{"id":1444,"date":"2019-12-03T14:24:59","date_gmt":"2019-12-03T13:24:59","guid":{"rendered":"https:\/\/www.fmirobcn.org\/blog\/?p=1444"},"modified":"2019-12-03T14:25:39","modified_gmt":"2019-12-03T13:25:39","slug":"commitment-to-freedom-and-to-upholding-catalonias-identity","status":"publish","type":"post","link":"https:\/\/www.fmirobcn.org\/blog\/en\/2019\/12\/03\/commitment-to-freedom-and-to-upholding-catalonias-identity\/","title":{"rendered":"A commitment to freedom and to upholding Catalonia\u2019s identity"},"content":{"rendered":"

Joan Mir\u00f3 was an artist who was actively engaged in the events of his day. He demonstrated this through his contribution to the creation of the Spanish pavilion for the Paris International Exposition, where he made the mural Le Faucheur <\/em><\/strong>(1937), and also through the creation of the stamp Aidez l\u2019Espagne<\/em><\/strong> to raise funds for the Republican government. However, it was undoubtedly from the 1960s that his commitment to freedom and to upholding Catalonia\u2019s identity became more evident in statements that he made and, above all, through his altruistic wish to collaborate and be associated with causes related to culture and human rights by creating posters for them.<\/p>\n

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Joan Mir\u00f3 at the Spanish pavilion for the Paris International Exposition, 1937. Unknown author \u2013 Courtesy Successi\u00f3 Mir\u00f3<\/p>\n

From the 1940s, Mir\u00f3 began to take an interest in printmaking techniques that would allow him to create art accessible to a maximum number of people and to shun easel painting and monetary speculation with works of art. How? \u201cPutting up posters in the street, as I\u2019ve often done, or through sculptures, printmaking…,\u201d as he confessed to Raillard.[1]<\/a> Mir\u00f3 was interested in posters because they unite a series of characteristics that were very important for him: they are joint creations, rather akin to something anonymous, through collaboration with artisan printmakers; they are mural artworks for the whole population, found throughout our cities; and, at the same time, posters are ephemeral, because they are not conceived to last, given that sooner or later newer posters will replace them.<\/p>\n

In parallel with the exhibition at Santa Creu Hospital in1968, there was a growth in the number of posters produced by Mir\u00f3, probably because he was rediscovered by Catalan institutions in the expectation that an artist of such international repute would help draw attention to their cause. In conversations with Raillard, the artist put it this way: \u201cThey address me rather as if I were a patriarch. I\u2019m glad they ask me for things, mainly because the official authorities have always done their best to keep me from being known in my homeland despite being very well known everywhere. That has been hard for me….\u201d[2]<\/a><\/p>\n

That same year, Mir\u00f3 made the poster for May 1st, International Workers\u2019 Day. Pere Portabella remembers the commissioned poster: \u201c[\u2026] we went to see him at Hotel Col\u00f3n at the request of the heads of the trade union Comisiones Obreras to ask him to do the poster for May 1st. And here is the poster, summoning people to demonstrations that were considered to be illegal at the time.\u201d[3]<\/a> In this case, Mir\u00f3 clearly positioned himself as being in favour of worker rights, something that had been ignored by a regime that prohibited trade unions, except for the Organizaci\u00f3n Sindical Espa\u00f1ola, which was compulsory for everyone.<\/p>\n

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1er. de maig 1968,\u00a01968.\u00a0Fundaci\u00f3 Joan Mir\u00f3, Barcelona.\u00a0\u00a9 Successi\u00f3 Mir\u00f3, 2019<\/p>\n

That same year, Barcelona dawned, one day, covered in posters with the slogan \u2018Salvat Catal\u00e0<\/em><\/strong>\u2019, announcing the publication of the first encyclopaedic dictionary in Catalan, published by Editorial Salvat. It was a poster with a possible double meaning, heralding the publication of the dictionary while also using the play-on-words \u2018Salva\u2019t, catal\u00e0\u2019 (\u2018Save Yourself, Catalan\u2019), defending the need to revive the Catalan language, following its disdain by the dictatorship and relegation to family circles.<\/p>\n

\"\"<\/p>\n

Salvat Catal\u00e0,\u00a01968.\u00a0Fundaci\u00f3 Joan Mir\u00f3, Barcelona.\u00a0\u00a9 Successi\u00f3 Mir\u00f3, 2019<\/p>\n

