For the last four years, Serafín Álvarez has been working with pupils following a baccalaureate course focusing on the arts to give them insights into contemporary art by introducing them to professional working processes and by encouraging critical thinking about artistic creation. This academic year, the pandemic has disrupted everything.Continue reading Orbiting in a Room
In the midst of uncertainty, myths allow us to delve into the incomprehensible, put time on hold, observe the world from a new perspective and, from that timelessness, try to give shape to the invisible. In this post, on the occasion of the Fundació Joan Miró’s reopening and the presentation of the Nalini Malani exhibition to the public, artist and storyteller Michael Gadish brings us to the concept of the myth via the Indian tradition. Gadish combines research on Sanskrit and Hebrew, mythology, religion, and art and, since 2015, has been organizing performances focused on the sacred writings of India.Continue reading The Language of the Invisible
There is a lot of talk these days about inclusion and social transformation –also, and increasingly so, in the art world. The Fundació Joan Miró, as part of the “la Caixa” Art for Change program, has offered the Ssssoundssss exhibition, the final outcome of a project produced in collaboration with artist Laura Llanelli and two occupational centres run by Asproseat, a wonderful opportunity to bring art to a real, diverse public. Núria Plasència, a psychologist with an MA in counselling who works at the La Marina and 1981 occupational centres run by Fundació Asproseat’s Day Services, gives us a first-hand account of that experience.Continue reading Art for everyone
Mont-roig is a small village in rural Tarragona that played a decisive role in the course of Joan Miró’s life and work. In this text, the Fundació’s curator Elena Escolar offers us a slow-motion description of Mont-roig, the Church and the Village, painted in 1919 and presented in the special Catalan art section of the thirteenth Salon d’Automne in Paris, in 1920, almost one hundred years ago. To grasp Joan Miró’s intangible universe, it is essential to have a sense and an understanding of the landscape and the land itself in Mont-roig.Continue reading Mont-roig, Understanding the Landscape
A city oasis, great views, surprising architecture, exciting artworks…Most of Fundació Joan Miró visitors comments are showed emotionally. We would like to share all these feelings throughout this post to take stock of 2019.Continue reading A city oasis
Through the posters that he designed, Joan Miró demonstrated his commitment to society and to culture. He believed that artistic creation should go hand in hand with a civic sense of responsibility.
Mercè Sabartés is part of the team of the Fundació Miró’s Communications Department and the holder of a postgraduate degree in Mironian Studies from the Open University of Catalonia (UOC). In this article, she offers an insight into Miró’s facet as an activist and explains how, for the artist, his voice was inseparable from his commitment to the community.
Continue reading A commitment to freedom and to upholding Catalonia’s identity
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