Thursday 5, 12 (cancelled) 19 and 26 November 2020
MACBA, Museu d’Art de Sabadell and Online
The programme Let’s talk about generates discussions on the Museum’s exhibitions between the different agents and artists in the city and our regular public. It is a meeting point that regards exhibitions as powerful devices capable of activating the imagination and generators of discourses that often go beyond the preconceived readings of the institution or the curatorial team.
November 5th - MACBA (cancelled)
Let’s talk about A Well in the Word Artist with Fina Miralles. I Am All the Selves that I Have Been, with Mar Arza, artist.
The work of Fina Miralles covers a long period of time and reflections that mark different successive stages, like the correfoc of a very personal brain that ignites and connects them. Creating the work and living life is the same task. There is a background of harmonics around her awareness of artistic fact and the fact of being and recognising herself as an artist. It identifies an inner force that pushes her irresistibly, which detaches and distances itself from the established artistic system, but recognizes a well in the word artist. She feels herself to be a mother, and I understand and share the sense of welcome generated by the observation and the sheltering of the world’s autonomy.
November 12th - Museu d’Art de Sabadell (cancelled)
Let’s talk about If you join life as a living being in Fina Miralles. I Am All the Selves that I Have Been, with Tamara Díaz Bringas, researcher and independent curator, accompanied by Maia Creus, professor of contemporary art and researcher.
We are holding our conversation in the Fina Miralles archive, donated entirely by the artist to the Sabadell Art Museum. From her home, she questions the conditions of truth of the archive itself, as well as the forces that are forming and transforming it, and the practices of exhibition, criticism, research and collection. She addresses the work of Fina Miralles relatedly, avoiding the operations that separate work and document, major and minor works, inside and outside a given field. She follows the threads that connect the poetry and readings of Fina’s practice through her most reproduced works: Dona-arbre (1973) and Recobriment del cos amb walla (1975). With these works as a starting point and destination, she draws the connection with other creations by the artist, suggesting intermittent links or intuitions that make connections through to the present. Learn with Fina, together with Amerindian cosmogonies, to be part of the world and to embrace it based on the experience of the living.
In collaboration with MAS.
Venue: Museu d’Art de Sabadell Booking: at mas@ajsabadell or by phone 93 725 77 47 (Tuesdays to Saturday from 5 to 8 pm and Sundays, from 11 am to 2 pm. Previous booking required. Limited capacity.
November 19th - online
Let’s talk about I went out to listen to the noise of the leaves under the weight of my passage, in Fina Miralles. I Am All the Selves that I Have Been, with Maite Garbayo, art historian and researcher, in conversation with Fina Miralles.
For Fina Miralles there is a thread that runs through her life and her artistic practice: The thread of nature, which has revealed itself in different ways and through different materials. The images remain and, clinging to each other, make it possible to reveal the bond of having belonged. For the artist they are testimony to what one has done, either because of being unable to do anything else or because we do that which, for some reason, we have to do. Maite Garbayo has always believed that Fina’s works are part of a continuum in which bodily knowledge is transmitted and updated. They can be read as gestures of dissent in the face of the aestheticized and aesthetically naturalized representations of the female body. They show that there is something in the fact of having to exist in the feminine that is violent and traumatic in itself.
November 26th - Online
Let’s talk about The tree of life in Fina Miralles. I Am All the Selves that I Have Been, with Juan Canela, independent curator and critic.
I met Fina several years ago in Cadaqués, where she lives faithful to her daily dialogue with the earth, the sea and the rhythms of nature. The connection was quick; visit succeeded visit and we soon began to make shared plans. I remember that the first time we talked about her practice, one feeling emerged above all else: that we were talking about life. All the superfluous rhetoric that sometimes surrounds artistic practice disappears with Fina, and you engage in an honest conversation about something inherent in the human condition. Fina overflows the contextual, and her work becomes a vehicle for the primitive and the essential: ancestral knowledge, earthly life and bodies-trees full of sap. Highlighting the knowledge that seems to be diluted in global uniformity, understanding a common world in which humans are no longer the centre of anything and where life emerges inevitably in the face of everything else.
The Tree of Life is a story that interweaves personal experiences with curatorial readings of Fina Miralles’ practice, among which the voices of other artists appear, conversing with her work. The idea is to generate a dialogue with Fina’s exhibition at the MACBA, trying to convey some vital links that have developed around her, touching on some essential aspects of her journey and her relevance at the present time.
While there are ideas about psychological and emotional developmental processes held within the sculptures I make, the things themselves are actual physical explorations into thinking, feeling, communicating and relating.