Lately, an unusual garden has been growing at the Fundació Joan Miró – a garden designed by the artist Pep Vidal for bees and other insect pollinators, providing them with a pace of their own, without boundaries or conditions. Inspired by this project, Vicky Benítez, a Fine Arts graduate and professional gardener, offers us a nostalgic look at a lost, denatured world, dominated by the artifice of gardens that are organized according to primarily aesthetic criteria. Vicky Benítez proposes that we tend our gardens with a full awareness that we are not tending the body, but rather the soul; and she stresses the importance of urban vegetable gardens as spaces for social cohesion where nature (both human and non-human) can grow and develop freely.Continue reading Gardens Don’t Exist; They’re An Illusion
In the 1990s, the French critic and curator Nicolas Bourriaud laid the groundwork for the concept of relational art in his essay Esthétique relationnelle (Les presses du réelle, 1998). According to Bourriaud, the work of art is now presented ‘as a “duration” that must be experienced, as an invitation to unlimited dialogue.’
Following this approach, which emphasizes the viewer’s relationship to the art object, Jordi J. Clavero, the head of the Fundació Joan Miró’s Education Department, considers the concept of a work of art and its constant mutation as it is experienced first-hand by each one of its viewers.Continue reading The Perplexed Object
LACMA (the Los Angeles County Museum of Art) is an example of a museum that opened up to young people and to its local community, giving priority to collective experimentation and learning. Its Arts for NexGen project has had a major impact on a highly diverse social environment.
Cultural manager, fundraiser and independent consultant Anna Fabra felt particularly drawn to this endeavour. She lives in Los Angeles and is a regular visitor to the museum. Above and beyond her experience as a user, she has chosen to delve further into the reasons for the project’s success and consider how a similar experience could be carried over to Barcelona.Continue reading Art for the Next Generation
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.Continue reading The SpaceFest
‘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.Continue reading Cruïlles, Crossroads: A Correspondence
Miró didn’t discuss painting, because he said he wasn’t interested in it. To him, painting was a vehicle of expression for the spirit, which is the only thing of interest. As I see it, Wikipedia – as an encyclopaedia – is also just a tool, a tool that allows me to share information with the greatest possible number of people, focusing on the ultimate goal of collaborating to shape the critical spirit of mature citizens who question the world they live in.Continue reading Miró the Wikipedian