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.
- Espai Cúbic
- 2 June 2015 — 31 January 2016
- 2 June 2015
In 1978, Jean Marie del Moral, a youthful photographer and special envoy from the newspaper L’Humanité, steps for the first time in his life into a painter’s studio.
The painter is Joan Miró.
In the hills by Palma de Mallorca, Del Moral is amazed when he discovers the white studio designed by Josep Lluís Sert for the Catalan painter. The photographer’s life will be transformed by the visual impact of the clarity of the light, the piles of canvases in progress, and the traditional furniture mixed with elegant blond wood cabinets displaying all kinds of objects collected by Miró during his travels or on his walks.
From this moment on, he will never stop photographing painters and sculptors, recording not only their portraits, their gestures and the various phases of their work, but above all the mental space revealed by their studios and the objects that inhabit them. From Miró to Ai Weiwei, Jean Marie del Moral has rubbed shoulders with the leading artists of his time.
Every Monday, the weekly closing day of the Fundació Pilar i Joan Miró in Palma de Mallorca, the photographer, for whom the staff left the display cases unlocked, spent a year taking out all the objects which Miró had collected because of their shape or colour and photographing them one by one. He also walked around the two studios to photograph the architecture, the furniture, the tools, the light, the postcards pinned to the walls, the graffiti left by the painter and his collection of “curritos“, those traditional puppets that seem to have stepped straight out of his paintings.
Presentation of the book "The Miró Eye". Del Moral guide us from Son Abrines to Son Boter, casting light on essential details and providing us with a key to the imagination of one of the greatest artists of the 20th century.
In his text, Joan Punyet Miró recalls the highlights of the life and work of his grandfather, the man with the moon-shaped face who taught him how to listen to the silence.
The result is an exceptional collection of photographs of objects which are surprisingly alive and clearly happy to have posed for the camera. Radiating energy, all of them refer us to Miró ’s paintings: the black circle of a cardboard mouse’s eye, the green hue of the decoration on a clay siurell, the red dot of a pinhead…
These photographs also reveal flashes of Miró. For him, a piece of rotten wood, a feather, a plastic trinket or a colourful toy were privileged interlocutors. A glance at any of them could give him the beginnings of a piece or the key to the completion of another.
The photographs are intentionally left uncaptioned. There is no need to describe what is shown since Miró did not choose these objects because of their origins. What prompted him to collect them was their magnetism, their uniqueness, their freedom, their poetry.