[Summer in Barcelona is not only lived by the sea: the billboard is renewed during the hottest months with fun, lighthearted proposals and a great complicity with the public. The humor monologues that can be seen in the following weeks are small and medium-format shows characterized by their closeness, live improvisation, and a biting look at everyday miseries. Animal de compañía with Jorge Bolaños at Teatre Borrás Single date: July 25, 2026. Jorge Bolaños returns to Barcelona after sweeping stages around the world with his monologue Animal de compañía. The Canarian comedian has a community of more than 3 million followers on social media and, live, offers a multifaceted show where imitations, live music, and improvisation with the audience are not lacking. A hilarious show where love for pets and comedy go hand in hand. Animal de compañía with Jorge Bolaños Sóc un bon catalanet with Edu de Guirior at La Sala by LastCrit From July 30 to August 16. Edu de Guirior, the well-known Catalan comedian and influencer, presents his first comedy show at La Sala by LastCrit. Sóc un bon catalanet is a proposal with irreverent and totally uninhibited humor that combines acidic text, improvisation, and constant interaction with the audience. The show dissects with sarcasm Catalan identity, sex, politics, childhood camp excursions, memories of Club Super3, and the economic hardships of an entire generation. A show that follows the trail of his most viral social media publications and promises a good opportunity to laugh at ourselves. Edu de Guirior presents 'Sóc un bon catalanet' ¡Los 90 sí que molan! with Aileen Celeste at La Off Barcelona From July 24 to August 14. At La Off Barcelona they offer you a direct ticket to the decade of Tamagotchis, folders covered with SuperPop photos, and tapes rewound with a Bic pen. ¡Los 90 sí que molan! is an explosion of nostalgia designed for today's adults to forget their responsibilities for a night and enjoy a trip to "the coolest decade in history." Between hits by the Spice Girls or Estopa, series like Doraemon or Compañeros, and shared traumas about nineties technology, this monologue proposes an essential encounter to remember how we survived an era without WiFi. A monologue that takes us to the 90s Girls' Night Out with Sil de Castro at Eixample Teatre From July 25 to August 28. At Eixample Teatre, you can see another of the most refreshing monologues in Barcelona for the summer. After the resounding success of Calladitas estáis más guapas (You're prettier when you're quiet), comedian Sil de Castro returns with a wild, fresh, and unfiltered format: Noche de chicas (Girls' Night Out). This show is a party that transforms the auditorium into a pressure-free territory to laugh, de-stress, and celebrate complicity among women. Sil de Castro presents 'Noche de chicas' Los hijos, el club de los malos padres (The Children, the Club of Bad Parents) with Andrés Torres at Teatreneu From July 25 to November 28. Raising four children and not losing your mind in the attempt is the starting point of this acclaimed monologue by Andrés Torres, which can be seen at Teatreneu. The comedian reflects, with his close and customary style, on how objects used in childhood become completely useless when adolescence arrives. It is a hilarious, tender, and very real portrait of the stages of parenthood that will make parents feel identified (and children too!). Andrés Torres reflects on parenthood and adolescence Como pasar de los 60 sin morir en el intento (How to get past 60 without dying trying) with Albert Boira at Teatre Muntaner Single date: August 15. Albert Boira arrives at Teatre Muntaner to demonstrate that getting older is the perfect excuse to burst out laughing. The comedian presents intelligent, direct, and vitalistic humor to review those small moments when life starts treating you with "usted" (the formal "you") or they offer you a seat on the bus. A stand-up show that reminds us that age only matters to cheese or good wine, and that there is no better antidote against the passage of time than knowing how to laugh at oneself. Albert Boira presents his new show about the passage of time Viejóvenes (Old-Youngs) with Gabriel Córdoba and Raquel Ramos at Teatreneu From July 25 to September 26. Are you 20 years old but prefer to stay home on Saturday to "make the most of Sunday"? Or are you almost 40 and still hooked on Nintendo? Congratulations: you are an "old-young." Gabriel Córdoba and Raquel Ramos join forces at Teatreneu to present a hilarious analysis of that generation trapped in no man's land. A stand-up comedy face-off full of gags for all those who don't quite fit into the codes of their biological age. [articles:300180] Guilty with Robert Chacón at La Off Barcelona From July 25 to August 8.Guilty returns to La Off Barcelona for the second consecutive season. This show, directed by J. René Guerra and performed by Robert Chacón, is a humorous review of our small daily miseries. Through three hilarious characters (a pathological latecomer, a debtor trapped in economic troubles, and a professional "hater" who criticizes absolutely everything), the play is a satire on human flaws. A biting and incisive monologue that invites us to laugh at our own "guilts." Robert Chacón returns with 'Guilty' Between 90s traumas, generational battles, and age crises, this summer Barcelona offers the ideal plan to escape the heat and enjoy a good session of laughter and complicity. Turn off your phone and let the show begin.]]></content:encoded>
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      <title><![CDATA['El barquer' and 'Com vaig aprendre a conduir' lead the nominations for the IX Teatre Barcelona Awards]]></title>
      <link>https://www.thenewbarcelonapost.com/en/el-barquer-and-com-vaig-aprendre-a-conduir-lead-the-nominations-for-the-ix-teatre-barcelona-awards/</link>
      <pubDate>Tue, 21 Jul 2026 10:03:35 +0200</pubDate>
      <dc:creator><![CDATA[Elia Tabuenca]]></dc:creator>
      <category><![CDATA[BCN Shows]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/el-barquer-and-com-vaig-aprendre-a-conduir-lead-the-nominations-for-the-ix-teatre-barcelona-awards/</guid>
      <description><![CDATA[A total of 87 shows compete in the ninth edition of the billboard's reference awards. Spectators can vote for their favorite proposals until September 13.]]></description>
      <content:encoded><![CDATA[One more year (and it's already nine!), Teatre Barcelona presents its Awards to recognize the great scenic quality in our home. These awards are designed to unite professionals with the public, since the final vote and, therefore, the winners of the contest come from the spectators. The professional jury has chosen the nominated productions for this edition and, now, it is the public who is in charge of voting for the works that have moved them the most throughout the season. In this edition, the number of selected works demonstrates the good state of the performing arts in the Catalan capital: a total of 87 productions are eligible for an award in one of the 19 competitive categories, ranging from large-format text theater to dance, circus, magic, opera or family proposals. The Ferryman and How I Learned to Drive: the most nominated works At the top of the list, the Teatre Lliure production El barquer is the great favorite of this ninth edition, accumulating 5 nominations. The production is eligible for the Best Theatrical Show award, but also adds significant nominations such as Best Direction for Julio Manrique, Best Performance for Roger Casamajor and a double recognition in the supporting performance category for Imma Colomer and Anna Güell. Scene from 'El barquer', a Teatre Lliure production. ©Marta Mas Girones Closely following is Com vaig aprendre a conduir, the successful proposal from Sala Beckett that accumulates 4 nominations. The show, directed by Marilia Samper, also competes as Best Theatrical Show and adds award options for the work of its leading couple, with Mireia Aixalà as best actress and Ivan Benet in the supporting category. Very distributed candidacies with a strong emphasis on proximity Beyond the two most nominated major titles, the list shows the good health currently in the text theater and proximity venues sector. With 3 nominations, proposals such as Tu em vas prometre una història d'amor (candidate for Best Show, Direction for Israel Solà and Authorship for Helena Tornero) stand out, as well as small-format phenomena such as Permagel at Teatre Texas, Compto cada passa meva sobre la terra and Tinc un bosc al cervell. [articles:300094] As for musical theater, the duel of this IX edition will be fought between La Cubana and its show L'amor venia en taxi (with nominations for its authorship and for actor Oriol Burés) and the revision of the classic Germans de sang at Teatre Condal, supported by the candidacies of Mariona Castillo and Roc Bernadí. 'How I learned to drive' is one of the Sala Beckett shows with the most nominations. ©Kiku Piñol The public has the last word The nominations are made by theater experts, but the resolution of the final winners is up to the public. And it is that the Premis Teatre Barcelona put the final verdict in the hands of those who fill the seats night after night. Voting is now open through its official website (teatrebarcelona.com/premis) and will remain active until September 13. Participation is completely free and open to any spectator who wants to support their favorite productions and performers of the year. The great celebration of the performing arts in Barcelona will take place on Monday, September 28 starting at 8:00 p.m., in a face-to-face gala at the Paral·lel 62 venue where all the winners of the IX edition will be revealed. All nominations for the IX Premis TeatreBarcelona BEST THEATRICAL SHOW Com vaig aprendre a conduir – Sala Beckett El barquer – Teatre Lliure El Firmament – Teatre Nacional de Catalunya Gegant - Teatre Romea The author – Teatre Lliure Tu em vas prometre una història d'amor – Sala Beckett BEST PROXIMITY SHOW Abecedari – Sala Beckett Compto cada passa meva sobre la terra – Sala Atrium Honestedat – Teatre Akadèmia Manual per a éssers vius – Centre de les Arts Lliures Permagel – Espai Texas Unes ganes terribles de viure – El Maldà BEST DIRECTION Anna Serrano – L'autora (Teatre Lliure) Alícia Gorina – Tinc un bosc al cervell (Sala Beckett) Israel Solà – Tu em vas prometre una història d'amor (Sala Beckett) Julio Manrique – El barquer (Teatre Lliure) Jordi Oriol – The last atom (Teatre Goya) Marilia Samper – Com vaig aprendre a conduir (Sala Beckett) BEST ORIGINAL AUTHORSHIP Guadalupe Sáez – Tinc un bosc al cervell (Sala Beckett) Helena Tornero – Tu em vas prometre una història d'amor (Sala Beckett) Jordi Milán, Toni Sans i Rubèn Montañá – L'amor venia en taxi (Teatre Romea) Jordi Oriol – L'últim àtom (Teatre Goya) Lluïsa Cunillé – Compto cada passa meva sobre la terra (Sala Atrium) Marta Buchaca – A slap in time (La Villarroel) BEST ADAPTATION Adrià Aubert y Carla Coll – L'estiueig (El Maldà) Àlex Rigola – El Mestre i Margarita (Teatre Lliure) David Pintó – El lladre de llibretes (Sala Versus Glòries) Eva Pauné Martínez – Escenes d'una separació (El Maldà) Lucia del Greco – Little Women (Teatre Lliure) Victòria Szpunberg y Albert Pijuan – Permagel (Espai Texas) BEST INTERPRETATION Àngels Gonyalons – La corona d'espines (Teatre Nacional de Catalunya) Maria Rodríguez Soto – Permagel (Espai Texas) Mireia Aixalà – Com vaig aprendre a conduir (Sala Beckett) Oriol Genís – Compto cada passa meva sobre la terra (Sala Atrium) Rosa Boladeras – Tinc un bosc al cervell (Sala Beckett) Roger Casamajor – El barquer (Teatre Lliure) BEST SUPPORTING INTERPRETATION Anna Güell – El barquer (Teatre Lliure) Guillem Balart – Grand Ganyon (La Villarroel) Imma Colomer – El barquer (Teatre Lliure) Ivan Benet – Com vaig aprendre a conduir (Sala Beckett) Míriam Moukhles – Maria Magdalena (Teatre Nacional de Catalunya) Teresa Vallicrosa – El Firmament (Teatre Nacional de Catalunya) REVELATION AWARD Arnau Sanromà y Enric Marzà – Exercicis de crueltat per a infants (Centre de les Arts Lliures) Berta Rabascall – Göteborg (La Villarroel) Cesc Colomina – Abraça'm fins que m'adormi (Sala Beckett) Nil Martín López – El dibuixant de laberints (Teatre Eòlia) Pol Sanuy – Un refugi al sol (Sala Versus Glòries) Pau Bondiez – Ragazzo (Teatre Eòlia) BEST MUSICAL SHOW The Phantom of the Opera – Teatre Tívoli Blood Brothers – Teatre Condal Love Came by Taxi – Teatre Romea The Night of the Tall Musician – Teatre Grec Sardana Superstar – Teatre Condal Tootsie, the Musical Sitcom – Teatre Apolo BEST LOCAL MUSICAL SHOW Alter – Sala Golem's Looking for an apartment! – Teatre Gaudí Barcelona Useless (a cactus and other disasters) – El Maldà Sondheim x Sondheim – La Fàbrica You, me... and you all... and the songs... – Sala Versus Glòries A Refuge in the Sun – Sala Versus Glòries BEST MUSICAL INTERPRETATION Ana San Martín – The Phantom of the Opera (Teatre Tívoli) Claudia Nogués – Useless (a cactus and other disasters) (El Maldà) Ivan Labanda – Tootsie, the Musical Sitcom (Teatre Apolo) Mariona Castillo – Blood Brothers (Teatre Condal) Oriol Burés – Love Came by Taxi (Teatre Romea) Roc Bernadí – Blood Brothers (Teatre Condal) BEST DANCE SHOW Warm-up – Teatre Lliure Fandango Reloaded – SAT! Death and Spring – Teatre Nacional de Catalunya PICASSa – Picasso Museum La Cordero and her army – Teatre Nacional de Catalunya A Red Chicken – La Villarroel BEST HYBRID STAGE SHOW Analphabet – Teatre Lliure Berenguera – Teatre Eòlia El sonall – Teatre Nacional de Catalunya Mil tres, say cheese (Les resurreccions de Don Giovanni) – Teatre Lliure Un cotxe – Centre de les Arts Lliures Perdón – Mercat de les Flors BEST CIRCUS SHOW Conhort – Can Felipa La gran plantada – Ateneu Popular 9 Barris La pedra de fusta – Teatre Nacional de Catalunya Qui som? – Teatre Grec / Teatre Lliure Tenet – Mercat de les Flors Terra – Port Vell BEST FAMILY SHOW Do2 Llops – Teatre Lliure Fosca – Teatre Lliure Jo, Tarzan – SAT! Loop – La Puntual Nanuq – SAT! Numa – Teatre Lliure BEST STREET SHOW Cimbelí – Parc de l'Estació del Nord (Parking Shakespeare) Gota – Parc de l'Estació del Nord (Mercè Arts de Carrer) Interferència 02 – Arc de Triomf (Mercè Arts de Carrer) Rodols i cigrons – Palauet Albéniz (Mercè Arts de Carrer) The Place – Camí Antic de València (Festival Escena Poblenou) Woof – Port Olímpic (Mercè Arts de Carrer) BEST MAGIC SHOW Fasciné – Teatre Muntaner Icònic – Espai Random Magia para recordar – La Off Nada es lo que parece – Teatre Apolo Sense guió – La Casa dels Contes Top 10 Magic – Sala Golem's BEST LYRICAL PROPOSAL Benjamin a Portbou – Gran Teatre del Liceu Els estunmen – Teatre Lliure Le nozze di Figaro – Gran Teatre del Liceu Les noces de Fígaro – Palau de la Música L'holandès errant – Palau de la Música Tristan und Isolde – Gran Teatre del Liceu BEST HUMORISTIC PROPOSAL Asesinato para dos – Teatre Muntaner Biopic – Teatre Texas Eix Transversal – El Molino i Teatre Texas Minovas – Diversos espais Show Patético – Aquitània Teatre i Teatre Borràs Vaques flaques – Teatre Borràs The list of nominees for this ninth edition is a reflection of a vibrant, diverse, and in-form billboard. Now it's your turn: vote for those stories that made you laugh, cry, or reflect this season, and on September 28, we will know the winners. Because without an audience, there is no theater.]]></content:encoded>
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      <title><![CDATA[Catalonia accelerates the quantum race: an emerging ecosystem that already bills 91 million]]></title>
      <link>https://www.thenewbarcelonapost.com/en/catalonia-accelerates-the-quantum-race-an-emerging-ecosystem-that-already-bills-91-million/</link>
      <pubDate>Tue, 21 Jul 2026 10:03:05 +0200</pubDate>
      <dc:creator><![CDATA[Redacció TheNBP]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/catalonia-accelerates-the-quantum-race-an-emerging-ecosystem-that-already-bills-91-million/</guid>
      <description><![CDATA[52 companies (30 more than in 2019), 470 jobs and 53 European projects outline the rise of a sector that aims to position Barcelona as a reference quantum hub in Europe]]></description>
      <content:encoded><![CDATA[Just a few years ago, talking about quantum technology seemed like talking about a distant future reserved exclusively for the most advanced physics laboratories. Although today it is still an unknown technology —in part because it explores an invisible scale, that of atoms and subatomic particles—, this microscopic world is opening the door to a new generation of applications with the capacity to transform sectors as essential as health, telecommunications, cybersecurity, or aeronautics. A technological revolution that also has an important economic dimension: it is estimated that the quantum technology market could reach 215,000 million dollars by 2040. Given the global interest in this technology, Catalonia has been building its own ecosystem in recent years, bringing together leading research centers, pioneering infrastructures, and specialized companies. So much so that the report Quantum technologies in Catalonia, prepared by Acció, precisely describes this moment as a stage of "quantum effervescence" to illustrate the period of acceleration that the sector is experiencing at a Catalan level. The figures support this Catalan effervescence: the ecosystem already has 52 companies linked to the sector, generating 91.4 million euros in turnover and nearly 470 jobs, after having incorporated 30 new companies since 2019. Detail of the BSC supercomputer. © Àngel Bravo Behind this effervescence is a technology still difficult to see and understand, but with enormous transformative potential. Quantum technologies harness the properties of quantum mechanics, the branch of physics that studies the behavior of matter at the atomic and subatomic scale. This microscopic reality operates under different rules than the conventional world and allows the development of new tools for processing information, communicating data, or measuring phenomena with millimeter precision. One of the most well-known applications is quantum computing. While current computers work with bits that can have a value of 0 or 1, quantum computers use qubits. More than a purely technical difference, this new way of processing information can allow solving problems that today exceed the capacity of traditional computers. However, the quantum revolution is not limited to computers; it also includes quantum communications, with applications in cybersecurity, and quantum sensors, with potential in fields such as medicine, navigation, or industry. A quantum business fabric in full expansion This wide range of applications is opening the door to the creation of new companies specialized in the development of quantum solutions. A sector still under construction, as highlighted by the data from the report presented by Acció: 17.3% of Catalan companies are startups and 32.7% have less than ten years of activity. But this youth does not prevent a part of the sector from already being consolidated and looking outwards: in fact, 21.2% of Catalan companies are already exporters. Detail of a quantum computer. Among the companies that form the Catalan ecosystem, projects such as Qilimanjaro Quantum Tech, which develops computers and software for quantum computing; Quside, specialized in quantum randomness generation for applications such as cybersecurity; and LuxQuanta, which works on quantum communication systems to ensure more secure transmissions, stand out. A new international player will soon join this ecosystem: the British company Oxford Quantum Circuits (OQC), a spin-off of the University of Oxford, has chosen Barcelona to install the largest quantum computing hub in all of Europe. The project foresees an investment of 92 million euros and the creation of more than 210 qualified jobs in the next five years. [articles:300225] In fact, the Catalan capital and its metropolitan area concentrate most of the quantum companies: Barcelonès groups 38 of the 52 companies in the sector, 73% of the total. Within the region, the Catalan capital leads the map with 34 companies, followed by municipalities such as Castelldefels, l'Hospitalet de Llobregat, or Cerdanyola del Vallès. But for a technology like quantum to go from research to market, infrastructures capable of developing and testing it are needed. The Acció report points out that this is one of Catalonia's strengths, which has research centers and advanced equipment that help generate knowledge and attract talent, from the Institute of Photonic Sciences (ICFO), to the Catalan Institute of Nanoscience and Nanotechnology. One of the main examples of these infrastructures is the Barcelona Supercomputing Center (BSC-CNS), which houses one of the six European quantum supercomputers and the first quantum computer of the Quantum Spain project. The ICFO building. © Gemma Sánchez Bonel / ACN - Catalonia's research capacity, however, is not limited to a single infrastructure. Various centers and teams in the territory participate in European projects linked to quantum technologies. In fact, between 2022 and the first quarter of 2026, Catalonia has concentrated 44.6% of the state funding allocated to initiatives with a quantum component within Horizon Europe. In total, 53 projects that have mobilized close to 41 million euros. The great challenge, however, remains for this knowledge to leave the laboratories and translate into real applications and businesses. A process that Catalonia has already begun to promote with initiatives such as QuantumCAT, the Catalan hub of quantum technologies, and with a growing ecosystem of companies working to convert research into market-applicable solutions.]]></content:encoded>
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      <title><![CDATA[RS Barcelona and the art that comes into play]]></title>
      <link>https://www.thenewbarcelonapost.com/en/rs-barcelona-and-the-art-that-comes-into-play-1/</link>
      <pubDate>Tue, 21 Jul 2026 10:02:22 +0200</pubDate>
      <dc:creator><![CDATA[Anna Badia López]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/rs-barcelona-and-the-art-that-comes-into-play-1/</guid>
      <description><![CDATA[From a sheet metal workshop in Viladecans to exporting worldwide from Barcelona, the family business has turned gaming tables into design icons]]></description>
