There are still two (of the twelve) authentic entrance gates to be found here in Valencia. One of these is the Torres de Serranos, the other is the Torres de Quart.

The Porta de Quart or Torres de Quart is a gate that was part of the medieval wall that surrounded the Old City of Valencia, in order to defend it.
The Porta de Quart owes its name to the fact that it is located on the road that from the city center (Plaza de la Virgen, where the Cathedral of Valencia is located) goes to Quart de Poblet. This gate was the western access to the city, which came from the west and Castile.
After the wall was demolished during the second half of the 19th century, this gate was exempted and became known as the Quart towers, which is the name most used today to designate it.
It was ordered to be built in 1356 by Peter the Ceremonious after the start of the war between the crowns of Castile and Aragon, but the works were delayed by the plagues. The Porta de Quart was built between 1441 and 1460.

The Latin name of the city was Valentia meaning 'strength' or 'valour', due to the Roman practice of recognising the valour of former Roman soldiers after a war.
The Roman historian Livy explains that the founding of Valentia in the 2nd century BC was due to the settling of the Roman soldiers who fought against a Lusitanian rebel, Viriatus, during the Third Lusitanian Raid of the Lusitanian War.

During the rule of the Muslim kingdoms in Spain, it had the title Medina at-Tarab ('City of Joy') according to one transliteration, or Medina at-Turab ('City of Sands') according to another, since it was located on the banks of the River Turia.
By gradual sound changes, Valentia has become Valencia in Castilian, and València in Valencian. The latter has been the only official name of the city since 2017.

Valencia lies on the highly fertile alluvial silts accumulated on the floodplain formed in the lower course of the Turia River. At its founding by the Romans, it stood on a river island in the Turia, 6.4 kilometres from the sea.

This is the largest aquarium in Europe, with space for 45.000 living creatures of 500 different species. The main marine ecosystems of the planet have been recreated here.
The avant-garde architecture, the division of the different aquariums and the scientific, recreational and educational objectives bring the underwater world closer to the public and remind visitors of the importance of protecting its flora and fauna. The aquarium is also a platform for scientific research.

The Oceanogràfic consists of several buildings, with examples of the most important ecosystems from all the seas and oceans of the planet.
I've seen some amazing aquariums around the world but this certainly is in the Top Three of them!

"This exhibition, at the Institut Valencià dárt Modern, showcases some of the most outstanding works of the Danish painter Asger Jorn. A founding member of avant-garde movements such as Cobra and the Situationist International, Jorn transformed the world by producing, collecting and reworking images. Originality and the avant-garde in its purest form.

In the middle of the 20th century, during a stay in Sweden, he drew several members of the indigenous Sámi people. Over the years, he made several copies of that original drawing and invited various artist friends to experiment by doing the same. The result? A proliferation of interpretations and experiments, open to interpretation by the spectator."

"The exhibition In a House. Genealogy of domestic work and care, is a proposal by Ana Penyas (Valencia, 1987), National Comic Award in 2018 for Estamos todas bien, and Alba Herrero (Valencia, 1986) anthropologist and multidisciplinary researcher.

The exhibition is organized from the archival material and life experiences of women of different ages and backgrounds, domestic workers, but also employers. The proposal covers the temporal, spatial and social changes linked to this work since the post-war period, traditionally feminized and precarious."
[¬ivam.es/es/educacion/visita-en-una-casa]

The intention of the new exhibition on Ignacio Pinazo is to propose a new biopolitical approach to a part of his work: that formed by the set of less academic representations of style and poetics, produced for the most part by and for the artist himself, both in painting and drawing format.

This body of work is of special interest because the artist himself was recognized by his contemporaries as the promoter of a systematic artistic practice carried out on and in open public spaces. These artistic practices of Pinazo enter directly into relation to the new ways of inhabiting public spaces, the changes in the behaviors of groups and crowds and the relationships established with the cultural context in which they occurred.
[¬ivam.es/es/exposiciones/pinazo-y-el-espacio-publico/]

Ignacio Pinazo Camarlench (b.11Jan1849 – d.18Oct1916) was a Spanish painter from Valencia. He was one of the most prominent Impressionist painters from late 19th century Spain.

Born into a poor family in Valencia, Pinazo was forced from a young age to assist in supporting the family by practising various trades. He had only attended eight grades when his mother died of the cholera, and young Ignazio was variously employed as a silversmith, a painter of tiles, and a decorator of fans. After his father's death, he lived with his grandparents, and in 1864 enrolled in the San Carlos Academy of Fine Arts, Valencia, earning his living as a hatter.
His artistic career started when he was 21, and he achieved his first success in Barcelona three years later. In 1871, work by him was displayed in the National Exhibition of Fine Arts for the first time.
[¬Wikipedia]