Si seguim, segur que riurem (If we go on, we’ll surely laugh) is a collection of photographs of Tortell Poltrona, the Catalan clown who founded the NGO Clowns Without Borders.
Coinciding with the 1999 Spring Design Show in Barcelona, this exhibition curated by Oriol Pibernat and Pedro Azara showed the work of André Ricard, a pioneer in the theory and practice of industrial design in Catalonia.
An exhibition of over 100 works by the Scottish visual artist, poet and philosopher, many of them designed and produced exclusively for the Fundació Joan Miró’s exhibition spaces.
1998-1999 SeasonCurators: Jorge Luis Marzo, Rosa Sánchez i Tere BadiaSingular Electrics, a play on the name "General Electrics", is concerned with some of the new international art forms that have grown out of the latest communications and imaging technologies.
Selected by Christopher Phillips, this exhibition comprised works by Vito Acconci, Judith Barry, Geneviève Cadieux, Jochen Gerz, Gary Hill, Pierre Huyghe, Kristin Oppeosch.
Selected by Alain Sayag, this exhibition comprised around 100 photographs from the Centre Georges Pompidou in Paris, with the aim of reflecting the fictitious or equivocal discourse inherent in every photographic image, whether it be artistic, documentary or for advertising.
The first showing in Spain of a selection of works from the Fondation Cartier in Paris, comprising paintings, sculptures, photographs and installations produced between 1964 and 1997 by 23 contemporary artists.
about "ALBUM. A selection from the Fondation Cartier pour l'Art Contemporain"
Joan Miró Punyet was the curator of this exhibition to commemorate the centenary of the birth of Alexander Calder (Philadelphia, 1898), a close friend of Miró’s.
1997-1998 SeasonCurator:Ferran Barenblit, [email protected] the 1997-1998 cycle, Invisible Circles has analysed the landscape — both physical and social — that makes up our environment, that invisible line that we draw around us to separate us from the outside world.
These 40 pieces from a Japanese collection reflect Miró’s contacts with oriental art and its influence on his output at the time, as well as the interest that Japan has always shown in his work.
