Fundació Miró


From April 17 to 28 [/ N]

The artist Carlos Danús is working in Son Boter at the Fundació Pilar i Joan Miró in a project of photogravure and aquatint. The goal is to create an installation for a collective exhibition that will take place in a gallery in Palma.

The challenge of this artist is the conjugation of plastic work and a message that highlights the classification and social control in the creation of stereotypes and "labels". The initial idea was conceived in the Copper Plate Photogravure workshop, that took place this summer at the foundation, given by Juan Lara.

The creative process is a work of art in itself.


James Lambourne. Memòria de la llum, 2012

■ James Lambourne (London, 1956)

James Lambourne is a multidisciplinary artist whose work manages to embody his own personal imaginary world, which he associates with actions he has performed in an amusing yet meaningful way since his childhood. His discourse reveals interplay between the artist and his surroundings, and his close links with nature lead to a strongly committed, dynamic interpretation of the environment. Lambourne’s work is a ‘footprint’ of his dialogue with the landscape and it might also be regarded as an ensemble that must be broken up and deciphered in order to understand the significance of what it expresses.

Among his exhibitions, mention must be made of "Cicles" in the outside areas of the Fundació Pilar i Joan Miró a Mallorca from June 24th to September 17th 2006.

In 2012, he was one of the artists invited to produce the series “Memoria de la luz” at the printmaking workshops.

James Lambourne
Memoria de la piedra I
Digital print, manipulated by hand
Paper: 330g Sommerset velvet
Dimensions of paper: 85 x 105 cm
Edition of 7 prints of the 3 images. 2 A.P., 3 H.C. and 1 B.A.T.

James Lambourne
Memoria de la luz
Digital print, manipulated by hand
Paper: 330g Sommerset velvet
Dimensions of paper: 85 x 105 cm
Edition of 7 prints of the 3 images. 2 A.P., 3 H.C. and 1 B.A.T.

James Lambourne
Memoria de la piedra I
Digital print, manipulated by hand
Paper: 330g Sommerset velvet
Dimensions of paper: 85 x 105 cm
Edition of 7 prints of the 3 images. 2 A.P., 3 H.C. and 1 B.A.T.


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Antonio Miralda. Papa Stomacal d'après Miró, 2011

■ Antonio Miralda (Tarrasa, Barcelona, 1942)

A multidisciplinary Catalan artist, since the 1960s he has experimented with photography, cinema, sculptures, frottages-collages, posters, furniture and mural paintings. Miralda is very well known for his spectacular performances, like “Honeymoon Project”: a symbolic wedding between the New York Statue of Liberty and Barcelona statue of Columbus.

When Miralda’s work is reviewed, he is artistically impossible to classify. He has exhibited work throughout the whole of Europe and in the United States, as well as being chosen to take part in the Kassel Documenta and Venice Biennale, among other events. His widely assorted, multidisciplinary work stands out for its conceptual coherence and high standards.

The subject that he tackled on this occasion was an X-ray of a stomach, tying in with former projects by Miralda that explore the issue of food and gastronomy – particularly his New York and Miami ones - and a more recent one entitled Food Culture Museum (2000-2010).

Through an amazing, visually striking use of artistic language, in many cases because his works tend to be very big, he achieves a series of carefully meditated, well-analysed works. This printmaking project, made in 2011 in the printmaking workshops and entitled “Papa Stomacal d’aprés Miró”, is divided into two separate parts, with day on the left and night on the right. It partially tackles the theme of gastronomy through X-rays of the artist’s own stomach, superimposed on a drawing by Joan Miró entitled Pomme de terre. The outcome is a big gastrointestinal atlas, with interplay between Joan Miró’s organic forms and those generated by the digestive organs.

Antonio Miralda

Papa Stomacal d'après Miró
The starting point for the work is a 1928 drawing by Joan Miró, entitled La pomme de terre.
Edition of 5 prints. 2 A.P., 3 H.C. and 1 B.A.T.


Patricia Gómez & Mª Jesús González. Habeas corpus, 2011

■ Patricia Gómez & María Jesús González (Valencia, 1978)

Winners of El Cultural Photography Award (2010), they have worked together since 2002, creating a series of projects that attempt to revive the memory of places in the process of elimination or neglect through artistic work inside abandoned buildings and other areas.

