Beds were placed at a 20 degree angle, making them near-impossible to sleep on, and the floors of the 6ft by 3ft cells was scattered with bricks and other geometric blocks to prevent prisoners from walking backwards and forwards, according to the account of Laurencic's trial.

The only option left to prisoners was staring at the walls, which were curved and covered with mind-altering patterns of cubes, squares, straight lines and spirals which utilised tricks of colour, perspective and scale to cause mental confusion and distress. Lighting effects gave the impression that the dizzying patterns on the wall were moving.

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Anarchists and the fine art of torture
Spanish art historian says they put enemies in disorienting cells

Giles Tremlett in Madrid
Monday January 27, 2003

A Spanish art historian has uncovered what was alleged to be the first use of modern art as a deliberate form of torture, with the discovery that mind-bending prison cells were built by anarchist artists 65 years ago during the country's bloody civil war.

Bauhaus artists such as Kandinsky, Klee and Itten, as well as the surrealist film-maker Luis Bunuel and his friend Salvador Dali, were said to be the inspiration behind a series of secret cells and torture centres built in Barcelona and elsewhere, yesterday's El Pais newspaper reported.

Most were the work of an enthusiastic French anarchist, Alphonse Laurencic, who invented a form of "psychotechnic" torture, according to the research of the historian Jose Milicua.

Mr Milicua's information came from a written account of Laurencic's trial before a Francoist military tribunal. That 1939 account was written by a man called R L Chacon who, like anybody allowed to publish by the newly installed dictatorship, could not have been expected to feel any sympathy for what Nazi Germany had already denounced as "degenerative art".

Laurencic, who claimed to be a painter and conductor in civilian life, created his so-called "coloured cells" as a contribution to the fight against General Franco's rightwing rebel forces.

They may also have been used to house members of other leftwing factions battling for power with the anarchist National Confederation of Workers, to which Laurencic belonged.

Hidden

The cells, built in 1938 and reportedly hidden from foreign journalists who visited the makeshift jails on Vallmajor and Saragossa streets, were as inspired by ideas of geometric abstraction and surrealism as they were by avant garde art theories on the psychological properties of colours.

Beds were placed at a 20 degree angle, making them near-impossible to sleep on, and the floors of the 6ft by 3ft cells was scattered with bricks and other geometric blocks to prevent prisoners from walking backwards and forwards, according to the account of Laurencic's trial.

The only option left to prisoners was staring at the walls, which were curved and covered with mind-altering patterns of cubes, squares, straight lines and spirals which utilised tricks of colour, perspective and scale to cause mental confusion and distress.

Lighting effects gave the impression that the dizzying patterns on the wall were moving.

A stone bench was similarly designed to send a prisoner sliding to the floor when he or she sat down, Mr Milicua said. Some cells were painted with tar so that they would warm up in the sun and produce asphyxiating heat.

Laurencic told the military court that he had been commissioned to build the cells by an anarchist leader who had heard of similar ones used elsewhere in the republican zone during the civil war, possibly in Valencia.

Mr Milicua has claimed that Laurencic preferred to use the colour green because, according to his theory of the psychological effects of various colours, it produced melancholy and sadness in prisoners.

But it appears that Barcelona was not the only place where avant garde art was used to torture Franco's supporters.

According to the prosecutors who put Laurencic on trial in 1939, a jail in Murcia in south-east Spain forced prisoners to view the infamously disturbing scene from Dali and Bunuel's film Un Chien Andalou, in which an eyeball is sliced open.

El Pais commented: "The avant garde forms of the moment - surrealism and geometric abstraction - were thus used for the aim of committing psychological torture.

"The creators of such revolutionary and liberating [artistic] languages could never have imagined that they would be so intrinsically linked to repression."