A lifelong patron reflects on a vibrant, living collection
Throughout his career, he operated with independence and a fearless appetite for art that challenged the status quo. Beginning in the early 1970s, he bought works by conceptual artists and helped sustain a movement in Spain at a moment when museums, institutions, and individuals largely overlooked it. After a breakup, the founder retained valuable pieces and leaned into conceptualism because of the deep relationships he had formed with the artists and their work. He viewed the collection as social and political in its message, not merely historical, a living body of work that continues to resonate today.
It seems that freedom has always been central to his approach.
He describes himself as out of institutional office and fiercely independent.
On the topic of philanthropy, questions arise about whether tax deductions for donations to MACBA are sufficient.
The contributor explains that ownership of the works would stay with the Barcelona City Council, not with the museum, because there was concern the institution might become a private entity. The involved parties include the City Council, the Generalitat of Catalonia, and the Foundation of the Museum of Contemporary Art. There is a hope that, someday, a signed donation agreement would define care responsibilities if taxes must be paid. The donor emphasizes that, in addition to donating, he will not be paying further costs.
Weighing the downsides of donation versus its benefits
He notes that a donation should come with clear tax advantages. He reflects that he does not yet know whether such benefits will materialize and insists that the donation carries potential risks as well as rewards.
Asked whether this is all advantageous, he questions the certainty of personal security in such arrangements. He also states clearly that the donation carries more disadvantages than advantages in the current climate.
With a touch of humor, the question is posed: is this really positive? He answers by saying he has taken steps to protect himself.
He is asked whether founding a private foundation could be a path forward. He responds that the Rafael Tous Foundation for Contemporary Art was contemplated to support a cultural space called the Metronome. Although it faced interruptions, and local support waned, the initiative reflects long-standing dedication. For 35 years, institutional backing existed at times, and more recently municipal help has been forthcoming for the last few years.
He asks whether reform of patronage law is necessary and replies that a robust law could reveal many truths about tax usage for art. He notes that many artists hold back and do not speak about tax aspects, even when they have works of art to protect their livelihoods.
When asked about direct engagement with creators, he affirms that nearly all business profits were reinvested into acquiring art and sustaining the Metronome and related cultural efforts, leaving little else to show for those financial gains.
The collection is described as daring, assembled from artists who often operated outside the mainstream markets, sometimes living in exile in cities like Paris or New York.
Culture budgets: a critique of public support
Regarding government and regional funding for culture, he describes the situation as troubling. He characterizes the situation as a symptom of cultural neglect and a general lack of understanding about creative life. Public institutions have faced continuing budget cuts, and culture in Spain bears the marks of historical patterns and political shifts. He argues that culture budgeting should be substantially increased to reflect the value of creative work.
In terms of collaboration with foundations, he notes that cooperation has not focused on culture itself but has extended to global humanitarian efforts, such as Doctors Without Borders. A project in Burundi, supported with his family, benefits thousands through access to water, medical protection, and schooling for children.
He asserts that patronage should be additive, enhancing public and private support rather than replacing it.
Why some artists stop making art
He acknowledges that the financial reality of art is harsh and that some artists may abandon practice when living costs cannot be met. In Spain, artists sometimes found themselves out of context and politically targeted, which increased the risk of withdrawal from the field.
Memories of early purchases remain vivid. A favorite moment recalls working with Artur Heras at a notable gallery where a burned police jeep image and flyers captured a charged moment. The donor bought the piece and later, when authorities came to retrieve it, he had already departed with the work in hand.
Persistent relationships with artists endure. He continues to see many of them, especially on weekends in Empordà with Pere Noguera and Francesc Abad, and he notes that a relationship with Miralda persists should he travel to New York. He continues to buy occasionally, adding works to the donated collection as they fit its evolving narrative.
The conversation reveals an enduring belief in art as a public good that thrives on community, provocation, and courageous funding choices. The collector remains committed to supporting artists who might otherwise struggle to sustain their practice, recognizing that culture thrives when people invest with both passion and pragmatism.