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
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
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
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
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