For the past 13 years, the facade of 463 Gran Via has become a cinematic reminder of what was once Barcelona’s iconic Cine Rex.
In its golden age, this cinema, part of the prestigious Balañá Group, experienced moments of splendor that today are remembered with nostalgia.
However, since its last screening on July 29, 2010, the building has remained abandoned, becoming a canvas for urban artists and graffiti artists. But how long will this image last?
Cine Rex in Barcelona: a trip to the cinematic past
The Rex Cinema has a rich history dating back to its opening on Christmas Eve 1940. Over the years, it was more than just a cinema; it was a place that hosted major premieres and underwent renovations, with Antoni Bonamusa being responsible for giving it a distinctive touch.
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Its golden age began in 1969 when it joined the collection of halls of Pedro Balañá’s heirs, becoming as beloved as the Urgell, the Alcázar and the Aribau.
The last film screened, ‘The Concert’ by Radu Mihaileanu, added a metaphorical touch to the closing of the Rex, as it narrates the vicissitudes of an orchestra that escapes from the USSR and upon arriving in Paris, sees its members take unexpected paths.
Similarly, cinemas that cease to be cinemas in Barcelona are often reborn as supermarkets or fashion stores, following a different course in history.
Graffiti on its facade
The façade of the Rex, since its closure, has witnessed continuous artistic transformations. From the giant Kraken octopuses to the current lettering that simply spells “donkey,” the building has been a focal point for aerosol artists.
This constant metamorphosis, though apocalyptic in its own way, adds a touch of life to an otherwise abandoned and forgotten place.
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More than half of the block surrounding Gran Via and the streets of Calàbria, Diputació and Rocafort, where the cinema is located, is urbanistically qualified to allow the creation of an inner block to alleviate the population density in that area of the city.
However, urban planning regulations complicate the fate of the Rex. Although it could reopen as a screening room without significant modifications, the price associated with possible expropriation for urban development projects represents a significant obstacle.
The Balañá Group, owner of the building, has the capacity to carry out maintenance work, but the conditions set by the Barcelona City Council for expropriation indicate that the process would be costly.
Urban planning regulations sometimes create dead ends, and in the meantime, the facade of the memorable Rex remains a palette for spray art.
