Catalonia’s Culture Minister, Sònia Hernández, says the legal dispute over the Sijena artworks is nearing its conclusion, and all parties could face losses. The case concerns the return of Romanesque wall paintings from the chapter house of the Royal Monastery of Santa María de Sijena to Villanueva de Sijena in Huesca. In May 2025, the Tribunal Supremo confirmed that the murals and related paintings belong to Aragón and must be returned from the Museu Nacional d’Art de Catalunya (MNAC). The dispute now concerns how to carry out the transfer safely, not whether the return is legally required.
The paintings were removed after a fire damaged the monastery during the Spanish Civil War in 1936. Their fragile condition reflects the fire and the historic detachment process: the paintings were transferred onto cotton canvas and fixed to wooden structures. The Audiencia Provincial de Huesca has required the paint, canvas and wood to remain structurally integrated during the move. Hernández says a transfer could endanger the works, while the MNAC has warned that moving them could cause irreversible damage or destruction.
In April 2026, the Huesca court set a maximum 56-week period for dismantling, packing and transporting the murals. On 16 October, the Audiencia Provincial upheld the timetable, rejecting an appeal by Villanueva de Sijena and keeping the execution schedule in place. The process requires a prior risk assessment and a technical project. It also calls for architects and chemists to take part, alongside art historians, engineers and conservator-restorers. The court said the work must proceed with “maximum prudence, caution and diligence”; the approved transfer must not separate the paint from the canvas or the canvas from its wooden support. It also ruled that the lack of a court-appointed expert commission did not breach the 2016 judgment or later enforcement orders.
Aragón is pressing for a concrete operational schedule. On 23 October, the Government of Aragón said the expected start date had passed without a response from the MNAC on the timetable. Pedro Olloqui, Aragón’s Director-General of Culture and Cultural Heritage, wrote to MNAC Director Josep Serra asking when the transfer would begin and what measures would be used. Olloqui said the Huesca Provincial Cultural Heritage Commission had authorized the start of the restitution process at an extraordinary and urgent meeting on 9 October. The paintings are displayed in Room 17 of the MNAC. Olloqui said he was confident the judgments would be fully implemented “with the collaboration and good faith of all the parties involved.”
Hernández, who previously led the Directorate-General for Cultural Heritage, now prioritizes making Catalonia’s monuments more accessible through immersive technologies. The department’s flagship project, Els ulls de la història, uses virtual reality to bring major sites closer to the public. These include the Vall de Boí and Roca dels Moros de Cogul, as well as Escaladei Monastery, Miravet Castle and Sant Pere de Rodes. By 2028, five more sites are due to be added, including Cardona Castle and the Roman Theatre of Tarragona. Each adaptation costs between €600,000 and €800,000, with a focus on representing diverse regions and historical periods.
Immersive experiences are increasingly common in the private sector, but Hernández says public initiatives must maintain scientific rigor and put educational value ahead of spectacle. The approach also aims to highlight underrepresented voices in history, including women and children. It will extend beyond virtual reality to updated museum displays.
The minister acknowledged that the Sijena dispute could have been handled with less confrontation, but said negotiation is no longer possible now that a final court ruling is in place. She hopes the paintings will not be moved, citing the impressive risks. The MNAC’s conservation concerns now sit alongside a court-approved process requiring risk analysis and technical planning, with specialists taking part. The 56-week timetable remains active while those steps are prepared.
Hernández also addressed recent leadership changes at major cultural institutions. She described the MNAC building as outdated and in need of modernization, particularly as it integrates the Palau Victòria Eugènia. Under new direction, the Macba is expected to strengthen its role as a leader in contemporary art across Catalonia and encourage collaboration with other institutions. On the appointment of the new director at the Fundació Miró, Hernández called for trust in the selection process, which she described as transparent and merit-based.
In the performing arts, the minister praised Carme Portaceli’s tenure at the Teatre Nacional de Catalunya (TNC) for boosting international engagement and attracting younger audiences. Josep Maria Mestres’s upcoming leadership is seen as a consensus choice. Hernández declined to comment on programming decisions at the Teatre Lliure, including the exclusion of Lluís Pasqual from its 50th anniversary season, but said the controversy does not diminish his reputation as a director.
Addressing the persistent imbalance in cultural offerings between Barcelona and other regions, Hernández highlighted the forthcoming law on cultural rights. It aims to put citizens at the center of cultural policy and reduce territorial disparities. The department is revising the Plan de Equipamientos y Servicios de Cataluña (PESCAT) to address gaps in cultural infrastructure.
Wildfires and floods are an increasing threat to heritage sites. The recent fire in Anoia approached Claramunt Castle and underscored the need for emergency plans. Hernández confirmed that the department is developing a strategic protection plan. It is also seeking a large storage facility for museum collections outside Barcelona, ideally to secure one within the current legislative term.
Another major initiative is the proposed National Pact for Culture, which seeks to share responsibility for cultural funding among different levels of government and institutions. Hernández stressed the importance of building broad consensus, noting that most of the current parliamentary spectrum recognizes the value of culture.
Spain’s vulnerability to wildfires has been a recurring concern, with blazes in recent years threatening natural and cultural landmarks. For example, a major wildfire in Zaragoza province forced evacuations and highlighted the need for coordinated emergency responses. These incidents reinforce the relevance of Catalonia’s new heritage protection strategies.
Catalonia’s cultural sector continues to face challenges in balancing new idea with preservation while widening access. The region’s approach combines technological investment with legal compliance and aims to advance regional equity, reflecting broader trends in Spanish cultural policy. As climate risks intensify and the Sijena transfer enters its technical and conservation-planning stage, the public and cultural professionals will be watching how these measures work in practice.