      <content:encoded><![CDATA[Foosball is associated with the bar, with 22 players to touch the ball, with wood, metal, and play. But, in recent years, foosball has left the bar to enter a living room, an office, or even a designer terrace, with touches of sophistication and with players (male or female) different from the traditional ones. RS Barcelona champions this transformation of game elements into pieces marked by design and elegance, which started with foosball tables and now include ping-pong tables, billiards, and furniture: "We are artists of the game," as the family business defines itself. "The art of play lies in finding the balance between design, aesthetics, and fun," defend RS Barcelona, which takes the city as its hallmark and as a source of inspiration for its art-made-game pieces—or vice versa. However, its origin is not behind a foosball table, but the company has its seed in an unexpected environment: the metal trade. Specifically, in a small sheet metal workshop in Viladecans. Everything started there in 1975, when Rafael Rodríguez decided to undertake a business dedicated to metalwork. For years, the company manufactured parts for third parties, an activity that allowed consolidating the trade and transmitting it to the next generation. His sons, Rafael and Sergio, grew up among steel sheets, presses, and welds. However, a moment came when manufacturing for others was no longer enough, and creativity began to seek other avenues of expression. RS Barcelona foosball table, on a boat. That path arrived in 2006 in the form of a foosball table. The Rodríguez brothers decided to reinterpret an object rooted in popular culture to take it out of its most usual spaces: they wanted it to be able to share space with a designer sofa, be part of a hotel, become the center of an office, or even be a protagonist aboard a ship, as pieces with their own identity. The turning point came shortly after, and by chance. The soul of Vinçon, Fernando Amat, was seduced by the design of that first foosball table. The one baptized as RS2 was installed in the showcase of what was then the design benchmark of Passeig de Gràcia, which gave it an unforeseen visibility that marked the firm's next steps. After delving into the world of design —hand in hand with studios like Stone Designs, which they met at the Salone del Mobile in Milan—, the firm expanded its catalog: foosball tables were joined by ping-pong tables, billiards, and unique furniture pieces, which build a universe grouped under one concept: Intense Living. In it, the brand conceives objects as facilitators of experiences, with products designed to generate moments and encounters. Side table 'Plec Circular' by RS Barcelona. Barcelona as inspiration In RS Barcelona's way of understanding design, the city occupies a central place. In fact, the firm is inspired by its streets, markets, panots, popular festivals, correfocs, and an industrial legacy that coexists with modernism and creativity. The relationship with the city, however, goes beyond inspiration, and is also palpable in the manufacturing process. Although the company has grown to export its products to dozens of countries, it manufactures locally. In early 2024, it opened a new headquarters in Olesa de Montserrat, where it located its production and storage plant, its offices, and a showroom, which joins the concept store it has on Còrsega street in Barcelona, and the warehouse it has in the United States, where RS Barcelona landed in 2010. Ping-pong table by RS Barcelona In addition to inspiration and local production, another pillar marks the company's relationship with Barcelona. The company collaborates with entities such as the Pediatric Cancer Center Barcelona of Hospital Sant Joan de Déu, the Casa dels Xuklis of AFANOC, and the Rafa Nadal Foundation, with the donation of game tables. All framed within the "commitment to bring play and its transformative power to all areas." This transformative power took the form of a foosball player. Or, in this case, a female player. In 2011, it created the first foosball table with female players, as an "aspiration, a declaration of intent, and a firm commitment to equality." The female player figures, with the same proportions as the male ones, have the same precision, power, and resistance, representing "complete equality." Model 'Ella' by RS Barcelona, the first female foosball player. "We have always believed in the power of sport and play as an instrument of cohesion and inclusion, and a link between people," defends the company, which extols the capacity of play to transform and catalyze change. It is the same philosophy that it embodies in its pieces, marked by a unique identity and contemporary design; the same one that led Rafa and Sergio to take the badge further and put it into play, and with which it continues to champion that concept of intense living that still drives the firm.]]></content:encoded>
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      <title><![CDATA[A summer of educational leisure for nearly 9,000 children in vulnerable situations with the "la Caixa" Foundation]]></title>
      <link>https://www.thenewbarcelonapost.com/en/a-summer-of-educational-leisure-for-nearly-9-000-children-in-vulnerable-situations-with-the-la-caixa-foundation/</link>
      <pubDate>Mon, 20 Jul 2026 07:57:25 +0200</pubDate>
      <dc:creator><![CDATA[The New Barcelona Post]]></dc:creator>
      <category><![CDATA[Lifestyle]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/a-summer-of-educational-leisure-for-nearly-9-000-children-in-vulnerable-situations-with-the-la-caixa-foundation/</guid>
      <description><![CDATA[The CaixaProinfancia program of the "la Caixa" Foundation is promoting camps, urban colonies, and other activities this summer for nearly 9,000 vulnerable children and adolescents throughout Catalonia. The initiative aims to guarantee access to educational leisure experiences during the summer period, a particularly complex time for many of these families.]]></description>
      <content:encoded><![CDATA[Summer is not the same for everyone. While many families enjoy their vacations, others face this period with greater economic and work-life balance difficulties. For thousands of children and adolescents in vulnerable situations, this means losing access to safe spaces, educational activities, and opportunities for leisure and rest. To address this reality, the CaixaProinfancia program of the "la Caixa" Foundation is once again promoting its summer activities offer aimed at children and adolescents in vulnerable situations. Between June and September, more than 30,000 minors throughout Spain will participate free of charge in camps, colonies, and open centers organized in collaboration with social entities across the territory. In Catalonia, nearly 9,000 participants are expected. "CaixaProinfancia's summer activities are much more than a leisure proposal: they foster the personal and social development of children and adolescents with limited resources, help families reconcile, and ensure that children can exercise their right to leisure, rest, and enjoy summer with equal opportunities," states Marc Simón, Deputy General Director of Social at the "la Caixa" Foundation. Between June and September, more than 30,000 minors throughout Spain will participate free of charge in camps, colonies, and open centers. © "La Caixa" Foundation CaixaProinfancia's summer activities offer combines recreational, cultural, artistic, and sports proposals with socio-educational support. Through play, coexistence, and group participation, children and adolescents develop personal and social competencies such as self-esteem, autonomy, empathy, or the ability to relate to others, while enjoying an enriching summer with equal opportunities. Furthermore, this year, the program incorporates the activity "Camps on Stage!", a proposal consisting of five theatrical dynamics that culminate in the collective creation of a simple play. Through this activity, key values and competencies such as creativity, emotional expression, confidence, cooperation, and social cohesion are worked on. This year, the program incorporates the activity "Camps on Stage!", a proposal consisting of five theatrical dynamics that culminate in the collective creation of a simple play. © "La Caixa" Foundation Integral and sustained support for familiesCaixaProinfància is a program of the "la Caixa" Foundation aimed at vulnerable households with children between 0 and 18 years old. Its objective is to break the intergenerational transmission of poverty through a comprehensive intervention model that combines educational reinforcement, leisure and free time, psychosocial care, family support, and aid to cover basic needs. Last year, the program supported more than 67,000 children and adolescents throughout Spain through a network of more than 475 social entities that adapt the intervention to the reality and needs of each territory. The program is present in all autonomous communities and in the two autonomous cities. CaixaProInfància has supported more than 67,000 children and adolescents throughout Spain through a network of more than 475 social entities. © "La Caixa" Foundation In addition, as a private intermediate body of the European Social Fund Plus (ESF+), the "la Caixa" Foundation co-finances and manages the Más Infancia call to fight against child poverty, which also offers educational leisure activities during the summer months to 2,000 children and adolescents through 171 social entities selected in the call. The strength of opportunities In Spain, one in three children grows up in contexts marked by poverty and lack of opportunities. Economic difficulties, precariousness, or barriers to accessing educational and social resources continue to condition the present and future of thousands of families. To help break this cycle of inequality, the "la Caixa" Foundation promotes socio-educational support programs for children and young people in vulnerable situations, such as CaixaProinfància, Incorpora Joven, the Degree Scholarships, EduCaixa, the Social Projects Calls, or the Más Infancia and Más Empleo Joven calls. Each year, more than 140,000 children and young people receive support through these programs, developed together with a wide network of social entities. In 2026, the "la Caixa" Foundation will allocate more than 700 million euros to social transformation to act where needs are most urgent.]]></content:encoded>
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      <title><![CDATA[The cheesemonger of the Gòtic]]></title>
      <link>https://www.thenewbarcelonapost.com/en/the-cheesemonger-of-the-gotic/</link>
      <pubDate>Sat, 18 Jul 2026 13:11:54 +0200</pubDate>
      <dc:creator><![CDATA[Carme Escales]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/the-cheesemonger-of-the-gotic/</guid>
      <description><![CDATA[Every cheese Diana dispatches tells a distant and close story. And, in her selection of cheeses, we get to know her]]></description>
      <content:encoded><![CDATA[They say that every purchase we make, what we put in our basket every day, has more power than the vote we cast in an electoral ballot box. Especially direct acquisitions from producers are, clearly, a commitment to that activity. When we go to buy in a street-level store, we are contributing to that business remaining open. We breathe oxygen into it, in the same way that, if we read the name of a nearby town on the label of a sausage we acquire, we wind up the local economy. And in stores like Diana Castell's, all this can be done: enter and support the continuity of this beautiful business in the Gòtic, which is practically the only one in an entire neighborhood dedicated exclusively to a single food product. At the same time, we are winding up the local economy of small cheese dairies throughout "the entire territory of the Països Catalans." But, in addition, when we enter the Casa Carot cheese shop and make a purchase, it is also possible that we are helping to prevent fires. Because some of the cheese producers we will find there participate in the Ramats de Foc project, a powerful tool for managing the risk of forest fires, through grazing in strategic areas. You can help create and maintain these landscapes with actions as simple as consuming products from nearby herds. "The fire is put out in winter, but the territory must be prepared for this to happen," says the cheesemaker. That is why she sells cheeses made with milk from herds that clear forests and roads and also some wines from conscious and respectful viticulture that, through the Ozó project, allocate part of the profits to the Ramats de Foc project. Diana Castell's cheese shop, in the Gòtic. © Verònica Hansen Every product choice Diana makes responds to many whys, with many reasons to be part of her business. She opened it five years ago. In July 2021, she inaugurated the Casa Carot cheese shop, a space to taste the territory, discover the product made there, and learn the first and last name, each story linked to a label. Every morning, when Diana raises the blind of her cheese shop, she opens the door to a small universe of flavors achieved with goat, sheep, and cow milk. It is a small organoleptic world made of mornings and afternoons of grazing, because Casa Carot cheeses graze, as the business motto says. "When cheeses graze, we savor the landscape and care for the territory." These are messages that do not decorate the cheese shop, but give it meaning. And to this Barcelona native, a resident of the Gòtic for fifteen years, opening her commercial establishment at number 16 Dagueria Street, all this gives her the strength to nourish the