ART AND LITERATURE
‘Miró y Brossa. 100 years’ at Las Francesas exhibition hall in Valladolid
Source: Europa Press
The ‘Miró y Brossa. 100 years’ exhibition, which will be at the Sala de las Francesas exhibition hall in Valladolid until December 1st of this year, delves into the personal relationship and the mutual artistic influence between both artists in the year in which we celebrate Brossa’s 100th anniversary.
Joan Brossa’s poetry is nurtured and embodied in images in the same way that Joan Miró fills his images with poetry. Words are one of the many points of artistic tangency that resulted in their strong friendship and one of the things ‘Miró and Brossa. 100 años’ delves into.
With this exhibition, Valladolid joins the centenary of Joan Brossa’s birth and anticipates other commemorative exhibitions scheduled in cities like Buenos Aires, where the poet will be remembered in December, and Mexico City in May.
Through 69 works provided by the Joan Brossa Foundation and the Joan Prats Gallery, the tour dives into the personal and professional bond that united both artists. The visitor will find unique pieces, most of the “object poems” of Brossa that are exhibited, or limited editions to a handful of copies, such as Miró’s artist proofs. Also, some of them are being shown publicly for the first time.
Joan Brossa (Barcelona, 1919 – 1998) and Joan Miró (Barcelona, 1893 – Palma de Mallorca, 1983) met in 1941, the year in which the MOMA in New York dedicated a retrospective to the Catalan painter. Admired by Brossa: “He’s the most important person I’ve had the luck of meeting,” he said. He was the one who encouraged him to express his poetry graphically.
This exhibition is a reflection of a shared conception of the creative process as “a stripping exercise”, explained Commissioner Óscar Carrascosa. “Their interest in magic and esotericism, the focus of their gatherings,” led them to a “mystical reading of painting.” An example of this are the isolated elements that Miró introduces in his lithographs, “like the stripped eyes of his character,” says Carrascosa. Or the object poem that Brossa called ‘Stripping’.
A purification that gives way to the juxtaposition of elements “of his personal collective imagination in the case of Miró, and of objects added unexpectedly in Brossa’s case.” The creative path thus leads to putting together a new reality from fragments, as André Breton already proposed in his Surrealist Manifesto.
Brossa compared Miró’s paintings with “the effect of a stimulant”: a provocation that he showed in his plastics art work, his visual poems and his object poems. Many of them are the result of his direct collaboration, and which can be perceived in the exhibition.
Post translated by Andrea Barrocal Velasco