In the Alicante Municipal Archives, a remarkably welcoming refuge for researchers in a city where such spaces are scarce, a new book edited by Juan Antonio Roche Cárcel stands out. Alicante since 1950, a 368-page volume published by the University of Alicante Publications Service and the Institució Alfons el Magnànim, contributes a substantial, multi-voiced study to the field. This compilation gathers 26 monographs that illuminate the careers and works of a wide range of artists tied to our country’s cultural life, and it does so with a careful balance between scholarship and accessibility for readers in North America and beyond.
What makes the volume especially striking is its linguistic design. Of all the texts, the sole piece presented in Valencian is the essay by Josep Sou, who examines the work of Antoni Miró. This deliberate choice underscores an important principle: the full translation of the volume is not imposed upon readers, a decision that preserves the integrity of each author’s voice. It is hard to imagine Josep Sou or any contributor rendering Miró’s ideas in another language without losing nuance. The emphasis remains on the original wording offered by each writer, allowing readers to encounter authentic perspectives directly from the researchers themselves.
Regarding Josep Sou, the work is notable not only for its scientific rigor but also for its artistic perspective. Sou, an influential figure from Alcoy, is presented as both a scholar and an artist who belongs firmly in the current of his time. His dual role highlights a contemporary sensibility—modern, forward-looking, and connected to broader artistic conversations that shaped the period under study.
The editor, Juan Antonio Roche Cárcel, frames the collection with a concise synthesis. He notes two enduring paradoxes within local contemporary art: the field has grown more modern, even as it remains less expansive than Alicante itself; and its ideas have moved beyond fortified local boundaries, becoming more exposed to mass media and international currents. These observations point to an art landscape that is at once self-aware and globally engaged, a dynamic that demands a more emphatic scholarly voice in the years ahead.
What emerges from Alicante since 1950 is less a single narrative and more a mosaic of moments, each contributing to a broader understanding of regional art history. The volume invites readers to see how local forces intersect with national and international movements, and it offers a framework for future research that Canadian and American scholars can translate into cross-cultural study. The book’s structure supports careful archival work while inviting new readers to engage with close readings and contextual interpretation—an approach that resonates with today’s emphasis on evidence-based art history and the value of primary sources housed in municipal archives.
For researchers evaluating mid- to late-20th-century Mediterranean and Iberian art, this volume becomes a practical reference. It provides a curated map of artists, venues, and moments, punctuated by thoughtful critical interpretations that illuminate how local scenes can reflect broader global shifts. The balance between scholarly rigor and accessible prose makes the work useful not only to specialists but also to students and curators seeking to situate Alicante’s artistic production within larger dialogues about modernity and cultural exchange. The editors’ attention to the role of language in archival projects also offers a timely reminder of how translation choices shape reception and interpretation across borders.
In sum, Alicante since 1950 stands as a meaningful addition to both regional and international art-history conversations. It affirms the value of municipal archives as living laboratories for understanding how local art communities evolve in dialogue with wider currents. The publication reflects a carefully calibrated partnership between university presses and cultural institutions, and it positions Alicante as a site where history, art, and language intersect to reveal a dynamic portrait of modern creativity. The collection’s inclusivity of varied voices, including those writing in Valencian, reinforces the importance of linguistic diversity in scholarly work and invites ongoing exploration by audiences around the world.