proposal she imagined when she saw the neighborhood premises for transfer, a project "that is mine," she states. And, best of all: "Thanks to it, I always have good cheeses on the table, direct contact with the producers, and the gratitude of many people in the neighborhood." Because in this "neighborhood concept that is fading," as Diana describes it, the few neighbors and businesses that still stick together applaud such an initiative. "Now in this neighborhood there are already third and even fourth residences." In fact, Diana confesses that she "misses more businesses and residents around her who speak Catalan." However, the few long-time neighbors who still live there all year round, she says, "are happy with the cheese shop." Sensitivity towards the territoryWhether they are residents of the Gòtic, or other districts, whoever comes in for a cheese is likely to linger and discover other things to take home: gluten-free pasta and escairat wheat, from L'Escairador, in Berguedà; olive oil jam, vegetable chips, legumes, broths... "My audience is not people with more money, but people with more sensitivity. In 90% of cases, they have a different sensitivity." That is to say, they value the type of product and the philosophy that contextualizes it, which is: knowing who made it, where, and under what conditions and means. "When I went to visit them, one by one, I was met with a double welcome: on the one hand, that thought of theirs that they must have been saying: and now this one from Barcelona, what does she want? But, at the same time, they thanked me for being able to put a face to a name. Putting a face to a name is important," Diana considers. And thanks to this personal knowledge, of those she has visited and those who have come to Barcelona to see the store, she is aware of the daily life of these producers. She knows, for example, that some of them are organizing themselves into a cooperative to share transport, through Somsingulars.cat, an initiative to care for local agriculture and commerce. Diana in front of her cheese shop. © Carme Escales Every morning, she selects five cheeses. These will be the highlights of the day. Even as a child, she appreciated cheese and, when she saw that the premises were being transferred, she thought she would like to take it to put some local product there. "I wanted them to be cheeses from small local producers and made with raw milk." And she explains that, being a very seasonal product, when raw milk is not available, she complements it with more aged cheeses. These days, the intense heat has also disrupted the dairy production of some herds, which has reduced the quantity of cheeses. Everything is that natural and sustainable, and Diana saw it on each visit she made through the different regions, from the Pyrenees and the plain, where she went to find, before opening, men and women who every day take their herds to the meadow, like the shepherd of Riuidaura, and milk and make cheese. From about fifteen of them, she displays about thirty cheeses, each with its own personality. And in specific tasting sessions organized by Casa Carot, the makers themselves come to explain the singularities of each piece. A very diverse country tastingAnd all this display of nature and country in small cheeses is in the center of the city of Barcelona, in a neighborhood where craftsmanship had given life to many establishments in the alleys surrounding the cathedral. "My initial idea was to have cheeses and about six or seven wine references, also from small local producers, but it has ended up being like a small colmadito", with jams, eggs, Reus hazelnuts, chocolate from Olot's main square, dried fish from Formentera, porcini mushroom pâté... And in the middle of the shop, a beautiful and robust wooden table that, Diana explains, "I could have bought it already made, but I wanted to commission it from a carpenter I met in Mercantic. I drew the table I wanted and he made it." Diana inside the cheese shop. © Verònica Hansen A display of cowbells of different sizes and lamps that also recall their shape are part of this meticulous selection at Casa Carot. The wooden doors of an old refrigerator and the motor, visible, with great interest for connoisseurs, are a testament to a past, when in this very place there had been a butter factory. One of the most beautiful and interesting parts of setting up the cheese shop was Diana's dedication to tracing the history of the factory. "I found delivery notes and a handwritten telephone list using an old advertising cardboard from the time," she explains while showing it with satisfaction. These are the traces of a past that she has not only known how to respect, but also admires. To begin with, she has rescued the surname of the cheese shop's owner, Carot, and has saved all the vestiges she could of what was the small factory that operated from the 1920s until the 1980s, when Barcelona's dairies closed. Cows stopped being milked in urban streets, but in this stronghold of commercial activity in the Gothic Quarter dedicated to food, cheeses continue the dairy tradition in this little corner of the city. Diana preserves the past of her premises. © Carme Escales In the skin of a true self-employed woman, Diana sometimes feels the difficulty of having to row hard against the current. She has in her hands a perishable product with little profit margin, therefore, feeling the gratitude of customers who enter her store, from further or closer, and the satisfaction of doing what she wished to be doing, are her cushion, the compensation that has allowed her to write these first five years. Of course, she feels the loneliness of a business like hers, an island of authenticity where it is located, surrounded by establishments so absolutely attentive and dependent on tourists. In fact, she wonders why the Ciutat Vella Uses Plan, which should prevent the proliferation of businesses solely focused on foreign customers, has not done so. ]]></content:encoded>
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      <title><![CDATA[T2, the airport of the past starts its future]]></title>
      <link>https://www.thenewbarcelonapost.com/en/t2-the-airport-of-the-past-starts-its-future/</link>
      <pubDate>Sat, 18 Jul 2026 07:11:32 +0200</pubDate>
      <dc:creator><![CDATA[Javier Ortega Figueiral]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/t2-the-airport-of-the-past-starts-its-future/</guid>
      <description><![CDATA[The airport's T2 begins a new chapter with a 153.4 million euro project that Aena will execute between next year and 2031]]></description>
      <content:encoded><![CDATA[Two summers away from completing 60 years of service, T2 is finally going to undergo a comprehensive renovation. This terminal is the result of many reforms and was built in pieces over different decades, with different architects, engineers, and needs, until it became a mosaic of almost six decades of commercial aviation in Barcelona Yesterday, aeronautical engineer Eva Valenzuela, airport director since May 2023, announced that this accumulation will finally have order: a project of 153.4 million euros that Aena will execute between next year and 2031 to stitch together, for the first time, all these pieces into a single architectural and aesthetic narrative. These important works are a good excuse to review its entire history in The New Barcelona Post, because T2 has not just been a terminal. It has been, at different times, the showcase of a Barcelona that wanted to present itself to the world, and finally the veteran sister that the new T1 eclipsed and left in a discreet background. Now a new chapter begins. The T2A terminal is partially open. Today it only receives arriving passengers from flights originating outside the Schengen area © Javier Ortega Figueiral - A terminal that was born provisional and lasted almost twenty years Before T2 came into service in 1968, there was another terminal building, and before that, none worthy of the name. Barcelona did not have a true airport until 1949, when a simple building crowned by a control tower was inaugurated, displaying the acronym A.T.B. on its facade, for Aeropuerto Transoceánico de Barcelona (Transoceanic Airport of Barcelona). It had been officially baptized as "provisional passenger air station" because the definitive terminal was planned for some land in Viladecans that was never developed. The provisional one ended up serving for almost twenty years, until the growth of jet aviation completely overwhelmed it. In the aforementioned 1968, an airport finally arrived that was up to the city's standards: the central building of the current complex that we know today as T2B, designed by engineer Vicente Cudós and architect Eduardo Aguirre. With their company Proyecta, they also erected modular buildings in other Spanish tourist airports such as Ibiza, Malaga, Girona, and Palma. The Barcelona construction was state-of-the-art for its time, though with a curious caveat that today sounds almost endearing despite the heat we are experiencing on the days this story is written and published: the initial budget did not allow for air conditioning to be installed. [articles:234403] Two years later, in 1970, that terminal received the element that would distinguish it forever: Joan Miró, along with ceramist Josep Llorens Artigas, installed on its facade the large ceramic mural that still today welcomes and bids farewell to many of the airport's passengers. In 1974, another milestone arrived, the birth of the Barcelona-Madrid air shuttle, with its own Iberia terminal exclusively dedicated to a service that would become for many years one of the busiest links in the world. The Miró and Artigas mosaic was installed on the facade of the current T2B two years after it came into service. There are plans, though still without a date, to move it to T1. © Javier Ortega Figueiral - The airport that wanted to be up to the standard of an Olympics If there is one moment that defines what T2 meant for Barcelona, it is October 1986. On the 17th of that month, a charter flight from Geneva landed at El Prat with the members of the Games Organizing Committee, Barcelona having just been chosen as the Olympic host city for 1992. Hundreds of people received them at the airport and thousands more throughout the city; that night, Montjuïc celebrated a massive party. The airport where they landed was still, basically, the 1968 building: a single terminal that that same 1986 reached six million annual passengers, a figure that today seems modest compared to the more than 57 million in 2025, although back then that figure marked the limit of what the facility could comfortably handle.The Olympic designation changed the pace of everything. The competition for the major expansion was won by the Architecture Workshop of Ricardo Bofill, and what followed was a transformation as profound as it was uncomfortable: all the work had to be carried out without interrupting the airport's operations for a single day, just as is promised to be done now, with the inconveniences that this implied for companies and passengers for years. The result, however, filled a city that was then experiencing one of its sweetest moments with pride. Fernando Botero's horse, sculpture and meeting point in T2. The Colombian's work is from 1992 © Javier Ortega Figueiral - On both sides of the original building, two new extensions were born: A, for international flights, and C, dedicated to the air shuttle, while the old 1968 building was renamed B. On the airside, a promenade of more than 800 meters was built with four triangular modules and 24 direct boarding gates, something unprecedented until then at El Prat, and the new spaces were clad with Almería travertine marble from the Greek island of Thassos. The culmination arrived just five months before the Olympic cauldron was lit, when the entire building was inaugurated. Between the three terminals, they totaled 110,000 square meters and an investment that, in pesetas of the time, exceeded 50,000 million. Barcelona