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the exhibition. I was in
Barcelona, but at the last moment I announced that I would not go for not being here with the authorities. But I was here for young architects, and at three in the morning, when there was no one, it wasn't a sidewalk show, I was painting on the street. Then we went for a coffee and a croissant to warm up a bit. What interested me was the instant gesture prepared on the merits, which were inscriptions in Catalan in favor of freedom of Catalonia.
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Some people cried a little because these works could provide incomes. But it had to be like this. The young architects wanted to make a presentation of shock, attack, otherwise the official retrospective exhibition had done before, the painter of the museums. I did not go to the official opening of
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Evil is, however, how naive have fallen into a double play in all-before, in contrast, can foster. Because what the graffiti of crystals, based on broom and trays or bowls of paint hostesses on a simulation silly ironic
Picasso drawings so far, this, alas, of such childish, ridiculous show has too
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For many visitors have been a surprise the appearance of a militant Miro on historical moments. For many people, the impact has been happening, both environment and participation of large mural prepared team, where the graphics of the four authors of the exhibition architects went into the final
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Of all the project, there is no doubt that the most provocative was the part that disappeared: College crystals painted by Miró, Picasso under the frieze and facing the cathedral. Provocative work, collectively, ephemeral ... It was the moment you start talking about conceptual art. Miró Perhaps
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The action began at 4 a.m. on 27 April 1969, with the previous involvement of the four partners (plus a filmmaker, photographer, etc.). It ended with the intervention of Miró on the morning of April 28, ending around 6 am, with Miró putting the final touches of black. 21 windows were painted
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The partners from Studio PER, we had just 27 years and received a statement from the
College of Architects of Catalonia and the Balearic Islands, commissioned to write the script and the start an exhibit -one that we called Orim (Miró written from right to left) - in the retrospective exhibition
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for the exhibition at the headquarters of COAC, and he turned with enthusiasm, starting with the idea of painting a mural over all the windows of the ground floor of COAC Barcelona. The action was an ephemeral piece of art collective, and a demystification of the artist, in the spirit of
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composition made by Miró with a soaked black broom. A work that defies good manners, financial speculation, the idea of the legendary artist as a priest, and that is an image of street violence. It is a radical break with the established value system.
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The spectacle of Joan Miró destroying the artwork that he created with his own hands, I would not like to see it anymore ... I had a brief emotional chill. I turned back and went into the building. It was not ok. I
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On the day of the destruction of the work, the critic José María Moreno Galván, tried to dissuade the painter of an act that he thought wrong. Miró was in COAC Culture
Committee in the company of poet and critic
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and told him that I had thought long and that was fine destruction, although he understood the plight of the critic. Moreno Galván is opposed to destruction in an article in the magazine
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It wanted to give an overview of Miró's work before, during and after the war (1936-39). To report the manipulation made by the regime during the Year, Miró declared by the
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The act of destruction of the work took place on 30 June 1969, coinciding with the closing of the exhibition. It began at 12 noon, when it was blotted with
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and without speech), which includes the process of painting such as the destruction of the work. The action was also determined by renowned photographers
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also documented the action, making a series of black-and-white photographs and others in color. It also could be seen in the same retrospective of 2006.
582:, Barcelona, 14 December 2008. El text és un extracte, traduït, de: Garcia Ferrer, JM i Rom, Martí. "Portabella años setenta", dins: Diversos autors.
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The exhibition took place from 30 April to 30 June 1969 in
Barcelona. It was originally scheduled to end on 30 May, but it was extended for a month.
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282: ft) long. The length covered was about 44 m (144 ft) long, and the area covered was about 70 square metres (750 sq ft).
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754:"The painter to support work. Miró self-destructs," subtitled "He looked self-destructive ... I protest", article by José María Moreno Galván a
304:, with the cooperation of the people present at the event and a cleaning woman used solvent to wipe out the image as an act of counterculture.
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Years later, the art critic and curator, now director of the
Fundación Miró, Rosa Maria Malet, and the poet, art critic and friend of Miró,
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and prepare the exhibition. According to
Cristian Cirici, the exhibit would serve as a counterpart to the official exhibition organized by
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zone in
Barcelona (1968). That marked the turning point when the artist happens to be marginalized In Spain to be officially accepted,
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Other people who spoke in the negative against the work or destruction were the poet
Federico García-Durán de Lara, among others.
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The art intervention made by Miró and his colleagues caused many reactions, including strong words of rejection by the art critic
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by Jose Pedro
Villanueva. The film has been seen as evidence of the action on several commemorative exhibitions Miró, Miró as
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The exhibition was a clearly provocative and transgressive. Pere Portabella rebellious explains the nature of the exhibition:
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a 15-minute video recorded in color and free speech. Manuel Esteban was in charge of photography, and music was provided by
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made by the artist and collaborators before the opening of the exhibition, and destroyed by him and collaborators later.
