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
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
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
Susana Carnicero graduated in Fine Arts and holds a post-graduate degree in Miró studies. Her fascination with colour as matter is the point of departure for a personal, subjective description in which a blue spot against a white background leads her on an exploration of the symbolism of this colour through a variety of artists.Continue reading Ceci est la couleur de mes rêves
Museums and art centres are taking on an increasingly active role in listening to their visitors’ opinions. Learning how to analyse their users’ comments allows them to gain a better knowledge of their public and to measure the impact of the contents the museum offers.
This post is only a poetic reflection, a counterpoint to the cold analysis of the data and the indicators that were collected in the Fundació’s spaces throughout the summer of 2018.Continue reading Anonymity
Drawing on the philosophical tradition, Arnau Puig reflects on the concept of reality and the way Joan Miró transformed it through the lens of his own subjectivity. Mont-roig was the heart and the site of this almost mystical act by which reality was transformed into poetry.
Arnau Puig is an art critic specialising in sociology. He is a graduate in philosophy, founder of the artists’ group Dau al Set, and a regular contributor to several art publications. And an expert in the work of Joan Miró.Continue reading The Farm at Mont-Roig. Joan Miró’s Philosophy and Religion
Joan Miró’s Mont-roig embodies his roots and his ties to the land and to the simplicity of everyday things. Mont-roig is a symbol and a reality, both personal and universal, and the point of departure for everything.
On the occasion of the opening of Mas Miró, the farmhouse where the artist spent many summers, historian and Fundació Mas Miró Director Elena Juncosa follows in the footsteps of the artist’s sensibility to place us in the unalterable timelessness of one of Miró’s most important emotional landscapes.Continue reading ‘All I did was look.’ Mont-roig, the Landscape of Joan Miró
Coinciding with the recent publication of Joan Punyet Miró’s book Miró & Music (Ed. Alrevés, 2017), poet and cultural agitator Eduard Escoffet explores the close connection that Joan Miró developed with music and his ‘likeminded spirits’ in other creative fields. In a sentimental journey that begins with Miró’s poster for John Cage and Merce Cunningham’s legendary performance in Sitges in 1966, and travels all the way to the Nits de Música at the Fundació, Escoffet brings us closer to the artist’s legacy, ‘an attitude, a spirit of openness and an urge to engage in dialogue with the present.’Continue reading Miró as a Sounding Board
Rosa Maria Malet is leaving. In September, the Board of Trustees of the Fundació Joan Miró appointed Marko Daniel as the new director. The farewell party that the Fundació held last July for the woman who had been at the helm of the institution during the past 37 years was not a farewell to a position, but to a person: to Rosa Maria, to her character, to her way of being and of doing things. Many media outlets and numerous journalists have featured her in their spaces and interviews over the past few months. Isidre Estévez, a journalist friend and a person with close, long-standing ties to the Fundació, had a chance to hold a very personal interview with her.Continue reading Malet is Leaving, but Rosa Maria Is Here to Stay. A Nuanced Farewell
On the occasion of the Éluard, Cramer, Miró – À toute épreuve, more than a book exhibition, Dolors R. Roig examines the creative process behind the book by Joan Miró based on a collection of poems by Paul Éluard, explaining how Miró ventured beyond illustration and how the collaborative project led to new poems. While reviewing this creative adventure, her article addresses the way in which Éluard’s and Miró’s imaginations merged.
Dolors R. Roig holds a PhD in Art History and specializes in modern and contemporary art. She is responsible for art research and programming at Galeria Mayoral and teaches at the Universitat Oberta de Catalunya, where she was involved in the Joan Miró: An Artist Who Defined a Century MOOC and the Miró Studies Postgraduate Diploma.Continue reading À toute épreuve and the Art of Language
Morning star is one of the 23 Constellations that Miró painted from 1940 to 1941, following his desire to escape from reality right after the outbreak of World War II. This group of pieces conveys an idealized vision of a world of celestial beings. Since its creation, the series has been shown almost in full on three occasions in New York. Now, Acquavella Galleries has managed to bring together the nearly complete series in the Miró: Constellations show that will be on exhibit from 20 April through 26 May, 2017. Art historian and FJM assistant curator Ester Ramos describes this gathering of the Constellations as a historic event and tells us about the importance of this series in the life and work of Joan Miró.Continue reading The Morning Star Flies to the United States to Join the Other Constellations
In the 1930s, assemblages, constructions and collages made with unconventional materials led Miró to produce three-dimensional work. His powerful attraction to the object was the first step towards the construction of poetic and dramatically violent images – and a path of artistic subversion leading to the transformation of the object into sculpture.Continue reading The Eroticism of Objects
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
‘A piece of thread can unleash a world,’ said Miró to express that a blotch, a splash, or a point on a sheet of paper could release an entire creative universe.
In the blog we are opening today, we would also like a concept to be the point of departure for further exploring and opening up new themes that will enrich and complement the original contents.Continue reading A piece of thread can unleash a world