Homo Deus: A Brief History of Tomorrow

by Yuval Noah Harari

“Even more readable, even more important, than his excellent Sapiens”, says the quote on its back cover (by Kazuo Ishiguro, no less). Is it really so?

I have to admit that yes, it is. With chapters titles such as A Brief History of Lawns, Gap the Mind and Why Bankers are Different from Vampires, this book reads like a crime thriller. Well, the history of humankind is a crime thriller, but there have been only a few good storytellers. Harari is one of them.

On a more personal note, Homo Deus gives me a fair few ideas for my (hopefully near) future classes.

Suppose you were given a choice between the following two vacation packages:

Stone Age package: On day one we will hike for ten hours in a pristine forest, setting camp for the night in a clearing by a river. On day two we will canoe down the river for ten hours, camping on the shores of a small lake. On day three we will learn from the native people how to fish in the lake and how to find mushrooms in the nearby woods.

Modern proletarian package: On day one we will work for ten hours in a polluted textile factory, passing the night in a cramped apartment block. On day two we will work for ten hours as cashiers in the local department store, going back to sleep in the same apartment block. On day three we will learn from the native people how to open a bank account and fill out mortgage forms.

Which package would you choose?

And how about this (published in 2015):

Power will definitely not shift back to ordinary voters if Britain leaves the EU nor if Trump takes over the White House.

The task: rephrase the above sentence from the 2025 perspective, using both simple past and past perfect.

Some other predictions haven’t come true — yet. So far we didn’t see artificial intelligence meaningfully replacing doctors, lawyers and flight dispatchers, although there has been a surge in ChatGPT-generated fake research papers and job applications. What we do see at work is much more powerful natural stupidity. It doesn’t mean we are safe.

Cool World

a film by Ralph Bakshi

There goes €1 that I’ll never see again.

If you’ve ever seen Who Framed Roger Rabbit, don’t bother with this one. And if you’ve never seen Roger Rabbit, don’t bother with Cool World either: watch Roger Rabbit.

So what’s wrong with this film? Just about everything.

Cool World concludes the cycle Ralph Bakshi: Urban Noir, and about time too.

The Birdcage

a film by Mike Nichols
screenplay by Elaine May

Like Heaven Can Wait, this comedy is a remake. Which proves the point that a remake also could be fun — especially when (re)made by the great Nichols and May. Unencumbered by comparisons with the French movie, I enjoyed The Birdcage on its own right. Starring Robin Williams, Nathan Lane, Gene Hackman, Dianne Wiest, Christine Baranski and Hank Azaria.

American Pop

a film by Ralph Bakshi

Finally, a Bakshi film that I actually liked. A soundtrack for the (best part of) 20^th century, something for kids of today to watch. Don’t let the title put you off (yes, it makes me cringe too): “pop” here is short for popular music, moving from ragtime to punk with jazz, swing, soul and rock in between. Not pop music. I still don’t get why American artists insist on naming their creations “American something”.

It’s also pretty uneven. The story kind of disintegrates towards the end — as the quality of music goes down. Yet there are some truly beautiful or otherwise funny bits that made my night.

Heaven Can Wait

a film by Warren Beatty and Buck Henry
screenplay by Elaine May and Warren Beatty
music by Dave Grusin

Imagine the frustration of Warren “I’m cute and I know it” Beatty who co-directed, co-wrote, produced and starred in this 1978 comedy. He was nominated for Oscars in all four corresponding categories and won none. However, the reason I watched Heaven Can Wait in the first place was not Beatty but his co-writer, to whom the new cycle Conociendo a Elaine May by Vértigo is dedicated. Alas, I missed the first film of the cycle.

I enjoyed the movie. Neither Beatty nor Julie Christie impressed me much, but the cast of supporting actors did. My favourite was Dyan Cannon as Julia, the murderous alcoholic wife of Mr. Farnsworth. Also, I’ve been a fan of Dave Grusin for the last forty years or so and his score for the film didn’t disappoint.

Magical Caresses

a series of short films by Lori Malépart-Traversy
animation by Keyu Chen and Lori Malépart-Traversy

From the director of Le clitoris comes this charming “animated documentary series based on Caresses Magiques, a book series written and edited by Sarah Gagnon-Piché and Sara Hébert” (I took this quote from the end credits). The “animated documentary series” is really a mini-series, of five animated shorts no longer than 4 minutes each; and the “book series” was just two volumes, now out of print. The first of the films is narrated in English by Ms Malépart-Traversy herself; the other four feauture the voices of, I suppose, some of the book’s heroines (in French, with English subtitles). You can watch all the films on the National Film Board of Canada web site or on Vimeo (scroll down to the embedded videos).