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468:. The assembly was made by Teresa Alcocer. The film was co-produced by the same association of architects, along with
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colour, which he applied with a stick as final intervention, retouching what the others had done only minutes before.
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The work was ephemeral because after the exhibition, the artist, possibly at the instigation of the director
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Other proponents of the act of destruction that were delivered at the time, included: Llorens Artigas,
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The COAC commissioned the architectural firm Studio PER (Pep Bonet Cristian Cirici, Lluís Clotet and
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much of Dalí - as contrast, during a lifetime, the spirit of looked-for to be taken seriously.
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Fundación Miró (Rosa Maria Malet? Teresa Muntaner? Emilio Fernandez Miró? Pere Portabella?)
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during April–June 1969. One of the most important and transgressors of this exhibit was the
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in 1969 (murals everywhere, they wanted to appoint him as a member of the Academy ...
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núm. 371 (12-VII-1969), p. 27-30, quoted in Batllori Minguet, Juan Maria. Joan Miró
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organized by the City Council as part of the old Gothic Hospital de la Santa Cruz.
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Secció "COAC" al dossier de premsa "Joan Miró, 1956-1983. Sentiment, emoció, gest"
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The curators of the exhibition, members of Studio PER, asked Joan Miró to do an
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In 2012 there was a memorial exhibit where the paintings were displayed again.
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260:) and he gave them free rein to paint whatever they wanted. He reserved the
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723:(Barcelona: Publicacions de l'Abadia de Montserrat, 2000) p. 80-85
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775:(Barcelona: Publications of the Abbey of Montserrat, 2000) p. 84
762:(New York: Publications of the Abbey of Montserrat, 2000) p. 85.
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Pere Portabella recorded the action and then edited, publishing
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using a broom. Some of the spectators, including the architect
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Press release "Joan Miró, 1956-1983. Sentiment, emoció, gest"
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There were also positive reviews. The writer and art critic
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Joan Miró: l'artista i el seu entorn cultural, 1918-1983
773:: the artist and his cultural environment, 1918-1983
760:: the artist and his cultural environment, 1918-1983
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809:"Joan Miró. El compromiso de un artista, 1968-1983"
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696:"Joan Miró. El compromiso de un artista, 1968-1983"
643:"Joan Miró. El compromiso de un artista, 1968-1983"
621:"Joan Miró. El compromiso de un artista, 1968-1983"
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Historias sin argumento. El cine de Pere Portabella
510:"Joan Miró. El compromiso de un artista, 1968-1983"
322:was asked to record the event. From it is his work
51:. Unsourced material may be challenged and removed.
480:between November 24, 2006 and February 25, 2007.
944:Ciphers and Constellations, in Love with a Woman
719:, 14/V/1969; citat a: Minguet Batllori, Joan M.
474:Joan Miró. 1956-1983. Feeling, emotion, gesture,
422:, for example, praised the action as "radical":
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231:COAC headquarters, where the action took place
928:Man and Woman in Front of a Pile of Excrement
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531:"The action in COAC Miró by Cristian Cirici"
960:Woman, Bird, Star (Homage to Pablo Picasso)
684:de Barcelona, 2006-2007, p. 21 del dossier.
609:(Barcelona: Edicions Polígrafa, 1983) p. 22
976:Hands Flying off Toward the Constellations
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590:/ Ediciones de la Mirada, 2001) p. 181-183
715:Santos Torroella, Rafael. "¿Otro Miró?",
491:also made a small series of photographs.
111:Learn how and when to remove this message
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574:over the video "Miró, l'altre" (1969),
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16:1969 art exhibition in Barcelona, Spain
1315:Fundació Pilar i Joan Miró in Mallorca
326:(15 min., Mexico, 1969, with music by
268:which were each just over two meters (
807:Boix Pons, Antonio (3 October 2011).
785:Boix Pons, Antonio (3 October 2011).
771:Batllori quoted in, Joan M. Joan Miró
733:Boix Pons, Antonio (3 October 2011).
694:Boix Pons, Antonio (3 October 2011).
641:Boix Pons, Antonio (3 October 2011).
619:Boix Pons, Antonio (3 October 2011).
508:Boix Pons, Antonio (3 October 2011).
7:
49:adding citations to reliable sources
452:, praised the action in his works.
210:Ministry of Information and Tourism
1145:Personnage Gothique, Oiseau-Eclair
293:, the hatter and promoter of art,
128:, originally spelled backwards as
14:
1078:Naked Woman Climbing a Staircase
816:Universitat de les Illes Balears
794:Universitat de les Illes Balears
742:Universitat de les Illes Balears
703:Universitat de les Illes Balears
650:Universitat de les Illes Balears
628:Universitat de les Illes Balears
572:"Entrevista amb Pere Portabella"
517:Universitat de les Illes Balears
25:
1344:Joan Miró: The Ladder of Escape
1202:The World Trade Center Tapestry
36:needs additional citations for
537:. October 2006. Archived from
1:
341:Miró talked about this work:
309:unwittingly stepped forward.
