“Joan Miró did not want a gray Barcelona”

The Fundació Joan Miró was founded half a century ago—this Tuesday marked its anniversary—as a beacon of light in a Barcelona that, at the time, was a gray desert: there were no MACBA or Tàpies museums for contemporary art. So, from its vantage point on Montjuïc, it occupied a reference point. This has changed; the city is different, and the tourist public far outnumbers the local one. However, the Barcelona-born artist (1893–1983) continues to enjoy vast international prestige. The last two directors of the Fundació Joan Miró, Rosa Maria Malet (1980–2017) and Marko Daniel, discuss his relevance, his legacy, and the continued existence of his donations to the city, at the suggestion of La Vanguardia .

For the Friends of the Rambla, the 'Pla de l'Os Mosaic' is key to the recovery Marko Daniel

In addition to the foundation itself, Joan Miró gave Barcelona the Rambla mosaic, the sculpture in Escorxador Park, and the airport mural. Have they gained in social value?

Marko Daniel: They're all in people's minds. There's been a lot of talk about the mural in connection with the airport expansion, about whether its location is worthy. And now, with the renovation of the Rambla, we've been consulted about protecting the mosaic. For Amics de la Rambla, it's a key piece in the restoration of the street. They contacted us to ensure it has maximum visibility and an explanation of the technique Miró used: color integrated into the ceramics, so that it never disappears in the light. Tens of millions of people pass through there every year; it's crazy. And for those in the neighborhood, it's that seal of quality that Miró represents, wherever he is.

“From the beginning, there was Espai 10 (now 13), the only one for young artists that is still standing.” Rosa Maria Malet

Rosa Maria Malet: When Miró decided to make these donations, he conveyed, without proclaiming it, a very personal attitude. "We are in a city that is Barcelona, ​​mine, where I was born, which I love, and which I don't want to be gray or dark." We were still in a complicated and difficult time. And he wanted it to be located in a position comparable to other cities he knew, because, although rooted in his homeland, he had lived since he was young in Paris, New York, Japan, and places where he exhibited his work. Living, active cities, where art is integrated into the urban landscape and is part of life. Of those four donations, the most important in terms of content and relevance is the Fundació Miró, but the one in Pla de l'Os is one of the most notable. Miró designed a work to be walked on, to be experienced, not only to beautify, but as a reference.

Have Miró's wishes for the Foundation been fulfilled? That it wouldn't be for his own greater glory; that it would be for poets, painters, theater, film, and ballet professionals to coexist...

RMM: It was clear from the very beginning: the Foundation wasn't created solely to present or exhibit works by Joan Miró, but also by other artists. That's why Espai 10 existed from the very beginning, which later became Espai 13, with more square meters. It was the first space created in Barcelona to exhibit the work of young artists, and it's the only one still operating. Initially, under Francesc Vicens, there was a program that championed social and political themes. Given the lack of a center dedicated to contemporary art in Barcelona, ​​the Foundation took on that role. And with the celebration of Miró's centenary, a clear turning point occurred: the exhibition highlighted the unique value of the Fundació's collection, which, in addition to paintings, sculptures, tapestries, and the works displayed in the galleries, contains this extraordinary collection of preparatory drawings, notes by the artist himself... It's worth emphasizing that Miró is a very solid artist, with a background that deserves to be made known, and from there, thematic exhibitions on Miró's work began to emerge, which were combined with other general themes of contemporary art. Now it seems to me that it is an institution in good hands and well-established, in a context where each institution has its own definition. I think the current challenge is motivating and promising.

In the last three years we have doubled the local audience at the Foundation: it is now 30%”

But Miró could not have imagined that the Foundation would be visited by countless tourists and that, at the same time, the city would become more disconnected.

RMM: That happens to all of us. We go to museums when we're traveling and have time to explore what's on offer in that city. But Marko and his team have managed to attract a local audience.

MD: In the last three years, we've doubled our capacity. We're at 30%, which is very good for a museum of this type.

Did we learn during the pandemic that we couldn't be so dependent on tourism?

