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This exhibition is co-organised by Tate Modern and the Fundació Joan Miro , Barcelona, where it will be seen in October 2011, before travelling to the National Gallery of Art, Washington in May 2012. Joan Miro : The Ladder of Escape is conceived...
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This exhibition is co-organised by Tate Modern and the Fundació Joan Miro, Barcelona, where it will be seen in October 2011, before travelling to the National Gallery of Art, Washington in May 2012.
Joan Miro: The Ladder of Escape is conceived by Tate curators Matthew Gale, Marko Daniel and Kerryn Greenberg in collaboration with Teresa Montaner, curator at Fundació Joan Miro. Rosa Maria Malet, Director, Fundació Joan Miro, and Vicente Todolí, former Director, Tate Modern, are consultants. Joan Miro: The Ladder of Escape will examine the artist's varying degrees of engagement over his lifetime. These are rooted in the complex identity politics associated with Catalonia, as revealed through Miro's representation of its landscape and traditions. These depictions range across images of rural life, such as The Farm (1921-2) once owned by Miro's friend Ernest Hemmingway, to the masterly sequence of the Head of a Catalan Peasant (1924-5). The tensions that erupted with the Spanish Civil War in 1936-9 elicited Miro's explicit protests in Aidez l'Espagne and Le Faucheur (1937), as well as more private and troubled responses disguised in the renowned Constellation paintings of (1940-1), made in the Second World War. Under Franco's regime, Miro worked in a kind of internal exile in Spain while cultivating a reputation abroad as a hero of post-war abstraction. Joan Miro: The Ladder of Escape will showcase masterpieces from this era, including the sublime The Hope of a Condemned Man triptych 1973. The exhibition will also reveal how he captured the atmosphere of protest in the late 1960s. Whether blackening or setting fire to his works, such as May 1968 and Burnt Canvas II 1973, or creating euphoric explosions of paint in Fireworks 1974, Miro continued to reflect the political mood in his radical and pioneering practice. |
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