literally opened a new gateway, and that gate worked: during those weeks of 1992, El Prat was one of the busiest airports in the world, and from those Games, Samaranch's phrase at the closing ceremony, about the best Games in history, remained forever. [articles:300366] It was, in essence, one of the many boosts received by a Barcelona and a Catalonia that, in the late 80s and early 90s, was experiencing an unprecedented moment of expansion and international projection. And the airport, with its new face designed by Bofill, was the architectural symbol of that confidence. The eclipse of T1 and the years of low cost That splendor was not eternal. The European liberalization of air transport, which coincided almost to the day with the Games, multiplied the number of airlines and passengers during the 90s, and the terminal continued to grow in parts, with a new module in 2001, another in 2003, an intermodal building and the third runway, reaching the limit of its possible expansion. The definitive solution arrived in 2009, with the opening of T1, the large white building next to the sea that Aena decided to clearly separate from the historical complex: 1 for the new, 2 for the classic and its successive extensions. Overnight, the terminal that had been Barcelona's only air gateway for decades was left, for the first time, with plenty of space. The major alliances and a good part of the traditional airlines moved to T1; T2 remained focused on low-cost companies (Ryanair, easyJet, Transavia, Wizz, Eurowings or Norwegian) which today continue to be its hallmark. Those were years of maintenance, specific investments and a certain neglect, despite the fact that the terminal never stopped moving a very relevant percentage of the airport's traffic: today, still, 35% of passengers arriving or departing from Barcelona by plane do so through its gates. The missing renovation It is in this context that yesterday's announcement fits. "The idea is to have a completely new terminal when the works are finished," explained Eva Valenzuela, who defined the intervention as "the most profound since the one carried out for the Olympic Games." It is not, insisted the director, about altering the essence of the building, but about "recovering the unity of a complex that has evolved through successive extensions over more than sixty years" and which, precisely because of this accumulation of stages, has become a "diverse and heterogeneous" terminal from an architectural and functional point of view. Valenzuela: "it is about recovering the unity of a complex that has evolved through successive extensions over more than sixty years" The plan will reopen and fully integrate module A, currently in partial use only for arrivals since T1 overshadowed it; the facade of T2B will be renovated with new stone materials that reinforce its original identity and gain natural light; and the current asphalt roads between the terminal and the car parks will be improved with a large continuous green axis of palm trees, olive trees, cypresses, and rosemary, conceived as a gateway to Barcelona and as a transition to the new four-star hotel that will be built in front of module A, which will be managed by Hyatt. Inside, the Rambla will regain its central role, with new rest and work areas. Changing without changing. This is what the landside facade of the old terminal building, current T2B, will look like © Aena - The renovation will also reinforce intermodality, fully integrating the Metro and future R-Aeroport railway line stations into the terminal complex itself, and will add sustainability measures, from LED lighting to new electric charging points. "The objective is to stitch all these pieces together to offer passengers the perception of a completely renovated, modern, and coherent terminal, maintaining the identity that has made it one of the most recognizable buildings in Spanish airport history," summarized the director. Green will be given weight. The aim is for vegetation to gain ground over asphalt between the terminal, car parks, and the future T2 hotel © Aena - In all of this, there is a detail that connects the end of this story with its beginning. Miró and Artigas's mural, the one that has been receiving and bidding farewell to passengers for 56 years, is planned to be moved to T1 someday. However, this transfer will not be immediate: until well into the next decade, the work will remain exactly where the painter and the ceramist installed it in 1970, two years after that terminal opened, which wanted to be, and wants to be again, a great gateway to the city. While Aena stitches together the pieces of its six decades of history, the mural will remain there, in its usual place, watching the Barcelona that lands and takes off.]]></content:encoded>
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      <title><![CDATA[From Messi to Lamine]]></title>
      <link>https://www.thenewbarcelonapost.com/en/from-messi-to-lamine/</link>
      <pubDate>Sat, 18 Jul 2026 06:48:45 +0200</pubDate>
      <dc:creator><![CDATA[Bernat Dedéu]]></dc:creator>
      <category><![CDATA[Opinion]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/from-messi-to-lamine/</guid>
      <content:encoded><![CDATA[Due to the effervescence of the World Cup, most readers will have seen on their mobile screen (surely involuntarily, as virtual existence has less and less to do with free will every day) the photograph of a young Lionel Messi, still with long fuzz and without his body tattooed like a hooligan, where you can see the Catalan player of Argentine origin bathing a small baby who, by those things in life, is Lamine Yamal. Seen from the present, which is how works of art or historical documents are always analyzed (and even more so in light of this Sunday's final), the amateur-culé philosopher has serious difficulties not to analyze the snapshot as a demonstration of the Holy Continuity of Barça's youth academy model, embodied in the aforementioned healing image between the one who -whatever happens the day after tomorrow in New York- must be considered the best player in history and the young man who will mark the style and future temperament of the opium of the masses. Although I abhor the irritating navel-gazing of my beloved tribe, I must confess that I also survive thanks to a certain football addiction and that, from time to time, I look for reasons to justify the misfortune of having been born in Catalonia; in the case at hand, it must be said that it is very difficult not to be moved by an image that has a very impactful sporting meaning and also a political reading that, in a present where many things are being turned upside down and from the perspective of origins, shows two universal Catalans with foreign blood solidarized in a paternal or fraternal attitude (so sorry, racial-cultural protectionists). In this sense, I would say that Barça can rightly boast of a model of sporting excellence that, the image tells us, shows that the motto "tant se val d'on venim" is not just a vulgar intercultural verse. Regardless of whether Messi or Freud wins, this World Cup will be very culé.That said, Sunday's match also certifies that the history of planetary football could not be written without the players who have left their mark on Barça. If we trace a line of unmatched stars that passes through Cruyff, Maradona, Messi and -fingers crossed- Lamine, we will understand that, if we were to make a ranking of global football legends, our club would win (the merengue readers, who are going through difficult times, will speak of Di Stéfano; and I will remind them that even that player has a relationship with our house, because he had to be ours before he was snatched from us with foul play or with the wallet, as they always do). I would say that my club must make more efforts to reclaim that continuous legacy because, especially in the case of the first two figures, it represents an existential and technical change in the way of understanding the game. If you take these names out of the hall of fame, football would be lame. [articles:300395] What I say is not only related to Barça because, like it or not, this club is the first brand (ugh) of our city and one of its ways of penetrating the world. Whether we like it or not, I insist, there is no other field (and I wish I could say the same about our music or our scientists!) where Barcelona can project an undeniable image of planetary excellence. For someone like me, who equally abhors Spain and Argentina, seeing Sunday's final as a triumph for Barça may seem like a romantic consolation, and it certainly is, but it is a sentimentality with a demonstrable foundation. That said, Leo Messi is one of the men who has made me happiest in life and, from this modest Stab, I ask him to spare me the unbearable bore about the diversity of Spain and the multiculturalism of Rocafonda that awaits me if La Roja wins. Leo, my son, however hurt you may be, you owe us many favors. "The history of planetary football could not be written without the players who have passed through Barça" This heritage that ties the figures of Cruyff, Maradona, Messi and his little baby should transcend the sports realm to fully enter into the patrimonial reflection of our city. Reading the Barcelona model (ecs) from the historical narrative that goes from a wandering Dutchman, passing through an existentially damaged Argentine, to two new adopted Catalans… could be amusing. All this should be done, of course, from a perspective that thought of Barcelona as the capital of a Catalan state that we do not have but that Barça, who knows if illusionarily, can often glimpse (and who knows if this, to hammer the nail, is also one of the magnificent alienations that football gives us!). That said, may the aforementioned photograph be a good guide for Sunday's match... and, please, Leo, give the little one another bath, because we, the members, are paying and the kid, for your services rendered, will understand it perfectly.]]></content:encoded>
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      <title><![CDATA[Pocket Piano, the instrument born in Barcelona that fits in a backpack]]></title>
      <link>https://www.thenewbarcelonapost.com/en/pocket-piano-the-instrument-born-in-barcelona-that-fits-in-a-backpack/</link>
      <pubDate>Fri, 17 Jul 2026 09:42:12 +0200</pubDate>
      <dc:creator><![CDATA[Ainara Valadez Medina]]></dc:creator>
      <category><![CDATA[Business&Talent]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/pocket-piano-the-instrument-born-in-barcelona-that-fits-in-a-backpack/</guid>
      <description><![CDATA[Backed by Ponder Trade, the Grifols family's family office, the company has already sent more than 1,700 instruments to 45 countries from the Catalan capital, where it designs and fully manufactures this professional portable piano]]></description>
