Exhibitions
Miró, the spark that never goes out
Retrobar Miró. The Magic Spark revisits the artist's Mallorcan stage through 240 works that reveal his process of self-criticism, experimentation and continuous transformation.
The Pilar and Joan Miró Foundation of Mallorca inaugurates Retrobar Miró. The Magic Spark , a large-scale exhibition that proposes a profound reinterpretation of Joan Miró's Mallorcan period, which began in 1956 and is considered one of the freest and most radical of his artistic career.
The exhibition brings together nearly 240 works —including paintings, sculptures, drawings and documentary material— that allow us to delve into a period marked by experimentation, the connection with the Mediterranean landscape and a constant renewal of the plastic language. Having settled definitively in Mallorca, Miró found on the island a space of silence and creative intensity that acted as a trigger for a new way of doing things.
Retrobar Miró. The Magic Spark can be visited until January 2027, becoming an essential event to rediscover the artist from a contemporary perspective and understand how Mallorca became one of the great creative laboratories of his universe. Among the works on display are the first versions of emblematic sculptures, some conceived many years before becoming the great public pieces that are fully recognizable today. The exhibition also dialogues with the sculptures installed in the gardens of the Foundation, which already include eleven outdoor works, reinforcing the continuity between the exhibition space and the landscape.
Miró's work is understood as a perpetual movement, crossed by a succession of impacts, ruptures and shocks necessary to move forward. This dynamic becomes especially visible in his last stage in Mallorca, when the artist begins a profound exercise of self-criticism. Miró reacts against his previous work not with the desire to destroy it, but to transcend it, even going so far as to incorporate a certain violence as part of the creative process. Mallorca offers him the space and time to start anew.
At the end of the exhibition, the circle closes: the work itself —both his and that of other creators— becomes a “magic spark”, detonating images, forms and future projects. The pieces mutate, changing scale, material and environment, but without ever ceasing to evoke the initial gesture. Oiseau solaire and Oiseau lunaire exemplify this transformation: from the first examples of the 1940s, small enough to fit in the palm of a hand, to reaching a monumental dimension that fully integrates them into the landscape and the city.
