Moneo building

L'edifici Moneo, seu actual de la Miró Mallorca Fundació, es va inaugurar el 1992. Projectat per l'arquitecte Rafael Moneo és el resultat de la donació de Pilar Juncosa, vídua de Miró, a la Ciutat de Palma.

  • Exhibition space

    • Espai Estrella
    • Espai Zero
  • Dates

    • 14 October 2022 — 10 March 2024
  • Inauguration

    • 14 October 2022
    • 19:00

El Miró de Son Boter

14 October 2022 — 10 March 2024

When, at the age of 66, Miró was finally able to start work in the new studio that Sert had designed for him, he had still not put an end to his search for a definitive creative workspace. Joan Miró’s studios in Mallorca were extended in 1959 with the purchase of Son Boter, an 18th century rural house next to Son Abrines that today forms part of the Fundació Pilar i Joan Miró a Mallorca, together with the Sert Studio and the Moneo Building.

Miró at Son Boter is very different from Miró at the Sert Studio. His work methods at Son Boter and the format of the work he produced were very different, as were his relations with the architecture. In Son Boter, Miró was steeped in history in rooms that still echoed with ghosts from the past. Son Boter was a cave, a return to the maternal womb, where Miró felt at ease right from the outset.

The Sert Studio’s impact on the artist is well known, as is the need he felt to put his own personal hallmark on it before starting to work there by creating an overlapping second skin on top of the architecture, without this affecting the independence of the latter. At Son Boter, on the other hand, the artist and his work became one with the building: his traced sketches came to form part of the walls, splashes from his triptychs spattered the floor, and his found objects and sculptures colonized and transformed the space. The whole building became a huge “notebook” where the artist’s creative process can be “read” and interpreted through the traces he left behind him.

Son Boter was used to create his large-format works, sculptures and public art projects, and it also housed his printmaking studios, hence avoiding visits to Barcelona. It was here that Miró made the leap, once and for all, to the third dimension, going beyond the surface of the canvas and reaching out to that anonymous crowd that he had always aspired to forge links with, whether it was through the immersive experience of his triptychs, his large-format paintings, his sculptures for public spaces or the printed editions that were accessible to a wider public.


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This temporary exhibition offers an insight into our collection from the perspective of his Son Boter studio. It is organized into groups, made up of selections of works associated with a particular project, accompanied in all cases by the visual reference that signals the artist’s presence in the space with which they are all indivisibly united. The exhibition rooms, like Son Boter itself, are thus a direct record of Miró’s creative process, from the initial graffiti or drawing through to his objects, sketches and maquettes to the finished work.

The artist revealed his true immensity at Son Boter, taking command of the building. In the Sert Studio, his approach was more surgical: the work of the artist and the architect coexisted with one another. At Son Boter, they become one and the same. When you enter Son Boter, it is Miró alone who surrounds you.