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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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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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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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From the New Normal to the New Reality

Throughout lockdown and the period of the “new normal,” we have been able to explore new settings for art and for our ways of relating to each other. We have upended the boundaries between the public and the private, between the analogue and the virtual, between exhibitions and political statements. Reflecting on the crisis generated by the pandemic, writer, social educator and activist Amadeu Carbó explores the possibilities of new, increasingly democratized and democratizing spaces for culture and art.

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The Miró, Available to All

Aside from a major health crisis, Covid-19 has brought about a socio-economic and cultural shakeup that has raised questions about the viability of many projects and driven us to make decisions that are necessary to face the challenges of the future.

The ongoing barrage of online resources and contents has only precipitated an upcoming trend: the blurring of boundaries between domestic and public space. Co-workers and fellow students have slipped into our homes through our screens, and our options for entertainment and learning have expanded beyond their previous physical boundaries. Museums, art centres, auditoriums and theatres are no exception: even while they were closed, cultural venues opened up and revealed their inner workings. Now the challenge will be to offer a differential value between physical spaces and digital channels.

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