“Abandoned Prison Project” was a 2011 initiative in a former Palma prison, aimed at creating a material record of the building’s condition and, in the final instance, at making a physical documentary record of memories and history stamped on the walls of this historic prison. The project was extended, given the fact that the artists were able to work alongside the prison’s seven remaining inmates. In this context, a new viewpoint was added to their own subjective vision, through the inmates’ gaze and experience.

In parallel with a solo exhibition held at the Fundació Pilar i Joan Miró a Mallorca, Patricia Gómez and María Jesús González produced an edition of digital prints in the printmaking workshops, showing the state of this former Palma prison. A photographic journey through the building in the form of six prints, it reveals a jail stripped bare, bringing to light certain details that only a limited number of people were formerly able to see. In the prints, the walls speak, with messages, drawings, graffiti or objects on every single corner of them, made by the prison inmates or by inquisitive individuals who ventured inside the building.

Patricia Gómez & María Jesús González

Habeas Corpus, 2011
6 digital prints
119x89cm. 380g Hahnemühle photo rag paper
Support: Aluminium sheet
Edition of 6 prints + 3 A.P. + 3 H.C.


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Democracia: Pablo España & Iván López. Ser y Durar, 2010

■ Democracia. Pablo España & Iván López (Madrid, 1970)

Few artists explore the symbolic and iconographic dimensions of violence and its make-up in social, political, cultural and image-related terms as the artistic duo Democracia, made up of Pablo España and Ivan López. Founder members of the group El Perro, which was disbanded in 2006, Democracia defines itself as a “system” that attracts contributors from a variety of backgrounds (designers, photographers, graffiti artists, musicians, film and video editors, art groups, printers etc) who participate on an occasional basis in the group's projects.

In 2010, they took a series of photographs in La Almudena cemetery in Madrid. These were edited in the foundation’s printmaking workshops and shown at the exhibition “Against the Public” under the title Ser y Durar.

In Ser y Durar, Democracia came up with the idea of asking a group of traceurs to move round Madrid’s eastern civil cemetery, relating critical practices associated with urban street culture “ with the memory of fighters from armies and social and political organizations who aspired to a utopia, driven by humanist values, while Modernity’s great tales of emancipation still made sense.” Dead or assassinated and buried under the sign of combat and atheism, those who lie forgotten under the tombstones have left their epitaphs for those and theirs and for the anonymous visitors of a future that they never envisaged. Evocations of military idealism, worker solidarity, anarchist trade unions, enthusiasm for a victory that never occurred, and dreamers of a better world crushed by fascism.

Ser y Durar, 2010
Digital print
119x89 cm. 308g Hahnemühle photo rag paper
Edition of 5 prints. 2 A.P., 3 H.C., 1 B.A.T.


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web democracia

Rafel Joan. Untitled, 2010

■ Rafel Joan (Palma de Mallorca, 1957)

A self-taught artist, he is inspired by his surroundings and by the influence of trips made to places like New York, Italy, Morocco and Barcelona. He has taken part in numerous Spanish and international exhibitions and exhibited work at fairs like Art Basel, Arco in Madrid and the London Art Fair.

Rafel Joan does not paint landscapes, but everything that lies concealed behind them. His works are detailed maps of nowhere, because the artist enjoys the process of getting lost as a means of finding himself. Seen close-up, each individual work encompasses endless other ones. In the words of the painter: “I went from painting below ground to rising up and seeing the horizon from other angles until I was flying over the landscape.” This process led to the series of engravings made in the printmaking workshops of the Fundació Pilar i Joan Miró a Mallorca in 2010.

Rafel Joan
Series of engravings using direct soft-ground etching and wash drawing or sugar lift and wash drawing
Dimensions: 32 x 23 cm / 24 x 18 cm
Edition of 30 prints, 3 H.C.


Christiane Lörh. Sin título, 2009


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WAYNE CROTHERS. The Island, 2001


WOLF Vostell. Sarajevo, 3 fluxus pianos, 1995. Portfolio

The project, started in 1993, was motivated by Vostell’s concern for what was happening in Sarajevo as an example of the brutality that plagues our century. The artist created a mixed work (a performance) which he described as a setting-sculpture-musical, based on previous works and a synthesis of all his experiences. Clearly reflected in it is his assertion ART=LIFE=ART. As part of the project, he created engravings and lithographs in Miró’s workshops.