Activities around "Miró Místic"
After developing a critical investigation of the history of art through the work of the museum collection, Es Baluard proposes a series of activities around the case study begun this year: “Miró Místic”, a new approach to the work by Joan Miró, which was presented at the Observatori under the title “Vectors and case studies of the collection” from June 23 to October 1, 2017.
The activities are as follows:
- Dialogue on the works of Joan Miró in the collection of Es Baluard, between Joan Punyet, grandson of the artist and Marisa Delgado, therapist. January 9th at 7:00 p.m. Room 1. Free activity.
- Conversation between professors Pilar Bonet (Universitat de Barcelona) and Pepa Balsach (University of Girona) on the work of Joan Miró and the artist as medium. January 25th at 7:00 p.m. Auditori. Free activity.
M. J. Balsach
Professor in the Department of Art History of the University of Girona). He is a member of the executive committee of the Miró chair of the Joan Miró International Research Group. The Miró Chair is a joint initiative of the Fundació Joan Miró and the Open University of Catalonia (UOC) whose objective is to deepen the study and dissemination of Joan Miró. The Chair frames two core activities: the Joan Miró International Research Group and the Mironian Studies postgraduate course Fundació Joan Miró – UOC. She is the author of “Joan Miró: Cosmogonias de un mundo original 1918-1939” (2007).
Critic and historian of art. PhD in Art History and a degree in Medieval History from the University of Barcelona, where she works as a professor. He has received numerous awards and recognitions to the research, among which the Pilar Juncosa Prize of the Fundació Miró de Palma stands out. She is curator of historical exhibitions that contemplate Spanish avant-garde art and also others dedicated to contemporary artists, collaborating with museums and contemporary art centers. Prize for artistic programming of the Catalan Association of Art Critics (ACCA) in 1997, for the 1999 Espais Prize exhibition and for the Production Centers (ACCA) in 2013. She is the president of the Josefa Tolrà Association (1880) -1959), dedicated to research and dissemination of the legacy of this medium and artist.
Joan Punyet Miró
He has a degree in Art History from New York University, has published several books about Joan Miró, among them: Al voltant de Miró, 2014 and Miró and Music, 2017. He is co-author with Joan Gardy Artigas of the catalog reasoned Ceramics. Miró – Artigas in 2007. He has been a collaborator and advisor of multiple exhibitions. He recently curated “Pablo Picasso-Joan Miró. History of a friendship ” in Can Prunera, Sóller. He is in charge of Successió Miró and is a member of the Association for the Defense of the Work of Miró (ADOM), patron of the Fundació Joan Miró in Barcelona, the Fundació Pilar i Joan Miró in Mallorca and the Fundació Mas-Miró, Mont-roig del Camp.
Marisa Delgado Gómez
Graduate in Educational Sciences, Systemic Pedagogy, Family Constellation and Therapist. She is the director of Flor de la Vida, a holistic center that offers classes of yoga, pilates and tai-chi, where talks, workshops and courses on issues related to personal and humanistic development are scheduled.
MIRÓ MÍSTIC: MANIFESTO
– Because of the dreams and hallucinations in which altered states of conscience lead to parallel realities. Because of those images he saw on the wall in periods of extreme poverty, the etheric travels through painting, the capacity to extract the essence, from that non-place, and reveal to us messages that changed the way we see the world and art.
– Because of the individual and collective subconscious and the ambiguity of symbols: Carl G. Jung, Sigmund Freud, André Masson, André Breton and the force of surrealism within him.
– Because of the gesture as a shamanic act of creation, which had already been practised ancestrally and in the pictorial actions of famous and unknown artists like the medium artists to Marcel Duchamp – who made automatism famous in New York. Because of the transcendence of adopting it silently and efficiently, painting inwards.
– Because of his relationship with religions, the workshop if the land of the indigenous peoples, Spanish mystics, the Tibetan void, dark sound and the weightlessness of zen, Sufism, Akash and the traces of women, moons and goddesses.
– Because of the light and colour with which he depicted beings between the earth and the sky.
– Because of the alchemy of materials, the metamorphosis of objects and their gravitation, the colour of dreams, the use of ascensional codes and expanded nights.
– Because of the heavenly bodies, the constellations, the assertion of the human soul diluted in its immensity and the splitting of time.
– For writing to a friend, expressing himself thus: “I believe in obscure forces”. *
* “I Believe in obscure forces” en Rowell, M. (ed.). Selected Writings and Interviews. Nueva YorK: Da Capo Press, 1992. p.275.