Although recognised primarily as a painter, in the making of his works Mitsuo Miura goes beyond traditional pictorial media. His art can thus be situated halfway along the path towards sculpture or installation, due to its tendency to use chromatic forms in space.
The art of Mitsuo Miura (Iwate, Japan, 1946), who has lived in Spain since 1966, stands out for its near-geometrical shapes and well-defined colours that vary according to the themes explored. His work uses a wide range of methods, techniques and disciplines and has an affinity with certain languages of the movements that arose in the second half of the 20th century, such as minimalism. His works tend to establish a dialogue between the materials used and the space that hosts them, while making almost imperceptible references to elements of nature, elements that are highly-stylised and reduced to their minimum expression.
In Imagined Memories, his intervention in the Palacio de Cristal, he delves into two of the aesthetic themes that give expression to his artistic vocabulary: geometric shapes and pure colours. For this building, one of Museo Reina Sofía's two secondary sites in Parque del Retiro, his proposal begins on the pictorial level and extends to the spatial level, through circles of colours distributed on the floor and suspended from the ceiling. In this work Miura also includes strips of colour placed intermittently on the building's skirting boards. His methods are built like a memory that reactivates a space from the realm of possibility, an imaginary area of uncertain existence that can only be completed mentally. Even the use of faded colours suggests the representation of diffuse situations.
The transparency of the exhibition space and the influence of daylight means that colours are perceived slightly differently depending on the time of day and the weather conditions. This visual play does not intend to be monumental or explicit but rather insinuated and intimate.
The column is key in the search for the essential and in the reduction of formal elements to their minimum expressions. It serves as an age-old architectural nexus the genesis of which is related to the schematics of trees. This narrative is complemented by the trees found in the park itself, which provides a natural backdrop to the plastic, abstract and stylised landscape created by this Japanese artist. The out-of-doors context becomes a substantial part of the meaning acquired by this work made especially for Palacio de Cristal.
11 November, 2020 - 1 March, 2021
Mondrian and De Stijl
22 October, 2020 - 17 May, 2021
From North to South, Rhythms
14 October, 2020 - 15 February 2021
Sound Experimentation 1980-2020
7 October, 2020 - 26 April, 2021
Niño de Elche
Invisible Auto Sacramental: A Sonic Representation from Val del Omar
23 September, 2020 - 1 March, 2021
Art in Sound up to 1980
29 July, 2020 - 11 January, 2021
Our Memory Is Being Stolen
17 July, 2020 - 28 February, 2021
To a raven and hurricanes that from unknown places bring back smells of humans in love
25 September 2020 – 5 February 2021
What Are We Doing Here?
Alternative Spaces in Madrid at the Turn of the CenturyMuestras documentales, Biblioteca y Centro de Documentación