"As we all know, mass migration, the organized or spontaneous diaspora of human beings was almost exclusive to the American continent until the 19th Century. Nowadays it has spread to even the most unlikely areas of the world and is a familiar occurrence in Europe. Identities have been transformed, diluted and crossbred to shape our image of the world today. The encounter with human reality on the move and the attitude of the powers serve as the point of departure for Miralda's work. Indeed, his work deals as much with the universal rite of eating as it does with the equally universal rite of procession, the modern migratory movements, the crisis and the culmination of monumentality which is synonymous with the culmination and the crisis of an entire way of regarding both history and present times.

miralda's method is so strict and consistent that he might seem to be less than modern. His inventions start with the most extreme forms of artistic representation: the ready-made, the collage, the dynamic of the metropolis, the peremptory, the high and "low" technologies of informative transmission. What interests the artist is, paradoxically, the archaic, the primitive, all the processes of change, survival and disappearance to which we bear witness. Miralda's work is romantically enthusiastic, sharing the optimism inherent in the positive attitude towards Western culture, but it becomes critical, simultaneously ironic and subversive, confirming the possibility of re-reading history as irreverence towards the celebration of history itself and of the present day."

Bartomeu Maré, Director
Witte De With, Rotterdam


"The public art terrain in which Miralda operates remains an exposed frontier of culture clearly functioning in other terms than the conquered cultured parcels of art museums and the uncharted but protected corners of the art world. In many ways, in his drawings for projects and in his realized works, we witness the artist's definition of this territory, the carving of the social space for artistic intervention, the stretching of the conception and boundaries of the work of art.

This approach to inventing, selecting and siting public art in Europe and the United States has evolved significantly in the last four decades. From the earliest attempts in the 1960's at placing large studio works outdoors, through the collaborations between artists, architects, engineers and other professionals of the 1980's, to the more recent political engagement and action of artists, the notion of public art has been radically challenged and re-examined. As his work shows, Miralda was pushing all the boundaries of this unexplored territory, risking at times the perception that his work was some kind of glorified ritual, facing the skeptical questioning of his work as legitimate and relevant art."

César Trasobares Independent Curator


The above excerpts are from ME NUS: Miralda, Palma, Mallorca: Sa Nostra, Caixa de Balears, 1994.


resume of the artist


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