      <content:encoded><![CDATA[Inspiration knows no schedules or scenarios. It can arise in a hotel room before a concert, during a train journey, or on any given afternoon away from home or the conservatory. But pianists face a limitation that other musicians barely imagine: they cannot take their instrument wherever they want, nor even have it nearby when inspiration strikes. Its size and complexity have turned something as commonplace for a guitarist or violinist as traveling with their instrument into a practically impossible task for a pianist. That is the barrier that Pocket Piano, a modular professional piano made of independent pieces, designed and produced entirely in Barcelona, wants to break down. The idea for the project was actually born out of a very personal need. Its founder, Josep Bergadà, from a family of musicians, was studying Business Administration when he realized that he couldn't use his free time between classes to practice, as the piano is difficult to transport. While a guitarist could take the instrument out of its case and play in any corner of the campus, he always depended on returning home. That initial frustration ended up becoming a challenge: was it possible to design a professional piano that could be taken anywhere without having to give up the feeling of playing a traditional instrument? Therefore, the barrier was not only to reduce its size and weight, but also to preserve the touch and response of the keys typical of a piano. After years of prototypes and tests, Bergadà managed to manufacture the device he was looking for: Pocket Piano, an instrument with 87 keys —a concert piano usually has 88— distributed in seven independent magnetic modules that can be assembled in just a few seconds. The piano is made up of 87 keys distributed in seven independent modules that can be assembled in just a few seconds. © Pocket Piano After several years of ideation, development, and prototyping, Pocket Piano found the partner it needed to make the commercial leap. In late 2025, Ponder Trade, the investment holding of the Grifols Gras family (owners of the large pharmaceutical company Grifols), decided to acquire a stake in the company to turn an innovation born in Barcelona into a business project with the capacity to compete in international markets.In fact, each module corresponds to an octave, that is, to the set of notes between one C and the next. These seven modules connect to each other through a system patented by Pocket Piano that eliminates latency —the small delay generated by technologies like Bluetooth— and allows the instrument to function as a single professional piano. When disassembled, however, the set occupies barely 40 centimeters and weighs around six kilos, which allows it to be easily transported in a backpack or even as carry-on luggage. The instrument is made up of 87 pieces distributed in seven modules that can be assembled and detached in just one second. "The technology convinced us from the first moment, but also the team and the story behind the project," explains Manel Torrents, director of Ponder Trade. "We are not just looking to provide financing. We want to accompany companies in their growth, help them professionalize their structure and turn a good idea into a scalable company." That is precisely the role that Ponder Trade has played since its entry into Pocket Piano's capital. After completing the instrument's industrialization process, the company has begun international commercialization of the piano and has already sent more than 1,700 instruments to 45 countries around the world. In fact, more than 200 professional artists already incorporate this piano into their performances or creative processes. Pocket Piano has already sent more than 1,700 instruments to 45 countries around the world. © Pocket Piano For now, most sales come from the international market. The United States accounts for nearly 40% of demand, followed by markets such as Hong Kong, China, India, and various European countries. In addition, the instrument has also attracted the interest of some of the most recognized names in the international music scene. Jordan Rudess, keyboardist for Dream Theater; Greg Phillinganes, historic musical director for Stevie Wonder; and pianists Jesús Molina and Gabriela Montero have already tried and even incorporated Pocket Piano into their professional activity. The traveling pianoThe interest that Pocket Piano has aroused is largely due to a proposal that until now had hardly any equivalent on the market. Unlike traditional pianos, which are difficult to transport, and portable keyboards, many of which are designed for more amateur use and often sacrifice part of the interpretive experience, the company has opted to combine both qualities in a single instrument. When disassembled, Pocket Piano occupies barely 40 centimeters, allowing it to be easily transported in a backpack. "We wanted a pianist to be able to travel with their instrument without giving up the feel of a professional piano. Mobility should not mean losing quality," summarizes Torrents. "It's a piano designed by a pianist accustomed to playing the instrument, and that shows in every detail," he adds. Thanks to its reduced size and its compatibility with headphones, speakers, or music production applications, a pianist can rehearse in a hotel room, prepare for a concert before going on stage, or even compose during a trip. "Until now, it was unthinkable to be able to carry a professional piano as hand luggage," says Torrents. Although the piano's characteristics allow it to be played in professional settings or even to offer a concert of the highest level, Pocket Piano also makes this instrument accessible to a more amateur audience or even to students starting their music classes. Precisely, its versatility has aroused the interest of conservatories and music schools, which see in Pocket Piano a tool with which students can continue practicing outside the classroom without depending on a conventional piano. "We want to democratize access to the piano," Torrents emphasizes. "Many families don't have space for a traditional instrument at home, to store it when you finish and take it out again when you need it. We believe that this ease can encourage many more people to approach this instrument." After completing the commercial launch, Pocket Piano's next challenge is to scale the project. Currently, the company, with a team of six people working on the project, manufactures between 100 and 150 instruments per month. Production, which is carried out entirely in Catalonia with local suppliers, is currently adjusted to demand and operates on order. The instrument can be easily transported in a backpack. © Pocket Piano But the next step is to increase the production rate to respond to growing international interest. With this objective, the company plans to open a new round of financing that will allow it to increase production capacity and accelerate its expansion in foreign markets, while maintaining design and manufacturing in Barcelona. Beyond Grifols: Ponder Trade's strategy The investment in Pocket Piano also represents a significant step within the strategy of Ponder Trade, the family office of the Grifols Gras family. Established in 2015 to manage the family's business and financial assets, the group has been diversifying its investments with a long-term vision, focusing on Catalan business projects with the capacity to grow and consolidate. The main stake of this investment holding continues to be the pharmaceutical company Grifols, of which the family is one of the main shareholders. Along with this historical link to the field of health and biotechnology, Ponder Trade has also developed an important real estate portfolio, focused mainly on offices, commercial premises, and residential buildings in Barcelona and its metropolitan area. In recent years, the group has also begun to allocate part of its resources to technological or innovative companies that can grow in the long term, such as Pocket Piano. For Torrents, this company embodies the type of projects the group wants to promote: companies born in Catalonia that, based on an innovative idea, aspire to carve out a niche in international markets.]]></content:encoded>
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      <title><![CDATA[The Sant Jordi Club reinvents itself to become the home of medium-format concerts]]></title>
      <link>https://www.thenewbarcelonapost.com/en/the-sant-jordi-club-reinvents-itself-to-become-the-home-of-medium-format-concerts/</link>
      <pubDate>Thu, 16 Jul 2026 10:18:31 +0200</pubDate>
      <dc:creator><![CDATA[Redacció TheNBP]]></dc:creator>
      <category><![CDATA[Arts]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/the-sant-jordi-club-reinvents-itself-to-become-the-home-of-medium-format-concerts/</guid>
      <description><![CDATA[The project, with an investment of 70 million euros, will demolish the current Sant Jordi Club to make way for a new, larger and more flexible venue, with a capacity for 9,000 spectators and expected to be operational in 2029]]></description>
      <content:encoded><![CDATA[Bruce Springsteen, Bad Bunny, Coldplay, Rosalía or Karol G. The list of artists who have performed at Barcelona's Olympic Ring has not stopped growing in recent years, to the point of making the venue an essential stop for major international tours. In 2025 alone, its three facilities gathered more than 2.4 million spectators at 198 events. However, not all tours need a large stadium or a pavilion like the Palau Sant Jordi. In fact, there are increasingly more artists and productions that have already outgrown small-format concert halls —from Sala Apolo or Razzmatazz to Paral·lel 62— and require intermediate-sized stages. It is these medium-format concerts, also essential for the consolidation of local musicians, that Barcelona wants to reinforce with the transformation of the Sant Jordi Club. A venue that, in the coming years, will triple its capacity to 9,000 spectators and become the new major reference hall for this type of show. The project for the transformation of the hall, budgeted at 70 million euros, is the work of the Parisian studio Bruther and the Barcelona-based Jorge Vidal Studio, winners of the international competition called by Barcelona de Serveis Municipals (BSM). The proposal suggests the demolition of the current Sant Jordi Club, inaugurated in 2007, and the construction of a new 17,000 square meter building, with a rectangular floor plan, about 25 meters high and two underground floors. With this new building, the volume of the hall will practically double —it will go from 35 to 65 meters in length and from 14 to 27 meters in height—. But despite growing in dimensions and public capacity, the project has been designed to integrate naturally into the Olympic Ring complex and preserve the prominence of the Palau Sant Jordi, a work by Japanese architect Arata Isozaki built for the Barcelona 1992 Olympic Games. Model of the future Sant Jordi Club - The main transformation, however, will come inside. The new Sant Jordi Club will have a maximum capacity of 9,000 spectators, triple that of the current one. Although this will be its maximum capacity, the hall has been designed so that it can adapt to the needs of each concert, with different configurations of stands and stages that will allow it to host both smaller format performances and large productions. [articles:212730]But versatility will not be the only differential feature of the new equipment. The project also focuses on the acoustic quality of the hall, which will incorporate absorbent materials on the walls, seats with acoustic treatment, and a studied sound insulation system. This solution will allow the activity of the Sant Jordi Club to be compatible with that of the Palau Sant Jordi, so that both facilities can operate simultaneously without interfering with each other. In addition, the project includes new sound, lighting, video, and live broadcast systems, with the aim that the hall can be prepared for the demands of current musical productions. Simulation of the future Sant Jordi Club. Outside the building, the renovation will also transform the exterior spaces. The proposal foresees three squares with differentiated functions. The main one, located on the west facade, will act as a large exterior lobby connected to the Olympic Esplanade and will concentrate public access, as well as catering and merchandising services. The second square, on the other hand, will facilitate the agile exit of attendees once the concert is over; while the third will be reserved for logistical, technical, and operational uses. However, the new Sant Jordi Club will still take a few years to become a reality. Until then, the current venue will continue to program concerts until the spring of 2027, with already confirmed performances such as those of La Fúmiga (October 16 and 17), Barry B (January 8, 2027) or Walls (April 24, 2027), which will be some of the last before the start of the works. The forecast is that the works will begin in July 2027 and will last until 2029, when the new facility would come into operation if the planned deadlines are met. During the construction period, Barcelona must try to find an alternative space to continue holding these medium-format concerts that until now were hosted by the Sant Jordi Club. The architect Jorge Vidal during the presentation of the future Sant Jordi Club. © Nico Tomás / ACN One more piece of the transformation of MontjuïcBut the renovation of the Sant Jordi Club is not an isolated action. It is part of the great renovation that Montjuïc will experience during the coming years due to the centenary of the 1929 International Exhibition, an anniversary that will serve to update some of the main most emblematic spaces of the mountain. The project aims to redefine Montjuïc from top to bottom, from its accesses and the surrounding neighborhoods to the large cultural and sports facilities. ]]></content:encoded>
