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I Dream of A Large Studio

What do artists need to work under good enough conditions? A place where they can develop their work without (too many) strictures? A room of their own? Enric Farrés Duran and Xavier Ristol are projecting their dream studio with features that are both physical and intangible, for the exhibition Shared Studios. Three Case Studies. A specific kind of light, an environment, a mental space where all sorts of random encounters may occur.

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Rue Blomet, a Space for Poetry

Miró dreamt of a large studio. At one point or another, all artists have dreamt of a large studio – a creative space that would enable them to build their utterly personal microcosm. Coinciding with the exhibition Shared Studios. Three Case Studies, which explores the experiences and affinities of artists working in the same space, we wanted to look back at one of Miró’s first studios, in the Paris of the 1920s, at 45 Rue Blomet.

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30_04_2021

How to Preserve Our Memories

Over the past few weeks there has been a fair amount of talk about archives at the Fundació. The exhibition Miró-ADLAN. An Archive of Modernity (1932-1936) has raised our awareness of the importance of the appropriate conservation of papers and documents which may not initially strike us as particularly relevant. Drawings, postcards, notebooks, newspaper clippings, tickets to concerts or exhibitions, iconic posters, opera programmes… assorted documents such as these may not only contain memories of great sentimental value, but also constitute a legacy that can be of great interest. 

Anna Ferran, who specialises in preventive conservation and paper restoration, offers us a few suggestions.

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The Fundació Joan Miró Archive: Awareness of and Responsibility for a Legacy

Coinciding with the presentation of the Miró – ADLAN. An Archive of Modernity (1932-1936) exhibition at the Fundació Joan Miró, we are publishing the following interview with Teresa Montaner, the head of collections who is also responsible for the Fundació’s archive.

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16_02_2021

Letters that matter

Museums collect and exhibit the most familiar side of artists, their works of art. In their effort to make them known, however, certain anecdotes are often lost, many of which will only come to be revealed by chance or through the tenacity of someone with a curious, analytical approach. Pedro Azara, architect and Professor of Aesthetics at the Barcelona School of Architecture, has uncovered a facet of Miró’s personality, of his way of approaching things and of relating with his friends, revealed in the determined coherence of a gesture. 

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