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The exhibition focuses on his glass display cases, a significant form in his work since the 1980s. Within these cases, materials such as lead, clay, textiles, books, and dried flowers intertwine with various objects and symbolic elements. These works, both weighty and fragile, explore themes of memory, history, hope, and loss. Through these works, Kiefer creates a journey where material and history are intricately interwoven.

Curated by Teresa Montaner and Marta Ricart, this new presentation is based on the inseparable pairing made up of the works and space that structure the route and give meaning to each room.Inspiration for the project comes from a portfolio of work that Miró produced in the latter half of the 1950s and beginning of the 1960s, preserved in the valuable archive of drawings that the artist donated to the Fundació Joan Miró. In these documents, which reflect on space and time as the cornerstones of Miró's practice, there beats an idea of a new way of relating people to art. The reorganisation rekindles this intuition to bring it into the present day: the exhibition will foster an experience built on the multiple relationships between the works, the space and people.

In a context where certainty and objectivity give way to interpretation and uncertainty, Stan Douglas's work is particularly significant for its exploration of how technology and media influence perception and collective memory. Since the late 1980s, Douglas has worked on film, photography, and interdisciplinary projects, using images to explore the construction of reality and history. His work is notable for questioning linear narratives and revealing how historical processes are continually influenced by human behavior. This exhibition takes a retrospective approach, highlighting his influence on film analysis, his experimental explorations of other media, and his impact on generations of artists. The exhibition pays particular attention to the connection between his work and historical moments and its enduring relevance.

Liang Jisley's creative practice is built upon a series of musical scores that define the essence of each work. These scores respond to the spatial environment in which the works are exhibited and reveal their own, and our own, limitations within the system. Liang's exhibitions follow a series of parameters governing the operation of the Miró Foundation, focusing on interdependence and examining the fragility of these structures and how we navigate within them. Liang Zhiqiang She currently resides in London and works there. Liang's work, starting from a rigorous conceptual perspective and profound personal experience, focuses on the often-unseen levels of reproduction within institutional labor that decisively shape artistic production and the acceptance of its results. She uses point-based directives to fundamentally redistribute and reconstruct the conditions of artistic production. For Liang, the limitations of the parameters within the art field—whether at the personal, institutional, structural, or systemic level—become a means of “constructing” different modes. Liang has held solo exhibitions at the Art Gallery of Basel, the Chicago Renaissance Society, the Simian Gallery in Copenhagen, the Maxwell Graham Gallery in New York, the Ordet Gallery in Milan, the Abteiberg Museum in Mönchengladbach, the Cabinet Gallery in London, the Netwerk Gallery in Ulster, Belgium, the Maison des Artistes in Stuttgart, the Chisenhale Gallery in London, the Reading International Gallery in Reading, UK, the Cell Project Space Gallery in London, and the WIELS Gallery in Brussels.

"Light Through the Cracks" takes viewers on a journey through the diverse forms of collective creation that have emerged through video art from the 1970s to the present. At its heart lies the experience of Video-Nou / Servicio de Vídeo Comunitario (Community Video Service). This group, active during Catalonia's transition, viewed video not only as a technological medium but also as a political and social tool to foster self-organization, community empowerment, and counter-information dissemination. Starting from this historical juncture, the exhibition unfolds across different thematic areas, weaving together archives, practices, and strategies from other countries and international groups (regardless of their historical context or contemporary characteristics). The exhibition is not a linear genealogy but rather a series of experiences that blur the lines between art and activism, documentation and fiction, aesthetics and ethics.

Charlotte Perriand will be the major retrospective exhibition that the Fundació Joan Miró will present in the fall of 2026. It fits perfectly into the theme of this year's program: a profound reinterpretation of architecture as a living space, as a language and as a way of situating ourselves in the world.She was one of the few women who managed to enter the great temple of modern architectural and urban planning, the Atelier Le Corbusier, not as a silent assistant, but as a creator with her own voice, capable of transforming the logic of modern design. From those early years, she championed a key idea: that art, architecture, and design are inseparable, a synthesis capable of changing the way we live—a principle that resonates naturally with the Fundació, where architecture and creation are conceived as a single, unified experience.The exhibition, organized with the Kunstmuseen Krefeld and the Museum der Moderne Salzburg, and a collaboration with the BBVA Foundation, positions Barcelona as a space of historical and creative affinities. Here, the dialogue between Perriand and Josep Lluís Sert takes center stage: they met in 1928 while working in Le Corbusier's studio and maintained a lifelong friendship and intellectual connection. During the Spanish Civil War and the beginning of World War II, Perriand even sheltered Sert and Moncha Longás in her small Paris apartment. Later, their paths diverged (Sert and Longás to the United States; Perriand to Japan and Indochina), but the flow of thought and exchange never ceased. Evidence of this includes episodes such as the monographic article Sert dedicated to her in the 1950s and Perriand's presence at the inauguration of the Fundació Joan Miró in 1976.With previously unpublished content and a perspective that places Perriand within her real ecosystem (a network of creators, architects, and ideas spanning Paris, Barcelona, ​​the Mediterranean, and the world), this retrospective aims to highlight the transformative power of a pioneering woman, a creator who broke barriers, rethought the relationship between space and life, and understood design as a tool for imagining a more humane future.