An afternoon at the MIAC: a close look at the fortress 

I approach the entrance of the castle across the drawbridge, with the moat beneath my feet. Two glass doors with elegant crown-shaped handles welcome me. I step into the fortress and find myself surrounded by one of the largest collections of 20th-century abstract art in all of the Canary Islands: Picasso, Tàpies, Millares, and Miró await to greet me.

Built at the end of the 18th century by order of King Carlos III, the Castillo de San José was a crucial point of defense in the history of Arrecife and its port. During its construction, it also served as a source of employment for the people of Lanzarote in difficult times of famine.

Two centuries later, the naval threat had ceased, and the castle was in a state of neglect when César Manrique convinced the authorities to transform the fortress, known locally as the «fortress of hunger,» into an art gallery. It was inaugurated in the 1970s as the International Museum of Contemporary Art.

A fortress full of art

It’s a hot afternoon, and I appreciate the refreshing coolness that surrounds the first room. Above it rests part of the permanent collection, including original works by Tàpies, Guerrero, Torner, Zóbel, Sempere, Gordillo, Rivera, and Le Parc. I move slowly from right to left, saving my favourite piece for last: White with Hole and Juniper Wood by Gustavo Toner.

I continue the tour to the room dedicated to Canary Island artists, where I have the pleasure of encountering works by Óscar Domínguez, César Manrique, José Dámaso, Cristino de Vera, María Belén Morales, and a spectacular piece by Manuel Millares. Then, I step into what I consider one of the most special corners of the Castle: the small and fascinating Sala Lasso. Here, we can find six to eight pieces created by the artist Pancho Lasso during the 1930s, including sculptures such as Bird, Woman and Child, and Man with his Moon.

I retrace my steps back to the entrance stairs to climb to the highest point of the fortress, perched on a cliff with views over the entire bay. I wonder what it would have looked like from here two centuries ago and what it must have been like to live in wartime. I reflect on César’s ability to transform any place into a home for culture, art, and nature.

I enter the castle again and head to the lower part, where the cistern once stood. And here, I find one of the most striking images of the day: the beautiful sculpture La Semilla by Francisco Barón, alongside the stunning Casa de Campo by Hernández Mompó.

I pause for a few seconds to appreciate the beauty of the white, winding walls, contrasting with the black stone staircase, and I become absorbed in studying the folds and shifting contours of the sculpture.

Restaurant Castillo San José: or what to visit in Lanzarote to engage all 5 senses

I continue my journey, and before me appears the restaurant: a modern open space where Manrique unleashed all his creative potential, with splendid views of the bay through a large glass window.

In its kitchen, recipes that have been part of the island’s history are transformed into honest, creative dishes that highlight local produce, incorporate cutting-edge techniques, and yet preserve the aromas and flavours that distinguish Canary Island cuisine, particularly that of Lanzarote.

I sit at a table near the sea and enjoy a leisurely coffee, while amusedly observing César’s bold idea of creating lamps from classic kitchen hooks.

I make my way to the toilets simply for the sheer pleasure of seeing them, and on the way, I admire one of Manrique’s specialties: the bar counters. Once in the women’s restroom, I remember that, as a child, I loved sneaking off to the toilets to gaze through the enormous windows, where I could watch rofe, flowers, plants, and the sea.

I exit the Castle via its exterior stairs, and on my way to the car, my gaze stops on a small structure nestled between rofe and palm trees, built from stone with a beautiful wooden door. I wonder how many secrets this old cistern, which could easily be a chapel, holds in its quiet embrace. And for the last time today, I thank César for his unique ability to fill a place, born from the harsh realities of war and hunger, with life, art, and joy.

Photographs by Alejandro Acuña and Mercedes Parrilla.

Author: Mercedes Parrilla