The Relics of St Joan: Alexander Adams goes in search of the curator’s Miro

How often have we google_ad_height = 90; seen – of late – exhibitions

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of Modern masters
with didactic subtitles? These subtitles tell us why we should visit this exhibition when //--> we have seen so many on this particular artist
before. It is the
subtitle that gives us the curatorial slant. What google_ad_slot = "8637400688"; happens
is not that famous artists get “played out” but that curators
and curatorial imperatives get played out.

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Museum directors and curators naturally want to show great artists but, unless inaccessible

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art is made available, there are really only two routes for monograph retrospectives: greatest hits or the hidden side of X. Recently we have seen a spate of the second approach; witness Picasso the Communist, Picasso the Surrealist, Picasso the erotic artist.

Two exhibitions of Joan Miró (1893-1983) in London and Brussels this summer take different approaches. The London display

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is subtitled “The google_ad_height = 90; Ladder of Escape” and aims

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to revise our view of the artist, while the /* xin2 */ Brussels display, one on
a much smaller scale, is subtitled “Peintre /* 9-970x90 */ Poète” and presents a more conventional view of the painter. The
Brussels

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exhibition conceives of the artist

as lyrical, straining to escape the boundaries of conventional restrictions and mores, whereas the London one purports to uncover an overlooked political dimension to Miró’s art. I visited the Brussels display in person but I am assessing the

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overlooked groups. A case in point is a series of paintings on google_ad_width = 970; boards from 1935-6. The ones on copper have the aspect of illusionistic solidity, like candy-coloured models in clay in
the manner of Picasso’s Dinard bathers or Tanguy’s biomorphs.

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Comparison with Picasso’s Crucifixion (1930), similarly painted in sharp colours on a small panel, is inescapable and not unfavourable.

What of the Tate premise that Miró’s art was politically engaged?  Miró made veiled anti-Franco statements sporadically (not an insignificant act while living in Spain under the regime, but others went further) and had demonstrated his commitment to the google_ad_client = "ca-pub-3967079123942817"; short-lived Republic that preceded the Civil War. His political stance is clear – but src="//pagead2.googlesyndication.com/pagead/show_ads.js"> in his words and actions not in

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his art. His posters, picture titling

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and refusal to collaborate with the regime’s google_ad_slot = "7160667483"; propaganda plans demonstrate this.

Around the late 1940s something goes out of the drawing – some kind of tightness. The tension of attempting to capture something exact has departed, to be replaced with a masterful performance. However much we appreciate the skill of the artist, that cannot compensate for what

17/03/12 to 06/01/13. With

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key works set in the landscape, the exhibition fulfils the artist’s desire that “sculpture must stand in the open air, in the middle of nature”.
http://www.ysp.co.uk/exhibitions/mir%C3%B3-sculptor

Alexander Adams is an artist and writer based in Berlin. Three Strikes //--> (poems and drawings) is published

by Bottle of Smoke Press (www.bospress.net).

The Jackdaw Jul-Aug

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