Arxius de museums - Blog Fundació Joan Miró

30_04_2021

Anna Ferran

How to Preserve Our Memories

Over the past few weeks there has been a fair amount of talk about archives at the Fundació. The exhibition Miró-ADLAN. An Archive of Modernity (1932-1936) has raised our awareness of the importance of the appropriate conservation of papers and documents which may not initially strike us as particularly relevant. Drawings, postcards, notebooks, newspaper clippings, tickets to concerts or exhibitions, iconic posters, opera programmes… assorted documents such as these may not only contain memories of great sentimental value, but also constitute a legacy that can be of great interest.

Anna Ferran, who specialises in preventive conservation and paper restoration, offers us a few suggestions.

23_07_2020

Serafín Álvarez

Orbiting in a Room

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.

27_03_2020

Editorial Team

Art for everyone

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.

31_01_2020

Editorial Team

A city oasis

A city oasis, great views, surprising architecture, exciting artworks…Most of Fundació Joan Miró visitors comments are showed emotionally. We would like to share all these feelings throughout this post to take stock of 2019.

23_10_2019

Berta Jardí

Horses and Automobiles

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.

04_04_2019

Olga Subirós

Rock, Paper, Circus

Lina Bo Bardi Drawing is an exhibition about the architect’s deep sense of connection with drawing. For her, drawing was more than a designer’s tool; it was a primary expressive means driven by a strong sense of curiosity and doubt. In the following article, the architect and exhibition curator Olga Subirós shares some of her memories to offer us a closer look at Lina Bo Bardi’s work.

10_10_2018

Anna Noëlle

Anonymity

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.

07_09_2017

Jordi J. Clavero

The Perplexed Object

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.

14_07_2017

Anna Fabra Raduà

Art for the Next Generation

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.