Miró was a genius, there is no doubt about it, a life dedicated to art and his family from which I still little-known aspects are revealed. One of those facets, “which is not much addressed by art historians,” is its relationship with the environment.
According to his grandson, Joan Punyet Miró, the artist had great “sensitivity” and was “close to nature”. In fact, many of the ‘artifacts’ that he used in his work, especially sculpture, come from elements that he found “in the sea, in the sand, among the vegetation.” This aspect of Miró will be addressed this Saturday in Zurich on the occasion of Art Week in the Swiss capital.
Thus, the Gmurzynska gallery will inaugurate two exhibitions in “spaces separated by about 50 meters”: one is Joan Miró: paintings and sculptures and the other Joan Punyet Miró: ecological abstraction. All of this included under the title Joan Miró and the environment.
The event will also include a conversation between Punyet Miró himself and the expert Renat Heuberger. With these two samples, of grandfather and grandson, what is intended is to “reflect the love and respect for Mallorcalove and respect for nature, love and respect for Mediterranean culture», he emphasizes.
And to establish a relationship and a dialogue with this ecological facet of the Catalan genius, Punyet Miró cites two texts by Raymond Queneau and Antonin Artaud. They talk, for example, about the relationship between Miró’s lines and prehistoric and cave art; Talayotic art, in short, “shows a interest in prehistory».
Joan Punyet Miró also delves into the elements of nature that the Catalan genius fused in his sculptures. “We are going to explain all of this and the viewer will be able to observe all of these relationships by establishing a dialogue with those elements.” In short, a “deconstruction” of Miró’s life and work.
