Joan Brossa (Barcelona, 1919 – 1998) hated the football. Also, he hated the bank system, the church and art room. He considered these things as massive shows, as the opium of the people. In fact, his work is illuminated by large number of contemporary folklore, but one of the most important is the installation, Enganyifa (1998).

Enganyifa would to refer to typical Catalonian riddles, but also would be a tribute to Dadaist poetry, by using the irony and game of chance, typical elements in Brossa’s work.

Brossa proposes a wide installation in two levels: in the floor, reglamentary football balls randomly arranged; and on the wall, a series of figurative paintings that shows horses legs, made by students from different Spanish academies of fine arts. In Enganyifa, Brossa wants to alert us of the excessive role of the world of football in today’s society. At the same time, he criticizes realistic art. In fact, the viewer may think that the balls are in the floor in order to kick them against academic paintings. Or maybe Brossa wants equated high and low culture as proposed the surrealist movement?

Enganyifa is the title of Brossian poem, included in the book “Calcomanies” that can be read in one of the walls. But Enganyifa is also the last work of Joan Brossa. He conceived for Galería Miguel Marcos, before he died victim of tragic domestic accident. For this reason, this installation is like a sense probate, also recreational and aestethic, but especially declaration of intention.

Joan Brossa, poet, playwright and artist, is the most important avant-garde Catalan poet of the second half of the twentieth century. His work is distinguished by its special ability to move the poetic thought beyond their usual boundaries. Unclassifiable, drink both popular Catalan culture as the previous avant-garde to the Spanish civil war to connecting with the conceptual art with Arte Povera. Release the poem making successively in image, object and installation.