Planeta

by Ana Oncina

From the author of Croqueta y Empanadilla comes something completely, utterly different. Also, profoundly beautiful. And as much unsettling. You’ll feel unsettled if you couldn’t figure out what is reality (F, “forest”) and what is dream (P, “Planeta”), especially when in P you also dream about F. As Valentina does. On top of that, in P all human communication, apart from that with live-in partner, happens in virtual reality (V).

Coonskin

a film by Ralph Bakshi

Ralph Bakshi’s third feature looks like a combination of Fritz the Cat (animals) and Heavy Traffic (humans and live action). Finally, some sort of coherent plot, which makes the film actually watchable without constant thinking of when it’s gonna end. There is marginally less violence than in his two previous efforts and practically no sex — I wish this was the other way round. For me, Coonskin was the least offensive one of the three Bakshi’s films I’ve seen so far. Or maybe I’m developing tolerance to this stuff.

Aitana & Ozogoche

Both documentaries were screened last Thursday in Casa de Colón.

Aitana (2023)

a film by Marina Alberti

Marina Alberti’s directorial debut is a letter of love to her mother, Aitana Alberti León, and grandmother, María Teresa León. Now Aitana starts to show symptoms of Alzheimer’s disease, which also affected María Teresa.

Now this was not in the film: according to Spanish Wikipedia, María Teresa León spent her last years of life in a sanatorium in Majadahonda, near Madrid. Her loving husband, Rafael Alberti, never accepted María Teresa’s illness and... escaped to Rome. What a gentlemen! She died alone and forgotten.

Ozogoche (2023)

a film by Joe Houlberg Silva

In a recent interview, the director Joe Houlberg says that it took six years to film Ozogoche. In the beginning it was supposed to be a documentary about strange behaviour of migratory birds, upland sandpipers (Bartramia longicauda), known in Ecuador as cuvivíes. There is no shortage of hypotheses why some of these birds travel some 10,000 kilometers from North America to Ozogoche lagoons only to plummet into the icy waters and die. What happened though, after these years of living with local community, the film creators realised that poor cuvivíes became, in words of Houlberg, “just an allegory of the true story <...>, the story of an indigenous family in the Ecuadorian páramo who are waiting for their relatives, waiting for something to change”. If you liked the magical realism of El Eco, you’ll fall in love with Ozogoche.

Free live music and stuff in Las Palmas, February 2025

That’s what we’ve seen this month:

• 18 January — 5 March: Nikola Tesla. El genio de la electricidad moderna @ Parque de San Telmo, Las Palmas de Gran Canaria
  The first exhibition in Spain to bear the official seal of the Nikola Tesla Museum in Belgrade.

  

• 5 February: Intervención arqueológica en el Solar Norte de la Catedral de Canarias, Plaza de Santa Ana
  A guided tour organised by Cabildo de Gran Canaria.

  

• 12 February: Infante/Lemes/Colina Trio @ Palacete Rodríguez Quegles, Calle Benito Pérez Galdós, 4
  Javier Colina (double bass, accordion), Javier Infante (guitar) and Alexis Lemes (timple). The programme included material from the trio’s debut album Guiguan.

  

• 15 February: «Agüita fresca: Entre salsa y boleros» @ Auditorio José Antonio Ramos, Parque Doramas
  All-star band featuring Magdalena Padilla (vocals), Yuniel Rascón (guitar, tres), Fofi Lusson (bass) and Totó Noriega (percussion). Still, I can’t help but feel a bit disappointed. “Between salsa and boleros”, I didn’t hear a single salsa. Sure, Bésame mucho, Guantanamera and Quizás, quizás, quizás are all perennial classics... that were played, covered and re-covered ad nauseam. Look, there are thousands of fantastic and equally catchy Latin songs, why not trying something new. Agüita fresca? I’d say agua estancada.

  

• 11 February — 16 March: «Macaronesia 1975—2025» @ Casa de Colón, Calle Colón, 1
  The last 50 years of Macaronesian history in 146 photos. Organised by FEDAC and Memoria digital de Lanzarote.

