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19_04_2017

Meeting Joan Brossa

The foyer at the Fundació, devoted to amateur photography, is currently the venue for the Joaquim Gomis exhibition titled Brossa at La Ricarda and will soon feature From a Pixel a Poem, by Cloe Masotta, as part of Epicentre Brossa, an activities programme centred on the life and work of Joan Brossa, the poet and visual artist who transformed contemporary Catalan culture.

Cloe Masotta, a film critic and professor who handles film programming for museums and cultural centres, has completed a research project on Joan Brossa as part of the Independent Studies Programme at the MACBA Museum in Barcelona. Here she tells us about her immersion into Brossa’s world and describes the sequence of coincidences through which the poet worked his way into her life.

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06_04_2017

Alexander Calder’s Four Wings: the Account of a Restoration

Calder and Miró share a non-pictorial space. The poetic balance in Calder’s mobile sculptures appears to settle in certain works by Miró, such as his Constellations. The affinities in their approach to shapes and colours led to a strong friendship between the two men—one that would last all their lives and is apparent in the Four Wings sculpture, which pays homage to Miró and welcomes visitors to the Fundació. Elisabet Serrat, the Fundació’s conservator, tells us about the restoration of the piece and how the original structure emerged after the cleaning and removal of its many layers of paint. The detailed description of this technical process provides an opportunity to recall the friendship between the two artists.

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02_03_2017

The Curse of Saying

The explanation is as follows: to consider a risk involves calculating. It’s true that this is probably determined by the verb to consider, but it is no less true that the noblest of things (in Montaigne’s terms) tend to deprecate risk. They don’t ‘consider’ it. Or not much. Risk in art is nothing in itself. At the most, it is a subsidiary element to other deeper things, by no means an ultimate goal. Does risk really mean anything at all in art? Isn’t risk simply a token of what we had previously been determined to do?

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Cruïlles, Crossroads: A Correspondence

Have you ever dreamed about Miró?’ The first question that the participants from Susoespai asked us sounded easy enough to answer and not particularly awkward; however, it shook the invisible threads that had the potential to bind us together. The Cruïlles project offered an opportunity to be involved in a joint participatory experience: an exchange of letters written between members of the Fundació staff and participants from Susoespai.

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22_12_2016

Art in Check: Passion and Obsession

‘I play chess day and night. I like painting less and less,’ stated Marcel Duchamp in 1923 after finishing one of his great works, Le Grand Verre (The Large Glass). It is impossible to separate the painter from the chess player, because Duchamp’s art was always in check, and he viewed this mental sport as a source of creativity.

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