In 1918, Joan Miró painted a portrait of his friend Heribert Casany. Berta Jardí rescues Heribert from oblivion in her novel L’home del barret (Univers, 2019) and reveals the story behind the painting.
For the Fundació’s blog, the author gives her account of the painting’s extraordinary journey since Miró painted it until it was finally shown at the Kimbell Art Museum in Fort Worth, Texas. Its wanderings are surrounded by horses and automobiles, mysteriously connected to the life of the man in the portrait. Continue reading Horses and Automobiles
The architect Lina Bo Bardi, to whom the Fundació Joan Miró devoted an exhibition focused on her strong connection to drawing, conceived her projects as spaces that were accessible to everyone, brimming with nature and life. Her watercolours of urban scenes are also full of everyday life, like the piece illustrating the atmosphere at Praça Getúlio Vargas, in Río de Janeiro, in 1946. Amanda Bassa delves into this image and the ambient sounds surrounding the piece at exhibition to create a literary text that plays with the parallel worlds inside and outside the watercolour. Continue reading Praça Getulio Vargas
Santos M. Mateos, who defines himself as a museophage and exponaut, takes a global look at means of communication in museums, inviting us to reflect on the shift in focus that has occurred in recent years. Continue reading Getting Museums in Tune with Their Visitors
Fifty years ago this May, the exhibition Miró, the Other was held at the Catalonia Architects’ Association (or COAC according to its Catalan acronym), the first exhibition of Joan Miró’s work to expound and demonstrate its militant facet.
In this blog, we reproduce an article by Cristian Cirici, published years ago in the “Traços” section of the e-magazine Carnet, which outlines the origins of the project. Continue reading ORIM
Pedro Strukelj, an Argentine-Mexican living in Barcelona, is an illustrator, architect, and cultural manager. He defines himself as a chronicler of cultural experiences. This illustrated chronicle is his account as a witness to the recently completed process of preventive conservation for the Tapestry of the Fundació. His palette is a colour map that suggests a faraway land –that of his Latin American roots, which, as in Miró, connect us with a world where the tradition of craftsmanship is deeply respected. Continue reading Illustrated Chronicle of the Tapestry of the Fundació
Lina Bo Bardi Drawing is an exhibition about the architect’s deep sense of connection with drawing. For her, drawing was more than a designer’s tool; it was a primary expressive means driven by a strong sense of curiosity and doubt. In the following article, the architect and exhibition curator Olga Subirós shares some of her memories to offer us a closer look at Lina Bo Bardi’s work. Continue reading Rock, Paper, Circus
Contemporaries is the name of a photographic project coordinated by artist Serafín Álvarez, tied in with the exhibition Lee Miller and Surrealism in Britain. The title highlighted the participants’ contemporary coincidence and they also shared a creative affinity: one group was made up of photographic students from Serra i Abella School of Art & Design in Hospitalet, who took the photos, and the others were visual artists who have studied for an M.A. in art production and research at Barcelona Faculty of Fine Art, in this case portrayed in the photos. The photos were exhibited at the Fundació Joan Miró between January 8th and 20th 2019. The photographs are reproduced below in the same order in which they were presented. The comments underneath are by the photographers. Continue reading Contemporaries
Until 20 January, and coinciding with the Lee Miller and Surrealism in Britain show, the Hèlia Dones women’s collective is offering Signs of Identity, an exhibition of self-portraits. The project came out of a long process of introspection and learning; the result is both therapeutic and liberating. Continue reading Only Yes Means Yes. Gazes by Resilient Women