  

• 20 February: «Pasión y ritmo» @ Plaza del Pilar Nuevo
  Now, that was one helluva concert! La Banda Sinfónica Municipal de Las Palmas de Gran Canaria went big-band mode with standards such as At the Mambo Inn, Hot House and Soul Bossa Nova. Conductor: Juan Roda Sapiña. The line-up and full programme are available here.

  

And that was it for February.

La maldición, el milagro y el burro

a film by Ayoze O’Shanahan and Mafe Céspedes

The Colombian town of Gramalote was destroyed by a landslide in 2010. As Ayoze O’Shanahan explained before the screening, the filming of the documentary began exactly when the disaster struck. By the time of its release in 2012, there was little progress with resettlement or rebuilding: most Gramalote (ex-)residents still lived in tents. So the film ends on a bittersweet note that’s more bitter than sweet. I was happy to discover today that by October 2024 the construction of Nuevo Gramalote had been essentially completed.

The titular curse refers to the fate of the town (but of course, its destruction was prophesised before). The miracle was that there were no human casualties — naturally, thanks to the devoutness of Gramalote townfolk. Another explanation is that the slide was relatively slow-moving so the population had plenty of time to move out to safety. Unfortunately, one donkey died.

This film opens the third edition of the cycle Tiempo de memoria, memoria en el tiempo organised by Instituto Canario de Desarrollo Cultural (ICDC).

D.O.A.

a film by Rudolph Maté

“A picture as excitingly different as its title!”, said the theatrical release poster for D.O.A.

To me, this 1949 film noir was as exciting as a long joke told after you heard its punchline. But, apparently, it’s a “classic of the genre”, complete with all the clichés of the genre: femmes fatales, mobsters, nighttime driving, etc. etc. The movie has spawned at least six remakes and a musical, so probably I miss something. Or it could be that D.O.A. fell into public domain too early — to be precise, in 1978, due to a silly filing error — an easy prey for idea-starved Hollywood producers.

Edmond O’Brien stars as Frank Bigelow, a pretty dull accountant who, upon learning that he’s mortally poisoned, transforms himself into a hard-boiled detective. Halfway through I got confused with more and more characters and kind of lost interest because, well, the man was gonna die anyway. The jazz band at The Fisherman is good, shame that our accountant doesn’t appreciate live music.

The movie has its share of comic moments, most of them are unintentionally so. Like the one where Frank barges into a second hospital in search of a second opinion:

Frank: Doctor, I want you to examine me for luminous poison.
Doctor: Come right in here. (A few moments later.) Yeah, you’ve got it all right.

The doctor is so cocksure because he shows a test tube that glows in the dark. Great. (It’s puzzling why we don’t have a remake yet where Frank is an ex-KGB agent and “luminous poison” is identified as polonium-210.) Be careful what you drink.

Con las horas contadas closed the cycle Los márgenes de Hollywood en la postguerra.

Heavy Traffic

a film by Ralph Bakshi

The same checklist here as in Bakshi’s debut feature, plus some clumsy live action and pinball. Heavy Traffic mostly consists of zoomorphic humanoids, not too different from anthropomorphic beasts of Fritz the Cat but uglier. The only attractive character is Carole (Beverly Hope Atkinson). What did she find in Michael the pinball-not-exacty-wizard (Fritz 2.0? Future Bakshi?) is anyone’s guess. The soundtrack is really good, would be even better without Scarborough Fair.

High Tide

a film by John Reinhardt

Yet another obscure film noir. With pretty cool acting by Don Castle, Lee Tracy, Julie Bishop and Anabel Shaw and some great lines —

“He’s having a slight attack of rigor mortis right in the middle of my living room floor”

— this is my favourite of the bunch so far. But what’s with the title? High Tide is boring. No wonder the Spanish renamed it Ambición perversa — sure, it’s over the top but at least awakening one’s curiosity.

A fun fact: Reinhardt’s directorial debut was 1935 El día que me quieras featuring the tango of the same name as well as Volver and starring Carlos Gardel, Rosita Moreno, Tito Lusiardo and 14-year old Astor Piazzolla!

