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Arte europeo del siglo XII al XIX
Arte internacional del siglo XX
From Oct. 25, 2017 to Feb. 25, 2018
Pabellón de exhibiciones temporarias
50 works on display
Curator: Carmen Fernández Aparicio y Belén Galán Martín
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Miró: la experiencia de mirar [Miró: The Experience of Looking], focuses on the work of the Catalan artist Joan Miró (1893-1983) during the last two decades of his life. The exhibition presents fifty works, made by Miró between 1963 and 1981, belonging to the collection of the Museo Nacional Centro de Arte Reina Sofía, Spain, curated by Carmen Fernández Aparicio and Belén Galán Martín, under the direction of Manuel Borja-Villel and Rosario Peiró.
Mirar: To Look
The work of every great artist in his maturity can be thought of as an elegy to his own career, a possible close to his own readings of the world of forms, which leaves him firmly consecrated in a seat of honor resting on places of tried and true efficacy. Yet some creators, Joan Miró among them, have changed their stakes and put their past under the lens of an uncertain future.
The exhibition Miró: la experiencia de mirar [Miró: The Experience of Looking] offers an immersion in his conceptual world, dominated by the riddle of analogy. The artist's aim is to answer a question about the translatability of a work, about its transformation as it passes between various mediums – painting, sculpture, the moving image, – until he rings some change on its basic narrative. Pulsing in the works are the remains of some forgotten myth in which the bird-woman, symbiosis between nature and culture, undergoes various formal incarnations; certain strokes define her only through her link with translation into another register. This is the passage from drawing to sculpture. And the moving image.
Miró's final output ‒ which makes up this show ‒ may be considered more a beckoning, a gesture, than a formulation of some thesis about the world, and it broaches the possibility of our questioning the very act of looking. The power of his style may derive from this final mooring, in which propounding an art reduced to its almost prelogical character becomes a longing to establish some new way of looking.
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