Permanent collection

Continuing with the objective of promoting the works in its collection and sharing them transversally with the different interlocutors, Es Baluard is organising the expositive review of its reserves, configuring a new museographic arrangement based on a genealogy that vectorises dogmatic, alternative interpretations and unprecedented case studies.

This new presentation of the Permanent Collection on the main floor of Es Baluard develops – through several stages – a critical survey of local, national and international artistic practices, starting with the nineteenth-century academicism of proximity to the natural landscape of Mallorca and expanding into different stages and styles to situate us in some of the contemporary discourses which analyse that evolution between the subversion of the landscape and the quest for aesthetical and social balance.

As is customary in our montages, we explore new mechanisms in the language of exhibitions,, and to achieve this the museographic project presents works from different eras with a certain chronological continuity. However, this is not a project on the past, but on the present. It is a panoramic view from the watchtower of doubt, like an unanswered question mark between observer and observed.

The non-dogmatic tour is intersected with academic conceptions on art history to work from the fissure and displacement and impact on the ideal of the museum as a great custodian of heritage, its review and transmission.

A museum is a living organism in which one can delve into the proposals set forth by the histories of art and show new methodologies for approaching them, questioning them constantly. On the margins of centrality, from the periphery, several interwoven vectors emerge as well as the possibility of delving deep into combinations of some works based on the absence of others.

For the first time, the public can see a notable selection of the new works recently incorporated into the museum’s reserves from donations and deposits by collectors, artists and institutions, complemented by several specific loans for this new interpretation we are presenting. All of them correspond to a period that goes from 1949 to 2016, highlighting 16 relevant pieces produced by Joan Miró.

Some other novelties besides this are painting, the sun, the sea and the earth, conflict and the search for equilibrium, the possibility of re-opening the history of the participation of feminisms, genders and transgenders, correlations between attitudes that provided the means of communication for the immaterial side of things conceptual and performance or explored the interstices of Land Art.

This review of the collection is the third one carried out by the museum’s director, Nekane Aramburu, since 2013 – a kind of museographic arrangement in different stages open to the intervention of other agents, as occurred with Carte Blanche for Agustín Fernández Mallo or Isaki Lacuesta.