Drawing on the philosophical tradition, Arnau Puig reflects on the concept of reality and the way Joan Miró transformed it through the lens of his own subjectivity. Mont-roig was the heart and the site of this almost mystical act by which reality was transformed into poetry.
Arnau Puig is an art critic specialising in sociology. He is a graduate in philosophy, founder of the artists’ group Dau al Set, and a regular contributor to several art publications. And an expert in the work of Joan Miró. Continue reading The Farm at Mont-Roig. Joan Miró’s Philosophy and Religion
The auca is a literary genre of humble proportions, yet deeply rooted in Catalan popular culture. “We must find poetry that moves us, there in the most modest of things”, said Miró. On the occasion of the project Beehave, and coinciding with the intervention La Grieta by Alfonso Borragán, Jordi Sunyer and Oriol Canosa have proposed The Ballad of El Clot de la Mel (‘Honey Hollow’), an auca with an informal tone that defends the importance of urban apiculture.
Jordi Sunyer (illustration) and Oriol Canosa (text) are creators working in the field of children’s literature. Together they have published La casa del professor Kürbis (Baula), Apa, et penses que ens ho creurem? (Cruïlla) and EicTu XicMano, el pirata del Delta (Pebre Negre). Continue reading The Ballad of El Clot de la Mel (‘Honey Hollow’)
Joan Miró’s Mont-roig embodies his roots and his ties to the land and to the simplicity of everyday things. Mont-roig is a symbol and a reality, both personal and universal, and the point of departure for everything.
On the occasion of the opening of Mas Miró, the farmhouse where the artist spent many summers, historian and Fundació Mas Miró Director Elena Juncosa follows in the footsteps of the artist’s sensibility to place us in the unalterable timelessness of one of Miró’s most important emotional landscapes. Continue reading ‘All I did was look.’ Mont-roig, the Landscape of Joan Miró
To speak of architecture is to speak of spaces and volumes, of building components and of light. But how can you draw light? Those are the questions that Cristina Masanés raises in this article which – without intending to unveil the metaphor – tells us about an intimate and poetic walk through the geometries of the Fundació Joan Miró and other buildings designed by the architect Josep Lluís Sert.
Cristina Masanés, who studied philosophy, has written for a variety of media and art centres. She works as a freelance journalist, documentalist and exhibition curator. Continue reading ‘Che bella voce.’ Architecture, Voice and Speech
Coinciding with the recent publication of Joan Punyet Miró’s book Miró & Music (Ed. Alrevés, 2017), poet and cultural agitator Eduard Escoffet explores the close connection that Joan Miró developed with music and his ‘likeminded spirits’ in other creative fields. In a sentimental journey that begins with Miró’s poster for John Cage and Merce Cunningham’s legendary performance in Sitges in 1966, and travels all the way to the Nits de Música at the Fundació, Escoffet brings us closer to the artist’s legacy, ‘an attitude, a spirit of openness and an urge to engage in dialogue with the present.’ Continue reading Miró as a Sounding Board
Rosa Maria Malet is leaving. In September, the Board of Trustees of the Fundació Joan Miró appointed Marko Daniel as the new director. The farewell party that the Fundació held last July for the woman who had been at the helm of the institution during the past 37 years was not a farewell to a position, but to a person: to Rosa Maria, to her character, to her way of being and of doing things. Many media outlets and numerous journalists have featured her in their spaces and interviews over the past few months. Isidre Estévez, a journalist friend and a person with close, long-standing ties to the Fundació, had a chance to hold a very personal interview with her. Continue reading Malet is Leaving, but Rosa Maria Is Here to Stay. A Nuanced Farewell
From Le Corbusier’s sketches for a monumental ziggurat-museum in Geneva (Mundaneum, 1929) to urban development plans for cities like New York in the 1920s, Mesopotamian forms have had a profound impact on modern visual and architectural culture in the West.
As part of the Sumer and the Modern Paradigm exhibition, the archaeologist and researcher Maria Gabriella Micale explores how twentieth-century architecture was influenced by the drawings of the pioneers of archaeology, reinterpreting and recasting the architecture of the ancient Near East in the design of modern buildings. Continue reading The Fate of Mesopotamian Architecture in the Spiral of Image Reproduction
Lately, an unusual garden has been growing at the Fundació Joan Miró – a garden designed by the artist Pep Vidal for bees and other insect pollinators, providing them with a pace of their own, without boundaries or conditions. Inspired by this project, Vicky Benítez, a Fine Arts graduate and professional gardener, offers us a nostalgic look at a lost, denatured world, dominated by the artifice of gardens that are organized according to primarily aesthetic criteria. Vicky Benítez proposes that we tend our gardens with a full awareness that we are not tending the body, but rather the soul; and she stresses the importance of urban vegetable gardens as spaces for social cohesion where nature (both human and non-human) can grow and develop freely. Continue reading Gardens Don’t Exist; They’re An Illusion