Symphonic Suites / Симфонические сюиты

by Edvard Grieg
performed by Grand Symphony Orchestra of All-Union Radio
conducted by Gennady Rozhdestvensky

This was another LP that my mum loved. DiscoGS lists 57 versions of this record, the earliest of them released in 1967. The orchestra is credited as Большой Симфонический Оркестр Всесоюзного Радио, which was its official name between 1966 and 1974. So let’s think Suites were recorded in 1966—1967. In our house, however, we had a 1971 pressing. I even remember the time (1971?) when it was squeaky new.

Since it was the only Grieg vinyl we had (Holberg Suite and Piano Concerto in A minor would come later), my mum referred to it just as a “Grieg”. “Put on a Grieg please.” My all-time favourite was «Шествие гномов» (March of the Trolls)^*. As it was the last track, I had to wait. But it was well worth it.

It still is.

Edvard Grieg Peer Gynt Suites Nos. 1 & 2, Lyric Suite

Эдвард Григ Пер Гюнт. Две сюиты из музыки к драме Г. Ибсена Лирическая сюита, соч. 54

Peer Gynt-suite nr. 1, op. 46 / Peer Gynt Suite No. 1, Op. 46 / Пер Гюнт. Сюита №1, соч. 46 (audio) Morgenstemning / Morning Mood / Утро Åses død / The Death of Åse / Смерть Озе Anitras dans / Anitra’s Dance / Танец Анитры I Dovregubbens hall / In the Hall of the Mountain King / В пещере горного короля Peer Gynt-suite nr. 2, op. 55 / Peer Gynt Suite No. 2, Op. 55 / Пер Гюнт. Сюита № 2, соч. 55 (audio) Ingrids klage / Ingrid’s Lament / Жалоба Ингрид Arabisk dans / Arabian Dance / Арабский танец Peer Gynts hjemfart / Peer Gynt’s Homecoming / Возвращение Пера Гюнта Solveigs sang / Solveig’s Song / Песня Сольвейг Lyrisk suite, op. 54 / Lyric Suite, Op. 54 / Лирическая сюита, соч. 54 (audio) Gjætergut / Shepherd Boy / Мальчик-пастух Gangar / Norwegian March / Норвежский крестьянский марш† Notturno / Nocturne / Ноктюрн Troldtog / March of the Dwarfs / Шествие гномов*

*	This piece, Troldtog (literally, “troll procession”), is known in English as either March of the Trolls or March of the Dwarves. I prefer the former translation, while the Russian «Шествие гномов» means “procession of the gnomes”.
†	I suppose Soviet bureaucrats couldn’t leave «Норвежский марш» (“Norwegian march”) as such, they needed to insert peasants somewhere, as in “Workers and Peasants”. Thus «Норвежский крестьянский марш» (“Norwegian peasant march”). The original title, Gangar, is simply “march”, not even “Norwegian”.

Fritz the Cat

a film by Ralph Bakshi

Sex, drugs, rock’n’roll, profanity, graphic violence, politically incorrect jokes — in other words, “something to offend just about everyone”. I must say Fritz the Cat didn’t offend me that much. Perhaps it haven’t aged that well then. The thing is, at 78 munutes, the film is way too long for the message, if there was any. I don’t mind sex between anthropomorphic barnyard animals, I’d appreciate (proportionally) more rock’n’roll, and I really could live with less violence. Cut it to 20 minutes, I say, and we’ll talk. Of course, Billie Holiday and Bo Diddley are great. Some of them jokes still work —

We interrupt the Israeli–Arab war for this special announcement. The President, after conferring with Israeli Prime Minister Golda Meir, has agreed to send more arms to Israel, based on the return of New York City and Los Angeles to the United States.

— and some of them don’t. “Radical left”, what radical left? By now, there’s no left left in the US.

Even bigger problem for me is that I didn’t find the protagonist lovable, or charismatic, or interesting in any way. The only character I sympathised with was Harriet the horse, maybe because she reminded me of the donkey from The Bremen Town Musicians.

Fritz the Cat opens the cycle Ralph Bakshi: Urban Noir organised by Filmoteca Canaria and Tenerife Noir.

Hollow Triumph (The Scar)

a film by Steve Sekely

Even less convincing — although significantly better produced and, IMHO, simply better — than Detour, this forgotten 1948 thriller stars Paul Henreid, Joan Bennett and Leslie Brooks.

How come that even the observant dentist Dr. Swangron (John Qualen) failed to notice that the titular scar migrated to the wrong cheek? Never mind that. The girls are beautiful. Henreid is pretty good in a double role of a chain-smoking baddie and, er, another guy, both of them psychoanalysts. Watch out for that orchid scene.

