Chillida: Sculptures Second press release Exhibition from 16 January Chillida (1951-1985) The Fundació Joan Miró will open an exhibition by the Basque sculptor Eduardo Chillida on 16 January.
Musical installation – performance by Baudouin Oosterlynck On 9 January 1986, the opening day of Gabriel’s Espai 10 exhibition The Bronze Maura, a concert-performance will be given by the Belgian musician Baudouin Oosterlynck.
about " Baudouin Oosterlynch. Music-Performance Installation"
Construction by Jacques Vieille Press release Exhibition: Construction by Jacques Vieille Fundació Joan Miró’s Espai 10, Taste and Differences season Dates: 4 December 1985 to 5 January 1986 Opening: Wednesday 4 December at 7.
Ràfols-Casamada. Anthological Exhibition: 1957-1985 About the exhibition: ‘Bringing together the work of twenty-eight years, first remembering it and then seeing it again represents an experience of a certain magnitude.
Jacqueline Monnier: Stars To grasp the unattainable, to sift it through feeling, emotion and memory, to play in this manner with what is perceived and thought, although not understood, and to shape something that can only be poetically unique in its genre.
Stelae by Noëlle Tissier Press release Stelae installation by Noëlle Tissier Fundació Joan Miró’s Espai 10, Taste and Differences season Dates: 7 November to 1 December Opening: Thursday 7 November at 7.
Ghost City. 16 Visions of Human Absence in an Urban Setting When referring to Ghost City, one might think that it is the title of a tale of intrigue, the memory of a nightmare, or a catastrophic premonition about the future of humanity.
about " The ghost city. 16 visions of human absence in the human environment"
New Museum Architecture in Germany In the late 1950s, Germany undertook a remarkable task of redesigning, renovating and constructing museum buildings that reached its peak in the 1980s and has become an obligatory point of reference when dealing with the subject.
Miró Even More Up Close The plastic arts in the world of the blind The experience of any visitor to a museum or art collection moves within an obligatory sensory parameter: the objects must be seen; ‘do not touch’ is repeated.
