The Joan Miró Foundation has announced that Marko Daniel's term as director general will end this June. He assumed the position in 2018 and has served for two consecutive terms, guiding the institution toward its 50th anniversary. In a statement, the foundation's board of trustees expressed its appreciation for his work during this period. Under his leadership, they emphasized that the foundation "has grown as an institution, deepening its management model, expanding its international presence, and strengthening its ties with audiences in Catalonia and around the world." These results reflect the collective effort of an institution that, under Marko Daniel's leadership, has grown and transformed. According to the board, one of the most visible advances of this period has been the consolidation of the Foundation as a leading player on the international cultural scene. The major exhibition projects of recent yearsPaul Klee (2022-23), Miró-Picasso (2023-24), Miró-Matisse (2024-25) and the exhibition focused on Miró and the United States (2025-26)—have placed Joan Miró's work in dialogue with key figures of modern art, generated new research, and strengthened alliances with leading institutions.

The architect and designer Charlotte Perriand (Paris, 1903-1999) is considered not only a pioneer but also a visionary creator who placed people at the heart of her work. A famous anecdote from her career tells of when she approached Le Corbusier to collaborate with him, to which he replied, "We don't embroider pillows here." Even so, he gave her a job as an interior designer and furniture designer, and neither Le Corbusier nor his cousin, the architect Pierre Jeanneret, managed to overshadow her. It was in that studio that Perriand met Josep Lluís Sert, and through him, she also met Joan Miró and other architects and artists associated with the French Pavilion at the 1937 Paris International Exposition. Another of the most remarkable episodes in Perriand's career is her 1932 journey by canoe, exploring nature, vernacular architecture, and the emerging architecture dedicated to tourism. These aspects will be explored in the major exhibition that the Joan Miró Foundation will dedicate to Perriand from October 2026 to February 2027. It will be her first retrospective in Spain and will be sponsored by the BBVA Foundation. Also on display will be her commissions for the French government and, for the first time, documents and pieces from her personal archive that reveal the depth of her collaborations with Sert, Miró, and other artists.

Joan Miró (1893-1983) never rested on his laurels. At every stage of his career, he strove to maintain his level of excellence and remain a relevant artist. The following generation of American artists played a key role, as can be seen at the Joan Miró Foundation in Barcelona starting this Friday in the major exhibition. Joan Miró and the United States. Miró found creative inspiration in artists such as Jackson Pollock, Lee Krasner, Mark Rothko, Louise Bourgeois, and Louise Nevelson, and at the same time, he passed on his own strength to them. Pollock said in 1944 that the two artists he most admired were Miró and Picasso. 25 years later, Miró himself stated that what had truly inspired him was "American painting."

Rosa Maria Malet (Badalona, ​​1948) and Marko Daniel (Aachen, 1964) are the two directors who have led the Fundació Joan Miró for the longest period of time. Malet directed it for 37 years, and Daniel arrived in 2018. The ARA has brought them together to mark the institution's 50th anniversary. They recall how they met, when Daniel, who was working at the Tate Modern in London, began collaborating with the foundation on the occasion of the exhibition Juan Miró. The Staircase of Escape. "At that time, I spoke Spanish; I didn't yet speak Catalan, and it was my turn to come here for research, and we shared the project," Marko Daniel recalls. "The foundation is the center in the world where not only the most important accumulation of works and archival material is preserved, but also where knowledge about Miró's work is held. The foundation is already recognized as the necessary partner when you want to do something important about Miró," Daniel explains.

There were almost a thousand of us, which is quite a lot. Everyone was happy and eager to celebrate the 50th anniversary of the Fundació Miró. This Sunday there will be an open house –starting at six in the morning!– with many activities that add to the enticing appeal of visiting this emblematic building, in a privileged location on Montjuïc and featuring a collection of works by one of the greatest artists the city has ever produced. On Wednesday night, the retrospective exhibition, both moving and somewhat mischievous, opened in a festive event where hundreds of people, young and old, remembered and celebrated this half-century since modernity finally made its home in Barcelona.

Fifty years ago, when the brand-new Fundació Joan Miró on Montjuïc was due to open its doors, the artist decided against an official inauguration. To avoid the presence of Franco's authorities, he held a day open to the public, featuring elements of popular and festive culture. This joyful, open-to-all spirit is what they hope to revive on Sunday, June 15th, a day that will mark the beginning of the foundation's fiftieth anniversary. It has been christened with the motto For the people of tomorrow because it paraphrases a wish of Joan Miró who, since 1968, had a clear idea of what he wanted his foundation to be: "It's very important to make it a living place, to think about the person of tomorrow." Miró did not inscribe his name on the entrance door, but rather the initials CEAC: Center for the Study of Contemporary Art. "Miró leaves us not only a building, not only an institution, a magnificent collection, but also a way of looking at the world," says Daniel. ~BK_S_

As an artist, Joan Miró rebelled against his parents and quickly challenged artistic tradition and conventions. One of his most famous slogans is "to kill painting." This statement fits perfectly with the discovery made by the Fundació Joan Miró's preventive conservation and collection teams, led by Elisabet Serra, and made public this Thursday. To make the painting Paint (1925-1927), Miró took a portrait of his mother, Dolors Ferrà i Oromí, that another artist had made, laid it aside, and painted over it. Using non-invasive techniques, including X-rays, infrared photography, and hyperspectral imaging, researchers have been able to reveal the underlying portrait and identify its model. His use of his mother's portrait may have been a mockery, revenge for her and his father's opposition to his desire to pursue an artistic career. It wasn't due to a lack of materials, but rather a deliberate decision.

When Joan Miró set out to create his foundation, he did not want it to be a mausoleum for his art, but rather a centre that would shelter younger artists. Thus, Espai 10, which was later renamed Espai 13, was a pioneering place for creators of the younger generations to be able to exhibit, sometimes for the first time, in an institution. Among these creators were Fina Miralles (Sabadell, 1950), Susana Solano (Barcelona, ​​​​1946) and Eva Lootz (Vienna, 1940), who exhibited at Espai 10 in the seventies and eighties.