La cicatriz continues the cycle Los márgenes de Hollywood en la postguerra.

El París de los Dragones

by Tony Sandoval and Joann Sfar
translated by Lorenzo Díaz Buendía

Confused plot and too many dead or wounded dragons for my liking. It’s the romance between a Hawaiian strongwoman princess and a pansexual mermaid, coupled with a wicked sense of humour, that makes this comic worth checking out.

Detour

a film by Edgar G. Ulmer
based on a novel by Martin Goldsmith

There is no particular reason why this 1945 B-movie acquired a cult following while scores of superior films were forgotten. An unconvincing story with a few loose ends left untied, perhaps because the film creators ran out of little money they had, it is nevertheless worth watching if only for Ann Savage as Vera.

As I have learned, Vera was placed as a number 6 on Richard Corliss’ list of Top 25 Greatest Movie Villains, one position below Phyllis Dietrichson of Double Indemnity. Why? According to Corliss,

Picked up on a trip out west by a man (Tom Neal) fleeing from a death scene, she instantly and spectacularly gets on his and the audience’s nerves.

Wow. That calls for redefinition of what “villain” is. To me, Vera is a female version of Ostap Bender who, just like the Great Combinator in The Twelve Chairs, effortlessly takes control of a texbook patsy, in this case, Al. If anybody was getting on my nerves, it was this latter, on account of his incurable stupidity and repetitive voice-over narration. Against all odds, I kept hoping that Vera’s machinations would eventually succeed.

Detour was the opening film of the cycle Los márgenes de Hollywood en la postguerra organised by Asociación de Cine Vértigo.

Free live music and stuff in Las Palmas, January 2025

Happy New Years, we’ve celebrated several of them. Here are some things that we’ve seen in January:

• 18 January: «Este mar mío» @ Auditorio José Antonio Ramos, Parque Doramas, Las Palmas de Gran Canaria
  Canarian singer-songwriter José Manuel Pérez “El Patillas” opened the new season of Musicando in the company of Gonzalo Macías (guitar), Carlos Meneses (double bass) and Néstor Ramos (drums).

• 17 September 2024 — 2 February 2025: «Juan de Miranda lo Pintó» @ Casa de Colón, Calle Colón, 1
  Works by Juan de Miranda (1723—1805); guided visit with Ramón Gil Romero and Francisco Javier Pueyo Abril on 30 January.

  

• 14 November 2024 — 15 February 2025: «Pérez Siquier» @ Fundación MAPFRE Canarias, Calle Juan de Quesada, 10
  Photography by Carlos Pérez Siquier (1930—2021); see the catalogue of his works here.

  

• 16 January — 14 February: «Welcome (An ironic view of us)» @ Centro de Artes Plásticas (CAP), Calle Colón, 8
  Photography by Angharad Rojo Martín.

  

And that was it for January. Looking forward to the Carnival already.

Crowdie Ever Mair / Овсянка

by Robert Burns and Samuil Marshak

I was not aware that Burns Night even existed until exactly 30 years ago, yes the very day of my first encounter with haggis and, as I learned much later, Black Brant scare. I arrived in Leeds just three days before and was staying at my Professor’s house while looking for my own accommodation. It started snowing in the afternoon, so we took the early leave — that is, about 5 pm, when everybody goes home. We spent the next two hours in a traffic jam. It was still a pre-mobile phone era and there was no way for the Professor to call his wife to say we’re stuck. At least we were sitting comfortably in the car, listening to the radio, most likely BBC Radio 3 broadcasing, guess what, Rabbie Burns songs.

Upon arrival, we were offered a dinner featuring hot porridge — Mrs Professor was an enthusiast of this dish on account of spending her formative years in Scotland. I found it impossible to refuse the first portion of the stuff but managed to politely decline the second helping.

Which brings me back to Burns. In The Complete Works of Robert Burns, there is a letter to Mrs. Dunlop from 15 December 1795 where he writes:

To leave talking of the matter so gravely, I shall sing with the old Scots ballad —

“O that I had ne’er been married,
etc. ”

See, Crowdie Ever Mair was already “old” in Burns’ times. I’m sure the Bard changed a word or two to make it sound more modern.

