page_title: Miró otro
section_title: Action
hierarchical_section_title: Miró otro / Action
caption_attribution_description: Seu del Col·legi d'Arquitectes de Catalunya, a Barcelona. Façana de Picasso
context_page_description: Miró otro, originally spelled backwards as Orim, was a retrospective of the Catalan painter Joan Miró's work organized by Official College of Architects of Catalonia at its headquarters in Barcelona during April–June 1969. One of the most important and transgressors of this exhibit was the art intervention made by the artist and collaborators before the opening of the exhibition, and destroyed by him and collaborators later.
context_section_description: The curators of the exhibition, members of Studio PER, asked Joan Miró to do an art intervention for the exhibition at the headquarters of COAC, and he turned with enthusiasm, starting with the idea of painting a mural over all the windows of the ground floor of COAC Barcelona. The action was an ephemeral piece of art collective, and a demystification of the artist, in the spirit of Arte Povera, ephemeral arts. Miró chose four people to work with him, he gave them each a colour (yellow, green, blue and Red) and he gave them free rein to paint whatever they wanted. He reserved the black colour, which he applied with a stick as final intervention, retouching what the others had done only minutes before.
  The action began at 4 a.m. on 27 April 1969, with the previous involvement of the four partners (plus a filmmaker, photographer, etc.). It ended with the intervention of Miró on the morning of April 28, ending around 6 am, with Miró putting the final touches of black. 21 windows were painted which were each just over two meters (6 ¹⁄₂ ft) long. The length covered was about 44 m (144 ft) long, and the area covered was about 70 square metres (750 sq ft).
  The act of destruction of the work took place on 30 June 1969, coinciding with the closing of the exhibition. It began at 12 noon, when it was blotted with solvent using a broom. Some of the spectators, including the architect Oscar Tusquets Blanca, the hatter and promoter of art, Joan Prats Vallès, some students of architecture and some art critics soon began to help.
  The work was ephemeral because after the exhibition, the artist, possibly at the instigation of the director Pere Portabella, with the cooperation of the people present at the event and a cleaning woman used solvent to wipe out the image as an act of counterculture.
   Of all the project, there is no doubt that the most provocative was the part that disappeared: College crystals painted by Miró, Picasso under the frieze and facing the cathedral. [...] Provocative work, collectively, ephemeral ... It was the moment you start talking about conceptual art. Miró Perhaps unwittingly stepped forward. 
  — Fundación Miró (Rosa Maria Malet? Teresa Muntaner? Emilio Fernandez Miró? Pere Portabella?) 
  Pere Portabella was asked to record the event. From it is his work Miró, l'altre (15 min., Mexico, 1969, with music by Carlos Santos and without speech), which includes the process of painting such as the destruction of the work. The action was also determined by renowned photographers Colita (black and white) and Francesc Català Roca (in color).
  Miró talked about this work:
   Some people cried a little because these works could provide incomes. But it had to be like this. The young architects wanted to make a presentation of shock, attack, otherwise the official retrospective exhibition had done before, the painter of the museums. I did not go to the official opening of the exhibition. I was in Barcelona, but at the last moment I announced that I would not go for not being here with the authorities. But I was here for young architects, and at three in the morning, when there was no one, it wasn't a sidewalk show, I was painting on the street. Then we went for a coffee and a croissant to warm up a bit. What interested me was the instant gesture prepared on the merits, which were inscriptions in Catalan in favor of freedom of Catalonia. 
  — Joan Miró,
caption: COAC headquarters, where the action took place
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