A Game of Creatures. Within the exhibition cycle “20 Minutes at the Margin”, curated by Bernat Daviu

Rafel G. Bianchi and Margit Kocsis
With the contribution of Irene Pujadas
Curated by Bernat Daviu

Bòlit La Rambla
Cycle: 20 MINUTES AT THE MARGIN
13.03.2026 to 06.09.2026

In the height of August 2020, a three-year-old girl riding an inflatable unicorn accidentally disappears from the beach of a Greek island, swept away by sea currents. A ferry spots her in open waters, clinging tightly to the float, and she is rescued safe and sound. But what if the girl had decided to run away? Who has not, at some point, wished to divert the course of the story they were meant to live?
This cycle, curated by Bernat Daviu (Fonteta, 1985), unfolds across three exhibitions conceived as chapters of a collective novel. The works bring together narratives and characters that inhabit the margins: figures that challenge imposed limits, question dominant imaginaries, and assert themselves within de-idealized or dystopian contexts. Fiction becomes a tool for generating escapist and metaphorical narratives, while simultaneously critiquing reality, articulating a discourse on identity, resistance, and memory.
“A Game of Creatures,” presented at Bòlit La Rambla, is an exhibition that establishes a dialogue between the paintings of Margit Kocsis (Java, 1941 – Amsterdam, 1984), an installation by Rafel G. Bianchi (Olot, 1967), and a text by writer Irene Pujadas (Sant Just Desvern, 1990).
Beyond her media impact as a model and actress during the 1960s and 1970s, Kocsis — a Dutch artist born in Indonesia who lived in Catalonia from the 1960s onward and was closely linked to Argelaguer, where she established her studio — developed a markedly introspective body of work centered on unsettling child figures that question and dismantle the idealized image of childhood. Bianchi — who met her when he was a child — revisits Kocsis’s work by extending and altering the bodies in her portraits, activating a play with what remains hidden and generating a tension between memory and fiction.
In Bianchi’s installation, these drawings of elongated figures become a cut-out collection that visitors can take with them, the result of a collaboration between the artist and designer Lola Mesalles (Barcelona, 2000).
The Dutch painter also becomes the starting point for Irene Pujadas’s text, which proposes imaginary biographies of Margit Kocsis to reclaim a pictorial body of work overshadowed both by the sexualized image of the artist that remained in the collective imagination of late-Francoist Spain and by her premature death.
The three exhibitions in the cycle — “A Game of Creatures” at Bòlit La Rambla; “Right Here in Another Place” at Bòlit Pou Rodó; and “Maladaptive Daydreaming” at Bòlit Sant Nicolau — share the most subversive spirit of marginalia. Marginalia — a Latin-derived word meaning “at the margins” — originally referred to a diverse repertoire of written and mainly iconic elements placed in the margins of Western medieval manuscripts, allowing the copyist — beyond a clarifying function — a playful or satirical escape from the monotony of their task and a way to break with the rigidity of the main text.
Twenty minutes is the time the unicorn girl spent missing — or perhaps escaped — at sea. It is also, according to various studies, the average time a visitor spends at an exhibition. The cycle 20 Minutes at the Margin proposes an immersion into dissonant narratives that open up spaces for questioning, displacement, and possibility.