Blog Fundació Joan Miró Fundació Joan Miró
25_07_2019

Praça Getulio Vargas

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.

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29_05_2019

ORIM

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.

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04_04_2019

Rock, Paper, Circus

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.

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‘Che bella voce.’ Architecture, Voice and Speech

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.

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The Fate of Mesopotamian Architecture in the Spiral of Image Reproduction

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.

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