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15_06_2017

À toute épreuve and the Art of Language

On the occasion of the Éluard, Cramer, Miró – À toute épreuve, more than a book exhibition, Dolors R. Roig examines the creative process behind the book by Joan Miró based on a collection of poems by Paul Éluard, explaining how Miró ventured beyond illustration and how the collaborative project led to new poems. While reviewing this creative adventure, her article addresses the way in which Éluard’s and Miró’s imaginations merged.

Dolors R. Roig holds a PhD in Art History and specializes in modern and contemporary art. She is responsible for art research and programming at Galeria Mayoral and teaches at the Universitat Oberta de Catalunya, where she was involved in the Joan Miró: An Artist Who Defined a Century MOOC and the Miró Studies Postgraduate Diploma.

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26_05_2017

The SpaceFest

The artist Antoni Hervàs received a commission from the Fundació Joan Miró to design a family workshop based on the theme of self-organization as part of the exhibition with the same title curated by Antonio Ortega, which provides an overview of DIY art practices from the 1960s until the present.

Hervàs tells us about the process of conceiving and creating the SpaceFest (La festa espacial) and the connection between the activity and self-organized practices, from the original idea to the implementation of the workshop with its participants. The SpaceFest is one of the most recent events in the line of family activities created by artists at the Fundació.

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05_05_2017

The Morning Star Flies to the United States to Join the Other Constellations

Morning star is one of the 23 Constellations that Miró painted from 1940 to 1941, following his desire to escape from reality right after the outbreak of World War II. This group of pieces conveys an idealized vision of a world of celestial beings. Since its creation, the series has been shown almost in full on three occasions in New York. Now, Acquavella Galleries has managed to bring together the nearly complete series in the Miró: Constellations show that will be on exhibit from 20 April through 26 May, 2017. Art historian and FJM assistant curator Ester Ramos describes this gathering of the Constellations as a historic event and tells us about the importance of this series in the life and work of Joan Miró.

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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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