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      <title><![CDATA[From Porto to Barcelona: Kind Kitchen brings its plant-based cuisine to Gràcia]]></title>
      <link>https://www.thenewbarcelonapost.com/en/from-porto-to-barcelona-kind-kitchen-brings-its-plant-based-cuisine-to-gracia/</link>
      <pubDate>Thu, 16 Jul 2026 07:50:05 +0200</pubDate>
      <dc:creator><![CDATA[Ainara Valadez Medina]]></dc:creator>
      <category><![CDATA[Lifestyle]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/from-porto-to-barcelona-kind-kitchen-brings-its-plant-based-cuisine-to-gracia/</guid>
      <description><![CDATA[Founded in 2019 by Ana Egmond and Diogo Fernandes, the project opens its first restaurant outside of Portugal in Narcís Oller square and joins a growing plant-based cuisine scene in Barcelona]]></description>
      <content:encoded><![CDATA[Barcelona always came back into the conversation. When Ana Egmond and Diogo Fernandes imagined what the next stop for Kind Kitchen, the plant-based restaurant they had founded in Porto in 2019, should be, the Catalan capital reappeared again and again. Perhaps it wasn't the most obvious decision —Lisbon seemed like the natural step, or even Madrid was closer to many of their suppliers—, but there was something that always made them return to Barcelona. "Creativity. Energy. The way of understanding food and life." That recurring conversation has now become a reality. Kind Kitchen has just landed in Narcís Oller square, next to Gràcia, where it opened its doors last July 7. After consolidating its only restaurant in Porto, the project makes the leap to Barcelona with its second establishment, the first outside the city where it was born and also outside Portugal. Neighbors who usually pass through this corner of the city will probably have already noticed the change. Among the stone facades of the square, a mustard yellow door is hard to ignore. Above, the sign announces the name of the restaurant: Kind Kitchen. Kind is, in reality, a concept that goes far beyond a name. It is also the idea that articulates the entire project and that its founders summarize under the motto Be kind to every kind. A way of understanding gastronomy based on plant-based ingredients —and, therefore, respectful of animals—, but also on creativity and the pleasure of eating. The facade of Kind Kitchen, in Narcís Oller square. © Kind Kitchen This is the philosophy with which Ana Egmond and Diogo Fernandes founded Kind Kitchen in Porto in 2019. Their intention was not to create a restaurant exclusively for vegans, but to contribute to changing the perception of plant-based cuisine and demonstrate that dispensing with animal-derived ingredients is not synonymous with giving up flavor, creativity, or colorful dishes. Over time, the project gathered a loyal community that eventually outgrew Kind Kitchen's first location and led them, in 2023, to move to a larger space in the center of Porto. A menu that learns to speak CatalanThis same spirit is what they now bring to Barcelona. But whoever expects to find an exact reproduction of the Portuguese restaurant will be surprised. Kind Kitchen has not wanted to export Porto's gastronomy, but rather to bring its way of understanding plant-based cuisine. For this reason, on the Barcelona menu, you cannot find either the popular vegan francesinha —the plant-based version of one of the most emblematic dishes of Portuguese cuisine: a sandwich traditionally filled with different meats and cold cuts, covered with melted cheese and bathed in sauce— nor the traditional pastéis de nata. Instead, however, the menu incorporates nods to local cuisine such as patatas bravas or mushroom cannelloni. The menu incorporates nods to local gastronomy. © Kind Kitchen This menu adapted to the city coexists with some of the dishes that have consolidated Kind Kitchen as one of the references in plant-based cuisine in Porto. The marinated mushroom tacos, the Tofu Sando —a Japanese-inspired sandwich— or the Double Smash Burger, all three in a plant-based version, continue to be among the house's essentials. And, in addition, the proposal also looks beyond Portugal and Catalonia, with recipes influenced by other cuisines, such as the miso-glazed Corn Ribs, the Crispy Tofu Nuggets with Korean sauce, or the different vegetable curries. To bring all these proposals closer to the daily lives of Barcelonians, the restaurant also incorporates a midday menu from Monday to Friday for 15 euros (without drink or dessert). But the influence of the Catalan capital does not end with the dishes. It is also visible in the design of the space, a work by the Barcelona studio A Space About, responsible for projects such as Bar Murri, Verda, or even hotels and shops in the city. The walls also incorporate a work by the German artist based in Barcelona Mark Bohle. For this entire landing process in the Catalan capital, Kind Kitchen has also had the strategic advice of Ansón+Bonet, which has accompanied the project in adapting the concept to the new context without losing its essence. Kind Kitchen's Tofu Sando, one of its most emblematic dishes that they also incorporate into the Barcelona menu. © Kind Kitchen Barcelona cultivates plant-based cuisine The arrival of Kind Kitchen exemplifies, therefore, an increasingly common phenomenon: Barcelona has become a city with a great variety of local restaurants but which is also capable of attracting gastronomic projects born outside its borders. In this case, it does so with a restaurant that opts for creative plant-based cuisine, in a city where this type of proposal has long ceased to be an exception. In fact, HappyCow's 2025 ranking—the main platform for discovering and rating vegan and vegetarian restaurants worldwide—places Barcelona as the fourth most vegan-friendly city on the planet, only behind London, Paris, and Berlin. And the same portal has also crowned Asante Café (c/ Elkano, 63) as the best vegan restaurant in the world according to its users' ratings. [articles:300174] Beyond the figures, Barcelona is today a city where plant-based cuisine is no longer presented as an alternative for a specific public, but as another way of understanding gastronomy. Kind Kitchen now brings a Portuguese accent that adds to an increasingly diverse scene, where proposals as different as Veganashi's vegan sushi, Umami Plant Based's Asian cuisine, or Gallo Santo's Mexican flavors coexist, without forgetting consolidated references in the city such as Teresa Carles or Flax & Kale. All these projects contribute to consolidating a gastronomic ecosystem that continues to grow and reinvent itself, and which El Radar will continue to explore to discover the new proposals that transform the city. ]]></content:encoded>
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      <title><![CDATA[A future written from Barcelona]]></title>
      <link>https://www.thenewbarcelonapost.com/en/a-future-written-from-barcelona/</link>
      <pubDate>Thu, 16 Jul 2026 07:38:55 +0200</pubDate>
      <dc:creator><![CDATA[Ariadna Belver]]></dc:creator>
      <category><![CDATA[Opinion]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/a-future-written-from-barcelona/</guid>
      <content:encoded><![CDATA[The Presummer WIRES Barcelona, held on July 9 at the Hotel Duquesa de Cardona, evidenced a phenomenon already palpable in the Catalan real estate sector: Barcelona has become one of the most active, solid, and influential epicenters of WIRES – Women in Real Estate Spain, and a space where it consolidates with criteria, rigor, and capacity for transformation. This momentum coincides with a particularly significant year for the city: Barcelona is World Capital of Architecture 2026, a recognition that places the city at the center of the global debate on urbanism, sustainability, space design, and the future of cities. In this context, the presence and role of WIRES acquire an even more relevant dimension. From professional network to reference think tank In the last decade, WIRES has evolved from a support community among professionals to a real estate think tank capable of articulating discourse, generating knowledge, and influencing strategic conversations in the sector. In Barcelona, this evolution is especially visible: the city is today an urban laboratory where new models of housing, urban regeneration, sustainability, and digitalization are debated and tested. And WIRES provides a transversal, diverse, and deeply professional perspective. Presummer WIRES Barcelona - The Presummer brought together executives, investors, architects, asset managers, lawyers, and consultants in a space that is no longer just for networking, but for exchanging criteria, reading trends, and building sectoral positioning. Barcelona, World Capital of Architecture: a scenario that enhances the talent and influence of WIRES The international recognition as World Capital of Architecture 2026 reinforces Barcelona's role as a city that thinks, designs, and projects the urban future. This context amplifies the relevance of WIRES, which provides an expert view on real estate development, a transversal reading of urban challenges, and a community of professionals who contribute to defining new city models. The coincidence between Barcelona's moment and WIRES's maturity is not casual: the city is an ideal ecosystem for innovation, professional diversity, and the generation of critical thinking. Barcelona is not just an active delegation; it is a hub where the community has grown because it adds value, because it contributes, and because it has become a recognized actor in the real estate debate.A community that inspires, connects and transforms As I recently expressed on the occasion of Wires' PreSummer celebration in Madrid, great changes do not happen all at once, but are built "step by step, with conviction, collective work and a community that believes in its purpose." This purpose —"We connect talent, we transform the real estate sector"— became visible in every conversation at the Presummer also in Barcelona. The strength of WIRES lies in three elements: WIRES Community — professionals who share criteria, experience and a will to transform. Consolidated and emerging talent — increasingly visible, more prepared and more influential profiles. Strategic alliances — WIRES friends, sponsors and institutions that amplify the network's impact. Leadership built on generosity and professionalism The consolidation of WIRES as a think tank cannot be explained without the role of its Board of Directors, led by Carmen Panadero, and the support of Cecilia Espinosa de los Monteros, who keep alive the essence of the founding partners. This choral leadership is what has allowed WIRES to go from being a professional network to being an influential voice in the real estate sector. A future being written from Barcelona The Presummer in Barcelona was not just a summer gathering. It was the confirmation that WIRES is today a space for thought, influence and connection that contributes to defining the future of the real estate sector. And that Barcelona —in the year of the World Capital of Architecture— is one of the territories where this future is being written with more strength, more talent and more ambition. ]]></content:encoded>
