Italia. I sei sensi

If I were Italian and had to choose a city to live in, I wouldn't miss a beat choosing Barcelona. Not Rome, not Naples, not Milan, not Florence. Barcelona. It's like being in Italy without all the inconveniences of living in Italy. I'd go have lunch at the Antico Borgo Napoletano, I'd buy Italian design at Vinçon, and afterwards I'd walk a few metres to the Fundació Suñol, where there's an exhibition of Italian art collections.

Let's pause here, at 'Italia. I sei sensi', the six senses that lend their name to the title of the exhibition and a work by Alighiero Boetti: pure meticulous gestures to cover an area of pen strokes and the name of the five senses. And the sixth? Thought! Everything exists in the mind.

Here's where we set the clichés aside. Let's not speak of the usual Italian sensuality, say nothing of elegance or Arte Povera, not a word about the bright lightness of the transavantguarde... You can see the whole exhibition in less than half an hour. It spans three rooms. The list of works is short, but that's why it's possible. And voluptuously attractive.

We've seen the sculpture 'Linee-di forza del pugno Boccioni II' (1915) by Giacomo Balla before, but this time it's accompanied by a surprising 'Fiore futurista' (1930) created for outdoor spaces, a full-scale invasion of will over nature.

And it's just that, the will of 'Achille peligro en Da días ira' (1978), pure constructivist geometry; the transgression of Lucio Fontana in 'Concetto Spaziale. Pillola' (1967), on the subject of the Pill; the iconic graffiti of Gastone Novelli in 'Più inutile' (1958) that reminds me of a 1990s Tàpies; or the colourful minimalism of Giorgio Griffa, so well unfinished it seems untouchable. A punch ... for the masochists.