Robert Burns Crowdie Ever Mair

Роберт Бёрнс, перевод С.Я. Маршака Овсянка

O that I had ne’er been married, I wad never had nae care; Now I’ve gotten wife and bairns, An’ they cry crowdie ever mair. Ance crowdie, twice crowdie, Three times crowdie in a day, Gin ye crowdie ony mair, Ye’ll crowdie a’ my meal away. Waefu’ want and hunger fley me, Glowrin’ by the hallan en’; Sair I fecht them at the door, But aye I’m eerie they come ben. Ance crowdie, twice crowdie, Three times crowdie in a day; Gin ye crowdie ony mair, Ye’ll crowdie a’ my meal away.

Раз — овсянка, Два — овсянка И овсянка в третий раз. А на лишнюю овсянку Где мне взять крупы для вас? Одиноким, неженатым Не житье, а сущий рай. А женился, так ребятам Трижды в день овсянки дай. Век живет со мной забота. Не могу ее прогнать. Чуть запрешь за ней ворота, Тут как тут она опять. Раз — овсянка, Два — овсянка И овсянка в третий раз. А на лишнюю овсянку Где мне взять крупы для вас?

What’s “crowdie”? According to the glossary here,

Crowdie, a composition of oatmeal, boiled water and butter; sometimes made from the broth of beef, mutton, &c. &c.
Crowdie time, breakfast time.

The Russian translation of the song is called «Овсянка». «Овсянка, сэр» (“Porridge, Sir”) is a popular in Russian-speaking space meme from the 1981 Soviet film «Собака Баскервилей». In this movie, Sir Henry Baskerville was not a huge fan of it. The blasted dish is never mentioned in the novel, so it must have been an invention of the filmmakers. Also, porridge was used as ammo par excellence by Gromit in A Close Shave. Told you, it’s not edible.

La clase de griego

by Han Kang
translated by Sunme Yoon

I never heard about this writer until she won last year’s Nobel Prize in Literature. I certainly didn’t expect to see any of her books in our library. And there it was, on the New Arrivals shelf by the entrance to the reading room. I picked it up to leaf through. Suddenly, a middle-aged man, who also was browsing next to me, said: “It’s a good book. Take it.”
“Have you read it?” I asked, a bit suspiciously. I am not used to strangers giving me reading advice.
“Yes. It’s great.”

And he was absolutely right. It’s a beautiful novel.

I read Greek Lessons in Spanish translation. I hope the English one is equally good.

La casa

by Paco Roca

A year after their father’s death, his three adult children return to their family home in the country. To spruce it up before selling, no doubt. As the memories flood back, they don’t seem to be that sure.

I wish them all the luck in the world and... hope they keep the house.

Free live music and stuff in Santander and Las Palmas, December 2024

These are things that I’ve seen in the last month of 2024.

• 1 December: Namina @ El Almacén de Little Bobby, Calle del Sol, 20, Santander
  Natàlia Miró do Nascimento (vocals, guitar) and Pep Gol (trumpet, melodica, seashell, percussion) presented an eclectic programme of both originals, mostly from Namina’s latest album La nuit, and covers of songs like I’m Your Man by Leonard Cohen, Chove Chuva by Jorge Ben, Sympathique by Pink Martini and Chocolate Jesus by Tom Waits.

  

• 1 December: Jazz Jam @ Rvbicón, Calle del Sol, 4
  Later the same evening, I was able to enjoy one hour and a half of a jam. Featuring the base band of Beltrán del Álamo (bass), Adrián Buenaga (tenor sax), Carlos Pizarro (guitar) and Raúl Quintana (drums), plus guests.
• 8 December: Diego Jascalevich @ Rvbicón
  An evening of folk and folk-inspired music by a virtuoso charango player, composer and singer.

  

• 12 December 2024 — 31 January 2025: «Una tirada de dados» @ Centro de Arte Naves de Gamazo, Avenida de Severiano Ballesteros, 3
  Works by Chema Madoz.

  

Back in Las Palmas, more exhibitions:

• 21 November 2024 — 3 January 2025: «Hilando Memorias» @ Centro de Artes Plásticas (CAP), Calle Colón, 8, Las Palmas de Gran Canaria
  Works by Gema Sánchez Yánez; guided tour on 23 December.

  

• 12 December 2024 — 31 January 2025: «Nautas» @ Centro Cultural CICCA, Alameda de Colon, 1
  Works by Miguel Panadero.

  

And that was it for December. Happy New Year!