The passing year left behind twelve active months marked by two notable milestones in the cultural landscape: the Year of Sorolla, commemorating the 100th anniversary of the Valencian painter’s death, and the eagerly awaited opening of the Hortensia Herrero Art Center in the Valeriola Palace on the central street of Mar de València. This was a year of culture that moved forward despite political shifts following the May elections, with the cultural portfolio in a new configuration that sparked questions about the future model for Valencian public cultural institutions.
The inauguration of the Hortensia Herrero Arts Center last November stood out as a defining moment in the Valencian cultural calendar. After five years of careful rehabilitation, the Valeriola Palace reemerged as a vibrant cultural hub in the city’s core, driven by patronage from Hortensia Herrero. The center gathers nearly a hundred works from her collection, spanning close to fifty artists. The roster features prominent national and international figures such as David Hockney, Julian Opie, Alexander Calder, Roy Lichtenstein, Manolo Valdés, Jaume Plensa, Antonio Saura, Miquel Navarro, Joan Miró, and Juan Genovés, creating a dialogue across generations and styles.
The Valencian cultural scene in 2023 also linked the legacy of Joaquín Sorolla with contemporary leadership in the arts, as the Sorolla Centenary activities began to take shape across the country. While the Ministry of Culture faced initial hurdles, the National Commission for the Sorolla Centenary eventually approved an official program of activities in February, coordinating exhibitions that reached art lovers throughout Spain. The process highlighted the balance between honoring a historic figure and showcasing living creators who keep the artistic landscape dynamic.
The Center del Carme in Valencia faced its own trials, with leadership changes marking a turning point. After seven years in charge, the director, José Luis Pérez Pont, left his post as part of changes within the Museum Consortium. This moment represented a new chapter for the institution and reflected broader shifts in governance within the public cultural sector rather than a singular event. The year thus embodied both continuity and adaptation, as institutions navigated the evolving cultural policy and the evolving expectations of audiences across the region.