William Morris (1834-1896) was a Renaissance man during a period, the Victorian, characterized by its Romantic sensitivity, the social tensions caused by industrialization and a renovated splendor of the arts and crafts movement, to which he contributed immensely. Brilliant, energetic and gifted with an insatiable capability for learning, he wasn´t just a designer but also an artisan, a businessman, a poet, an essayist, a translator, an embroiderer, a knitter, a dyer, an illustration artist, a calligraphist, a typographer, a novelist, a lecturer, an editor and printer, an advocate of the preservation of historical buldings, an ecologist, a political agitator and, last but not least, a socialist.

Held at Fundación Juan March until January 21st, the exhibition William Morris y el movimiento Arts & Crafts en Gran Bretaña portrays Morris´ multiple talents, as well as works by other protagonists of the British movement. The show transcends a mere presentation of decorative arts - elevated from their former "minor arts" status thanks to Morris- and points from its conception to the absolute validity of his ideas regarding alienation and satisfaction found in work, social disparity, the preservation of patrimony and the environment, and the recovery of craft professions. Morris´ time doesn´t belong to the past: it is ours too.

She has worked in the art exhibitions/publications field for numerous institutions like Calcografía Nacional de la Real Academia de Bellas Artes de San Fernando, Fundación La Caixa and Centro Cultural Conde Duque, where she has organized exibitions such as William Blake: visiones de mundos eternos (Fundación “la Caixa”, Madrid, 1996); William Hogarth. Conciencia y crítica de una época (Calcografía Nacional, 1998); Maravillas de la España Medieval. Monarquía y Tesoro Sagrado (Real Colegiata de San Isidoro de León, 2000); John Martin, 1789-1854. La obscuridad visible (Calcografía Nacional, Madrid, 2006). Moreover, she is the author of various publications and has held conferences related to graphic art, museography and exhibitions management.

In 2008 she joined the Exhibitions Department of Fundación Juan March, where she directs show proyects and edits their corresponding publications, as part of the curatorial team.

Amongst them, Wyndham Lewis, 1882-1957 (2010), Aleksandr Deineka, 1899-1969. Una vanguardia para el proletariado (2011), La isla del tesoro. Arte británico de Holbein a Hockney (2012), El gusto moderno. Art déco en París, 1910-1935 (2015) y William Morris y compañía: el movimiento Arts and Crafts en Gran Bretaña (2017).

He has published numerous texts and essays on aesthetics and art theory, philosophy of culture and art. Moreover, he has translated texts by Martin Heidegger, Franz Marc, Walker Percy, Peter Sloterdijk, Boris Groys and Paul Klee into Spanish. Between 1995 and 2005 he worked as the Managing Director of three European headquarters of Cervantes Institute: Bremen, Lisbon and Naples. In 2006 he became the Director of Exhibitions of Fundación Juan March and Director of Museo de Arte Abstracto Español (Cuenca) and of Museu Fundación Juan March (Palma).

He has organized, directed and occasionally curated numerous exhibitions held at Fundación Juan March and its two museums. Amongst them, La Ciudad Abstracta. 1966: el nacimiento del Museo de Arte Abstracto Español (2006); La abstracción del paisaje. Del romanticismo nórdico al expresionismo abstracto (2007); La Ilustración total. Arte conceptual de Moscú, 1960-1990 (2008); Wyndham Lewis (1882-1957) (2010); Aleksander Deineka (1899-1969). Una vanguardia para el proletariado (2011); La vanguardia aplicada (1890–1950) (2012); Paul Klee: maestro de la Bauhaus (2013); Josef Albers: medios mínimos, efecto máximo (2014), El gusto moderno. Art déco en París, 1910-1935 (2015); Lo nunca visto. De la pintura informalista al fotolibro de postguerra [1945-1965] (2016); Escuchar con los ojos. Arte sonoro en España, 1961-2016 (2016);  Lyonel Feininger (1871-1956) y William Morris y compañía: el movimiento Arts and Crafts en Gran Bretaña (2017).