MD: The pandemic taught us that it's thanks to visitors that the Foundation has been able to maintain a high level of financial independence. What attracts audiences, whether local or international, is quality. We saw this this past weekend at an event with the U-22 festival (for filmmakers under 22), which is self-managed by young people. The Filmoteca was dedicating a retrospective to Taiwan's most important filmmaker, and even though it was a Sunday, at noon, with incredible sunshine and a long weekend... the auditorium was packed! They were all young people from here, and they gave the filmmaker a standing ovation upon entering. And he couldn't believe it. As Rosa Maria said, our mandate is to create a program that combines visual art with other forms of cultural expression and, on the other hand, that includes proposals based on in-depth research into the 20th century and the time of Joan Miró, the early avant-garde movements, mid-century art... ultra-contemporary art.

La Miró is now well established, and I think the current challenge is motivating.” Rosa Maria Malet

It's always said that if the Miró were more central, it would be the ultimate. What action should the City Council take on the mountain?

MD: I always say it's not a mountain, it's an urban park that has become much more central with the expansion of the city. If I had the magical ability to move the Fundació to the Gòtic or the Raval, I wouldn't do it. Miró himself had the opportunity and didn't want it. His art was from the 20th century, and he needed a 20th-century building—modern, open, generous to the public, like his art.

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RMM: Miró wasn't a loudly combative person; when he had a clear idea, he fought to put it into practice. And I think he had a clear vision for this building from the very beginning. A place where you could breathe the atmosphere of the moment, looking to or thinking about the future. I'd say the distance is more of a problem for the Barcelona public than for those from outside. Based on my recent experience and that of others on the building's team, the funicular works very well. And a nearby parking lot and a fast-track bus would help...

MD: The mayor spoke about this when he came to the annual presentation. We already have a shuttle that runs from Plaza España, passes in front of all the cultural institutions on Montjuïc, turns around, and returns, like clockwork. It's bus 150. And we're asking that it be called the Montjuïc Cultural Bus, because it would be more understandable. Ninety-seven percent of our visitors arrive here by public transport. It's great, but it would be nice to make parking easier. The plan is to have bike lanes on one side of the street and blue or green zones on the other.

The worst part of these years was the theft of six works from the collection during the building's expansion. Rosa Maria Malet

What was the worst and best moment of your term?

RMM: The worst was the theft of six works from the collection during the building's first expansion, although they were all recovered and it served to improve security. The best was the centennial, as I mentioned earlier.

MD: The pandemic was an existential crisis. We even considered whether we were in a position to maintain Joan Miró's mandate, because it was easier to survive as a Miró museum, period, without public, social, school, or family programming or the promotion of emerging art. But the board of trustees and the administrations decided that all of that was necessary. Now, 20% of the budget is public aid. The best part? This 50th anniversary, a fantastic moment.

For me, the existential crisis in the pandemic: it was easier to survive just being the Miró Museum” Marko Daniel

Has Trump complicated the fall exhibition of US art?

MD: This exhibition has never been more necessary. It was a shock to see how quickly a society can change, but with our partners at the Phillips Collection in Washington, we're convinced this exhibition demonstrates the importance of art.

The Joan Miró Prize ends up in the hands of people who later become relevant.

RMM: It's one of the best in the world, precisely because of its vision of supporting mid-career artists who are at a potentially turning point. The new awardee, Kapwani Kiwanga, is very worthy of the prize.

MD: This award is very exceptional because, by publishing the names of the finalists, we introduced something new: we work with schools for children between the ages of 8 and 11, who research the artists and prepare videos to explain to the jury why they should win. When they meet the winner, they can't believe it: they work with him or her, attend the opening, and return with their families. It shows that contemporary art isn't incomprehensible; it speaks directly to everyone. Children become experts in a matter of hours.

The name T-1 was not chosen for Joan Miró, but La Vanguardia now advocated naming the station Sagrera.

RMM: The airport campaign made sense because one of Miró's first projects was for an airport, something very 20th-century. He certainly used the train; we know about his trip with the Constel·lacions in a folder, but it doesn't seem to evoke the same thing in him. Even so, he deserves La Sagrera, Plaça Catalunya, and whatever else.

MD: I haven't given up hope for the airport.

The mural's move to Terminal 1 has already been approved.

RMM: This idea came about during a conversation with Miquel Molina while eating at the Fundació restaurant. The mural is designed in such a way that the space and artistic style already allow for the pieces to fit together in such a way that we can rest assured it won't break.