The curation of projects linked to new music is also an important part of my work. Creating and organising structures and artistic proposals is my way of putting my ideology into practice, and my way of being actively critical about things that I want to change in my environment.

The CrossingLines ensemble and the OUT·SIDE concert series – my two most important projects as a curator – have also enabled me to focus on listening to other artists, an essential part of my career.

In 2016 I started the project OUT·SIDE, a concert series of unusual music in several Catalan art centres. The series has shown an exponential growth of artistic proposals and institutional support for each edition. The conception of OUT·SIDE can be summarised in three points:


Despite their clear stylistic variety, the common denominator of all OUT·SIDE projects is that they seek to move away from the “normality” of the usual musical proposals.


OUT·SIDE is presented in art centres, which means that the space, the acoustics, the relationship with the audience and the concert format are different from a situation in a concert hall. The programming of the series aims to take advantage of these particularities and propose specific situations to the public.


OUT·SIDE wants to be an active agent in the consolidation of proper artistic and working conditions to strengthen the new music scene. We choose to dignify the work of experimental musicians within the possibilities that the context allows us.


After OUT·SIDE I created “OUT·”, an enterprise devoted to the management and curation of several cultural activities.


OUT· and OUT·SIDE website

Along with various musicians from the Barcelona new music scene, I founded the group CrossingLines in 2009. The ensemble has been a key player in the transformation that the city has experienced in recent years in the field of contemporary music, and has positioned itself as a major force on the national scene. By consolidating a solid artistic project and garnering a large amount of institutional recognition, the group has been able to realise ambitious programmes and grow its audience.


After 2017, a very active and successful year for the group, I felt it was a good moment to move on from my role as artistic director, after eight years of an extraordinary and priceless experience.


CrossingLines website