132:, was a retrospective of the
984:The Hope of a Condemned Man
872:Portrait of Vincent Nubiola
663:Fitxa sobre "Miró, l'altre"
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432:Alexandre Cirici, Minguet
410:José María Moreno Galván,
1003:Head of a Catalan Peasant
386:Rafael Santos Torroella,
174:Hospital de la Santa Creu
1379:Art exhibitions in Spain
1218:Tapestry of the Fundació
1051:Triptych Bleu I, II, III
936:Still Life with Old Shoe
896:The Harlequin's Carnival
1274:Josep Llorens i Artigas
1137:His Highness the Prince
912:Dog Barking at the Moon
374:Rafael Santos Torroella
1389:Paintings by Joan Miró
904:The Birth of the World
717:El Noticiero Universal
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334:(black and white) and
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1129:Her Majesty the Queen
1019:Paintings on Masonite
394:José Corredor-Matheos
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291:Oscar Tusquets Blanca
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1121:His Majesty the King
1113:The Caress of a Bird
1059:The Navigator's Hope
920:Painting (Blue Star)
535:Joan Miró Foundation
489:Francesc Català Roca
478:Joan Miró Foundation
336:Francesc Català Roca
45:improve this article
1245:Personnages Oiseaux
705:. pp. 443–444.
652:. pp. 442–443.
630:. pp. 441–442.
462:Miró, l’altre, 1969
445:and Miquel Gaspar.
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1310:Fundació Joan Miró
1289:Joan Gardy Artigas
1263:María Dolores Miró
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483:The photographer
295:Joan Prats Vallès
217:Pere Portabella,
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888:The Tilled Field
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541:on April 2, 2012
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818:. p. 446.
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101:December 2012
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543:. Retrieved
539:the original
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476:held in the
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439:Joan Perucho
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338:(in color).
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43:Please help
38:verification
35:
18:
1248:(1972–1978)
1197:(1955–1958)
1164:(1961–1981)
1148:(1974–1977)
1100:(1944–1967)
1062:(1968–1973)
1046:(1939–1944)
1038:(1939–1941)
1030:(1935–1936)
1006:(1924–1925)
971:(1968–1973)
963:(1966–1973)
899:(1924–1925)
891:(1923–1924)
883:(1921–1922)
242:Arte Povera
187:trivialized
183:assimilated
60:"Miró otro"
1373:Categories
1346:exhibition
1294:Josep Royo
1269:Joan Prats
1265:(daughter)
1237:The Reaper
1105:Solar Bird
1097:Lunar Bird
667:Art Action
545:August 29,
495:References
152:Exhibition
71:newspapers
1356:4329 Miró
1337:Miró otro
1210:Miró Wall
1161:Labyrinth
1089:Sculpture
864:Paintings
857:Joan Miró
607:Joan Miró
456:Testimony
352:Joan Miró
142:Barcelona
138:Joan Miró
125:Miró otro
1180:Ceramics
1070:Drawings
968:May 1968
880:The Farm
576:Xcèntric
470:Films 59
430:—
408:—
405:protest.
384:—
360:Reaction
349:—
312:—
215:—
197:—
136:painter
1324:Related
1303:Museums
756:Triunfo
398:Triunfo
287:solvent
277:⁄
189:by it.
134:Catalan
85:scholar
1240:(1938)
1229:Murals
1221:(1979)
1213:(1979)
1205:(1974)
1172:(1983)
1156:(1981)
1140:(1974)
1132:(1974)
1124:(1974)
1116:(1967)
1108:(1966)
1081:(1937)
1054:(1961)
1022:(1936)
1014:(1928)
995:Series
987:(1974)
979:(1974)
955:(1963)
947:(1941)
939:(1937)
931:(1935)
923:(1927)
915:(1926)
907:(1925)
875:(1917)
485:Colita
332:Colita
246:yellow
223:Action
165:script
87:
80:
73:
66:
58:
812:(PDF)
790:(PDF)
738:(PDF)
699:(PDF)
646:(PDF)
624:(PDF)
588:MACBA
513:(PDF)
262:black
250:green
179:Raval
92:JSTOR
78:books
1192:and
580:CCCB
547:2011
256:and
254:blue
185:and
130:Orim
64:news
665:at
400::
258:Red
47:by
1375::
605:.
595:^
578:,
441:,
376::
354:,
252:,
248:,
849:e
842:t
835:v
586:(
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549:.
279:2
275:1
272:+
270:6
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89:·
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41:.
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