Nacho Rovira Unveils 60 Global Masks in Ordino Exhibition

Nacho Rovira, a 67-year-old collector from Begur, has launched the *Masks* exhibition at l’Era del Raser in Ordino, featuring around 60 pieces from his collection of more than 200 masks gathered from 44 countries during decades of global travel. The display, which runs until 23 August, highlights European examples from Spain, Portugal, Italy and Romania, including 50 tied to UNESCO Intangible Cultural Heritage traditions.

Rovira's fascination began at age 22 with masks from Siena. He views them as vessels of tradition—from the Latin *traditio*, or "delivery"—passing beliefs, celebrations and respect for ancestors and the dead to new generations. His birthday on 2 November, the Day of the Dead, adds a personal layer, he notes.

Key exhibits include Begur’s *capgròs* Capitán Araña from the "indians'" summer festival, linked to 18th-century emigrants who prospered in Cuba. Ordino’s *ossa* bear mask serves as host, represented by a 2024 fibreglass replica crafted by Arnau Codina; the original remains at the Comú since then. Rovira made the copy to support the *compadreo* tradition of mutual aid, ensuring continuity if needed. Other highlights are Berga’s Patum mask, Portugal’s Podence *caretos* and Lazarim Diablo, Miranda do Douro’s *chocalheiro*, Italy’s Venetian masks like the *antifaç*, *bauta* and *Medusa*, Spain’s *jarramplas* from Piornal and demons from *Els Pastorets*, Verges’ Death figure, and Romania’s Chiparus funeral masks from Nereju. Worn during rituals for elderly community elders, the Chiparus involved dances and comic clashes around fires to ease mourning families.

The exhibition forms part of *Unveilling the Arts and Works Behind the MASKS*, a project involving Spain, Portugal, Romania and Italy, curated by anthropologist Pilar Panero from the University of Valladolid. Panero explains masks' universal appeal across cultures and history, from Neolithic times, often embodying fears of nature’s forces, darkness or identity loss. In traditional contexts, they evoke winter solstice rites during the "12 magic days" from Christmas to Epiphany; today, they reflect modern anxieties.

Rovira emphasises dissemination over mere preservation to spotlight this underappreciated art. Masks provide anonymity, he says, unleashing hidden facets of the self like a "primordial drug". Panero adds they may represent what we desire or dread, not just disguise.