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      <title><![CDATA[The World Cup business in Barcelona: bars triple orders and reinvent their offerings]]></title>
      <link>https://www.thenewbarcelonapost.com/en/the-world-cup-business-in-barcelona-bars-triple-orders-and-reinvent-their-offerings/</link>
      <pubDate>Tue, 14 Jul 2026 13:58:58 +0200</pubDate>
      <dc:creator><![CDATA[Ainara Valadez Medina]]></dc:creator>
      <category><![CDATA[Lifestyle]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/the-world-cup-business-in-barcelona-bars-triple-orders-and-reinvent-their-offerings/</guid>
      <description><![CDATA[Reinforcing stock, expanding staff, organizing special events, and adapting the gastronomic offer are some of the strategies with which Barcelona's hospitality sector faces one of the busiest moments of this summer.]]></description>
      <content:encoded><![CDATA[Every four years, the FIFA World Cup not only transforms the stadiums and host cities —in this edition, Canada, Mexico, and the United States—. It also completely changes the work rhythm of thousands of bars and restaurants thousands of kilometers away, which multiply their orders, reorganize staff, adapt their gastronomic offerings, and turn each match into a business opportunity. Barcelona is no exception. The semifinal that will pit Spain against France this Tuesday will once again fill bars and restaurants with fans. In one of Europe's most international cities, where communities of dozens of nationalities coexist and millions of visitors arrive every summer, the World Cup is experienced in many ways, and practically every match finds its audience. Argentinians, French, Moroccans, or Colombians have turned numerous bars into meeting points during match days, while other Barcelonians follow the tournament from a distance or simply choose not to. But, for the hospitality industry, behind every match are weeks of planning. While the national teams prepare their strategy on the field, bars and restaurants do the same among warehouses, orders, and capacity forecasts. "With the World Cup, you can't improvise. We are aware that consumption skyrockets, and that forces us to plan weeks in advance, reinforce stock, and have everything ready," explains Gustavo Mazzeo, director of Red Garter, an Italian-origin sports bar —founded in 1962 in Florence and also established in Barcelona since 2017— located in the Barri Gòtic. The Red Garter venue in the Barri Gòtic. And the increase in demand is not minor. According to Mazzeo, during the World Cup, beverage consumption triples —with a special focus on soft drinks like Coca-Cola and water—, while food orders (both in the restaurant and through the delivery service) practically double. A trend that is not limited only to the last decisive matches but has been repeated throughout the championship thanks to the international character of the city.Although in Barcelona the following is uneven, Spain's matches, according to Mazzeo, have been some of the most crowded, but not the only ones. France —rival of the Spanish national team in this Tuesday's semifinal— or Argentina, as well as already eliminated teams like Morocco, Colombia, Argentina or Belgium, have also gathered numerous fans throughout the championship. This changing public also implies transforming the experience. In addition to reinforcing stock and reorganizing the staff, the establishment adapts the atmosphere depending on each match. "I always tell my team that you have to understand what each client comes looking for. It's not the same someone who comes in to celebrate a birthday as someone who comes to experience a match. We have to make sure they have the best screen, that they hear the broadcast well and anticipate what they need so they can enjoy the experience," Mazzeo remarks. Red Garter has also launched special promotions with brands like Coca-Cola, which gave away items to follow the match. For this reason, during the World Cup, Red Garter is filled with flags of the different national teams, organizes special actions with brands like Coca-Cola —which has distributed clappers and other accessories among customers who ordered a soft drink to cheer on their team— and, once the match ends, the broadcast gives way to live music to prolong the celebration. Barcelona adapts to the World Cup Red Garter is not an isolated case. Throughout Barcelona, bars and restaurants have adapted their activity to the rhythm of the championship, either by installing giant screens, designing special promotions or adapting their gastronomic offer for match days. In the Catalan capital, venues such as L'Ovella Negra in Marina —with its large screens and crowded atmosphere—, Belushi's or the pizza chain Sports Bar have consolidated themselves as some of the main meeting points to follow the World Cup. The Time Out Market Barcelona has also joined the championship with live broadcasts, in addition to establishments such as Hard Rock Cafe that have designed exclusive menus for the occasion, such as the new Messi Menu, developed in collaboration with the Argentine footballer. Atmosphere at Red Garter. But the World Cup is not only experienced in bars. More and more fans are choosing to follow the matches from home, a trend that has also led numerous restaurants to adapt their offerings for home delivery. "During match time, we have peaks in orders. There are people inside the restaurant watching the game and, at the same time, many people who prefer to follow it from home and order through apps," says Mazzeo. Some establishments have decided to respond to this demand with specific proposals for match days. This is the case of Armando, which has launched a special menu to share with some of its most popular dishes, such as its glazed super wings, sobrasada omelet with Mahón cheese, or its well-known 40-centimeter escalopes. The Argentine chain Chalito, for its part, has brought back La Mundial, a limited-edition milanesa sandwich that was already a hit during the previous championship and returns for this World Cup. In addition, although Barcelona will not install giant screens for the semifinal between Spain and France —it will do so for the final on July 19, regardless of the qualified teams—, several municipalities in the metropolitan area have opted to bring the World Cup to public spaces. Badalona, El Prat de Llobregat, Sabadell, Terrassa, Santa Coloma de Gramenet, Gavà, Mataró, Rubí, and Castelldefels will offer outdoor broadcasts so that fans can follow the match together, an alternative to the bars and restaurants that have concentrated much of the World Cup atmosphere in recent weeks.]]></content:encoded>
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      <title><![CDATA[More human finances based on trust]]></title>
      <link>https://www.thenewbarcelonapost.com/en/more-human-finances-based-on-trust/</link>
      <pubDate>Tue, 14 Jul 2026 09:29:04 +0200</pubDate>
      <dc:creator><![CDATA[Juanjo Llopis]]></dc:creator>
      <category><![CDATA[Opinion]]></category>
      <guid isPermaLink="true">https://www.thenewbarcelonapost.com/en/more-human-finances-based-on-trust/</guid>
      <content:encoded><![CDATA[Trust is the essential and indispensable element for weaving human and commercial relationships, and it is achieved with transparency, commitment, and with organizations capable of generating value with a direct impact on society. In this context, cooperativism is a real and key alternative: it is a way of understanding economic activity that responds, more than ever, to the challenges of the present with an eye on the future. Every first Saturday of July, International Cooperatives Day is celebrated, a date that, as a cooperative banking entity, invites us to reflect on a business model that often goes unnoticed despite its contribution to economic and social development. It is a model that has demonstrated, especially in times of uncertainty, a great capacity for resilience thanks to a long-term vision, participatory governance, and a firm commitment focused on people. In Europe, this reality is clearly visible, as there are more than 2,400 cooperative banks, representing 23% of the financial market and bringing together more than 228 million members. In countries like France, this model accounts for nearly 60% of the market, while in Austria it exceeds 30%. These data show that cooperative banking is a relevant player in the most developed economies. In Spain, however, it represents only 10% of the financial market. This difference highlights that there is still a great opportunity for growth. The entry into force this year of the Comprehensive Law for the Promotion of the Social Economy precisely reinforces the role that cooperatives can play in building a more sustainable, competitive, and inclusive economy. "In Europe, cooperative banking represents 23% of the financial market" The uniqueness of the cooperative model does not lie solely in its legal structure, but rather, above all, in its way of making decisions. When clients are also owners of the entity, as in the case of Caixa Enginyers members, priorities change. Decisions do not respond solely to obtaining good economic results that go directly to their shareholders, but to the creation of shared value, the sustainability of the project, and the trust built with each future relationship.This approach also transforms the way service is understood. Proximity, personalized advice, quality, and the willingness to accompany people throughout their lives by covering their financial needs cease to be a differentiating element to become the very essence of the model. In fact, this commitment to proximity and excellence in service also has a measurable translation. In an increasingly competitive financial environment, trust is built in every interaction, and service quality has become a key differentiating factor. In 2025, Caixa Enginyers has been recognized as the first financial institution in Spain for service quality according to the IQUOS ranking prepared by STIGA, a milestone that fills us with pride. With a score of 8.93 out of 10 (well above the sector average (7.84)), this recognition and leadership applies to both investment advice and financing for home acquisition, endorsing a model based on proximity, trust, personalized advice, and continuous improvement. [articles:300090] At Caixa Enginyers, we experience it every day. We were born almost sixty years ago with the desire to humanize finance and demonstrate that it is possible to combine solvency, growth, and profitability with a strong local presence and real social commitment. Today, more than 220,000 members are part of this collective project, which in 2025 achieved the best economic results in its history. This growth is not an end in itself; it is the consequence of remaining faithful to the principles that have defined us since our origins. But cooperativism goes far beyond the entities that represent it. It is a way of understanding business based on collaboration, co-responsibility, and the desire to generate a positive impact in the territories where it operates. At a time when concepts such as sustainability, inclusion, and responsible governance occupy a central place on the business agenda, cooperatives have been working under these same principles for decades.It is true that there is still a long way to go. We must continue to give visibility to the model, bring it closer to new generations and demonstrate that it is perfectly compatible with innovation, digitalization and growth. Cooperatives do not compete against transformation, but rather contribute to it by providing a different perspective on how to create value. Perhaps the question is no longer whether cooperativism has a future. The question is what future we want to build. If we aspire to a closer, more responsible, more resilient and more human economy, cooperativism not only has a place, it has much to contribute and a long way to go.]]></content:encoded>
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