Similarly, in 1974, Mir\u00f3 created a poster for \u00d2mnium Cultural, a body founded in 1961 to make up for the lack of Catalan cultural institutions. The poster asked its viewers a direct question: \u201cJa ajudeu la cultura catalana?<\/em><\/strong>\u201d (\u201cDo you contribute to Catalan culture?\u201d).<\/p>\n

\"\"<\/p>\n

\u00d2mnium Cultural. Ja ajudeu la cultura catalana?, 1974.\u00a0Fundaci\u00f3 Joan Mir\u00f3, Barcelona.\u00a0\u00a9 Successi\u00f3 Mir\u00f3, 2019<\/p>\n

Catalan culture is more than just a language, however. A nation\u2019s culture is made up of the whole of society, as Mir\u00f3 well knew, and that is why he designed the poster for the anniversary of Barcelona Football Club. In reference to the poster, Mir\u00f3 explained: \u201cThe last engraving is for Bar\u00e7a (it\u2019s a football club\u2013do you know it?). It\u2019s to celebrate its 75th anniversary […]. It influences hundreds of thousands of people and it\u2019ll be seen the world over. It\u2019s not Barcelona: it\u2019s the whole world.\u201d[4]<\/a><\/p>\n

\"\"<\/p>\n

Bar\u00e7a. Futbol Club Barcelona. 75 Aniversari, 1974.\u00a0Fundaci\u00f3 Joan Mir\u00f3, Barcelona.\u00a0\u00a9 Successi\u00f3 Mir\u00f3, 2019<\/p>\n

Mir\u00f3\u2019s activities as a poster designer intensified after Franco\u2019s death: a moment of uncertainty and transition in which the whole of Catalan society called for recognition of its culture and institutions. Mir\u00f3 was visited by Raillard in 1975, and the starting point for their conversation was the poster that he was preparing for the launch of the newspaper Avui<\/em>: \u201cWhat you can see here is a project for a poster for the first newspaper in Catalan in 45 years. […] I\u2019ve striven to support Catalan culture for forty-five years. […] And later, after the Civil War and the triumph of the Franco regime, I often felt disillusioned, but today, with this poster, something new is beginning. Just like this, a poster for Catalan hikers (image 6) [\u2026]. In spite of everything, throughout all these years, Catalonia has continued to germinate.\u201d[5]<\/a><\/p>\n

\"\"<\/p>\n

Avui. Diari en catal\u00e0, 1975.\u00a0Fundaci\u00f3 Joan Mir\u00f3, Barcelona.\u00a0\u00a9 Successi\u00f3 Mir\u00f3, 2019<\/p>\n

Indeed, Catalonia\u2019s institutions strived to uphold Catalan culture. In 1977, as if in reaction to the question posed in the poster for \u00d2mnium, a Congress on Catalan Culture was held, with a huge response by citizens. \u00a0The Fundaci\u00f3 Joan Mir\u00f3 presented the exhibition Qu\u00e8 \u00e9s i qu\u00e8 ha estat la cultura catalana (What is and what has been the state of Catalan culture?)<\/em>, and Mir\u00f3\u2013who was always in touch with what was going on around him\u2013created the poster for it.<\/p>\n

\"\"<\/p>\n

Congr\u00e9s de Cultura Catalana, 1977.\u00a0Fundaci\u00f3 Joan Mir\u00f3, Barcelona.\u00a0\u00a9 Successi\u00f3 Mir\u00f3, 2019<\/p>\n

That same year, the Assemblea de Catalunya, an umbrella organization for political parties and cultural and civic organizations, launched a campaign entitled \u2018Volem l\u2019Estatut\u2019 (\u2018We Want a Statute of Autonomy\u2019), and Joan Mir\u00f3 was commissioned with the poster. It did not become widely known, but it had a great significance for Mir\u00f3, as he remarked to Raillard: \u201c[…] I wanted it to convey force, nothing but force [\u2026]. In Barcelona\u2019s streets, there\u2019s graffiti everywhere and I wanted to form part of it: using just bold strokes and the four stripes of our flag. Those posters, distributed throughout the whole city in all the streets, represent the Catalan people\u2019s wishes, the graffiti\u2019s wishes. […] Red, yellow, blue, green, black, very violent. Boom! The victory of vitality. There it is.\u201d[6]<\/a><\/p>\n

