I would draw an analogy
with good jazz music or good classical
music or when listening to it a second time or when a melodic
line, not notice at first, appears.
Umberto Eco «Art and Entertaiment»

Alcoi. Mas Sopalmo. This house of Antoni Miró, the studio, a place kept by God and loved by gods, appears in many pictures in his catalogues and albums. The place seems to be a fairytale, the surrounding scenery is imbued with a feeling of eternity and life’s mystery constantly happening in nature. Every stone seems to be speaking to you, and human achieveinent seems to be concluded even in the dust blown about or in the passing herd of sheep, reminding us of Biblical times. (...)

«Poetry? This is a combination of words that wouldn’t occur to anyone’s mind to combine, and mystery caused it,» wrote Garcia Lorca.

At any time the main problem for artist is the search for his own new word. Antoni Miró had enough directions from which to choose this word -he is real man of culture who refused everything that had been done and started from the very beginning. The old beauty owns his soul. The perspicacious look of the master noted how the Greek imagination became struck by the power of women’s charm, having mercy for neither people nor heroes, nor gods. It imagined magical power in mutual attraction of lovers. The gesture of an extended hand is so expressive that it is included in catalogues of movements connected with the Greek world. «Erotic Suite» by Antoni Miró is a tribute to a character of archaic beauty marked by a complicated striving of the modern mind and the conviction that all versions have equal rights, and new variations replace canonical ones, bringing splendour and variety into Weltbuilt. The magical movement changes into architecture in the artist’s paintings, where we can find the socalled «oxymoron -non- combinable combinations, whim, caprice, play on space, situations, images, associations, words.

The artist skilfully plays on the keyboard of various styles. There is a certain Baroque fury and the search for a standard in the style of Pop Art. apart from brilliantly-used methods of Greek vase drawing, the experiments in the laboratory of plastic metaphors with Gaudi’s, Mengs’, Picasso’s, De Chirico’s, and Velazquez’s motives, entering into free dialogue and creating fantasy - reminiscences - add something, vary the whole, even «the Surrender of Breda» Velazquez, or separate fragments of «Las Meninas». «Country Dance» by A. Teniers is happening in the background of a fragment of work by V Kandinsky. «Metaphysics» by De Chirico joins «The Garden of Pleausures» by Bosch. The look of Aristide Bruant, a character painted by ToulouseLautrec, is chained to Gala, Dalí’s wife. The world of improvisation is inexhaustible, here «time is a child that playing moves the pawns,» and we happen to be in the many dimensional space of intellect, never-ending culture labyrinths without, man, and even the creation process itself are all analysed. This is an art of irony, retelling squared, art as a mirror of art.

The paintings become a new semiotics, which is why a sign, an emblem, an ideogram or any other conventional symbol is so often perceived as fetish, as opening of intrigue. An eye suddenly becomes autonomous and usurps a function of the whole face- in the role of heterotopic eye, it reminds one of clairvoyance. The scissors - an attribute of mystical spinners - a symbol of birth and death, creation and destruction appearing in the most unexpected, places, also remind us of the complex of medical motives in the play «Public» by F. Garcia Lorca. Art is a hospital, the artist a surgeon, the painbrush a world, a wounding scalpel, a result of the bold play of imagination - wonderful «accidental meeting of an umbrella and sewing machine on an anatomical table» (Caount Lotreamont «Maldonor’s Song»).

Art turned out to be that the new is the well-forgotten old. Now it is thought of as a text variant which can easily be put into circulation in the context of new conceptual manipulations. The recognition of a well-know thing does not mean the complete emergence of an idea, but to investigate it thoroughly one should know the starting points of included images.

The wheel is an archetype in a way, a most-used Antoni Miró image. The wheel is a limit to polysemy, it strung the whole «culture-archeology», traces of sacred subjects: Buddha’s wheel, celestial chariots’ wheels, the wheel related to sunsigns, Nietsche’s.

wheel rolling by itself - Superman, the wheel of avant-garde legend - the bicycle wheel of Duchamp, having started the circuit of the ready-made genre, returns by a wheel from far outside the picture boundary to discover the surface of revival from Lethe paintings.

Everything is involved in circulation, playing is strung into the bicycle wheel rim, though its shafts of light the winds of East and West blow simultaneously. The chariots rush upon a search for newness tirelessly hunting for a change of place, the conquest of life space.

The 20th century speaks of it self with a discordant deafening chorus of voices - everything is sharpened, agitated, contradictory. But there is a house in Alcoi where the artist with wonderful talent lives: not going outside the contextual boundary of our experience lie envelops two worlds far from each other, leads them into contact and strikes fire from it.

Alcoi-Kaliningrad-Alcoi

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