\"\"<\/p>\n

Project for the poster Volem l\u2019Estatut, 1977.\u00a0Fundaci\u00f3 Joan Mir\u00f3, Barcelona.\u00a0\u00a9 Successi\u00f3 Mir\u00f3, 2019<\/p>\n

Through the creation of his posters, Mir\u00f3 demonstrated his social activism. This was very probably closely tied in with the civic responsibility that Mir\u00f3 deemed to be essential in art, as he clearly illustrated in his speech of acceptance of the honorary doctorate awarded by Barcelona University in 1979: \u201cI consider an artist to be someone who uses his or her voice, amid the silence of all the rest, to say something, with the obligation that it must not be in vain; that it must be something that serves the people. That being able to raise one\u2019s voice when most people don\u2019t have the opportunity to express themselves […] somehow makes that voice the voice of the community. When artists raise their voices in a nation like ours that has been cruelly marginalized by adverse historical events, they must make themselves heard throughout the world in order to affirm\u2013contrary to all ignorance, misunderstandings and bad faith\u2013that Catalonia exists; that it is original, and that it is alive.\u201d[7]<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

[1]<\/a> Raillard, Georges. Joan Mir\u00f3. El color dels meus somnis. Converses <\/em>amb Georges Raillard<\/em>. Palma: Lleonard Muntaner Editor, 2009, p. 26.<\/p>\n

[2]<\/a> Raillard, Georges. Conversaciones con Mir\u00f3<\/em>. Barcelona: Gedisa, 1993, p. 233.<\/p>\n

[3]<\/a> Portabella, Pere. \u00abMir\u00f3 l\u2019altre\u00bb. A: Malet, Rosa Maria. Joan Mir\u00f3 1956-1983. Sentiment, emoci\u00f3, gest<\/em>. Barcelona: Fundaci\u00f3 Joan Mir\u00f3, 2006, p. 44.<\/p>\n

[4]<\/a> Mir\u00f3, Joan. Mir\u00f3 parle<\/em>. Paris: Maeght \u00e9diteur, 2003, p. 31.<\/p>\n

[5]<\/a> Raillard, Georges. Joan Mir\u00f3. El color dels meus somnis. Converses amb Georges Raillard<\/em>. Palma: Lleonard Muntaner Editor, 2009, p. 19.<\/p>\n

[6]<\/a> Raillard, Georges. Conversaciones con Mir\u00f3<\/em>. Barcelona: Gedisa, 1993, p. 232-233.<\/p>\n

[7]<\/a> Speech by Joan Mir\u00f3 on his receipt of an honorary doctorate by Barcelona University, October 2nd 1979. A: Malet, Rosa Maria. Joan Mir\u00f3<\/em>. Barcelona: Edicions 62, 1992, p.7. (Pere Verg\u00e9s collection; 47).<\/p>\n","protected":false},"excerpt":{"rendered":"

Joan Mir\u00f3 was an artist who was actively engaged in the events of his day. He demonstrated this through his contribution to the creation of the Spanish pavilion for the Paris International Exposition, where he made the mural Le Faucheur (1937), and also through the creation of the stamp Aidez l\u2019Espagne to raise funds for … Continue reading A commitment to freedom and to upholding Catalonia\u2019s identity<\/span><\/a><\/p>\n","protected":false},"author":47,"featured_media":1437,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[153,248,53],"tags":[56,370],"class_list":["post-1444","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-collection","category-fundacio-joan-miro-en","category-miro-en","tag-archive-en","tag-posters"],"acf":[],"yoast_head":"\nA commitment to freedom and to upholding Catalonia\u2019s identity - Blog Fundaci\u00f3 Joan Mir\u00f3<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.fmirobcn.org\/blog\/en\/2019\/12\/03\/commitment-to-freedom-and-to-upholding-catalonias-identity\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A commitment to freedom and to upholding Catalonia\u2019s identity - Blog Fundaci\u00f3 Joan Mir\u00f3\" \/>\n<meta property=\"og:description\" content=\"Joan Mir\u00f3 was an artist who was actively engaged in the events of his day. 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