Antoni Miralda has been awarded this Monday with the Velázquez Prize of Plastic Arts 2018. The jury has highlighted "for a solid and transdisciplinary artistic career, from the 60s to the present, which delves into the concept of ritual and party, with a playful and participative that evidences the political and critical character of his work ". Y added in his motivation that "his collective actions, involving a large part of the population, both audiences linked to the artistic world as well as agents of daily life, exalt in particular their capacity for aesthetic seduction, the organizational nature of their practice, and his tireless career. "
This award is granted by the Ministry of Culture and Sports since 2002 to grant institutional recognition to a creator whose work stands out with special significance in the field of plastic arts. The rewarding work of the winner is thus rewarded through the awarding of an award aimed at highlighting his outstanding contribution to Spanish and Ibero-American culture for the entirety of his work. It is endowed with 100,000 euros.
Formed since the early 1960s in the most prestigious and diverse artistic centers of Barcelona, Paris, London and New York, Miralda is perhaps the most versatile Spanish creator of the last 40 years. Permanently involved in participatory art, he is the author of a work of public and playful nature. The study of the immaterial memory is one of its most significant thematic axes, highlighting the communication as an aspect of great importance in all its trajectory. He has worked with objects, mixed-media, happenings (always related to the idea of the party, the ceremonial liturgies, the floral rites, the processions …) to dedicate itself in 1967-1968 to the alchemy of metamorphoses with its "edible objects", such as landscapes or flags that it recreates since then in his work, showing a precocious anthropological concern for ritual. This language allows him to reflect on the capacity for transformation that art possesses beyond the enclosed museographic enclosures.
Antoni Miralda is, therefore, the author of a risky work, consolidated over more than forty years, the result of a very personal language in permanent research. Throughout its history, food has remained a permanent reference for its status as an essential element of community cohesion. He has also made numerous installations that have meant
authentic challenges and that have allowed him to take his creative process to numerous international locations.
His work is part of important collections, has exhibited in numerous museums and has been regularly present in galleries throughout the country as well as in the main international artistic events. His work and participation have been seen in Venice, Hanover, Paris, London, New York, Miami, Shanghai, Milan, Caracas, Lima, Bogota, Mexico City, Havana,
Montevideo, Buenos Aires, Athens, Amsterdam, Berlin, Brussels, Copenhagen, Dublin, Stockholm, Helsinki, Lisbon, Luxembourg, Rome, Vienna and, of course, in many Spanish cities.
Within his first works, Soldats Soldés (1967-72), they are known as "assemblages" objects based on the accumulation of white plastic soldiers. He lives in the Paris of the sixties, where he begins to realize projects introducing the ceremonial of food as a creative element based on color and its symbolism. He lives in New York from the seventies to the nineties, where he works focusing on the public and participatory space around the edible. It should be noted Fest für Leda, Documenta 6, Kassel (1977); Wheat & Steak, Kansas City (1981); Santa Comida, New York, Miami, Paris (1984-89); the creation together with Montse Guillén of the renowned restaurant The International in Tribeca, New York (1984-1986) and the project Honeymoon (1986-92), which celebrates the imaginary wedding of the Statue of Liberty with the Columbus Monument in Barcelona, thus exploring the cultural fusion between the New and Old World with interventions in New York, Barcelona, Venice, Tokyo, Paris, Miami or Las Vegas.
In the mid-90s, based on the concept of "food as culture", he created the FoodCulturaMuseum, a "museum without walls", with the objective of exploring, collecting, preserving, documenting and disseminating the connections between food, popular culture and art. The project has a wide range of activities and exhibitions, among which are the creation of the Food Pavilion for Expo 2000 in Hannover, the Power Food and Flavors and Languages projects, which propose to reflect on the power and energy of the food, culinary memory, exchanges and the gastro-cultural wealth of various Latin American, European and Asian cities. In 2010, Reina Sofía presents From gustibus non disputandum, a retrospective of his work in the Palacio Velázquez del Parque del Retiro, in Madrid. At Expo Milano 2015 he makes the installation El viaje del sabor for the Spanish pavilion. In 2017 presents at MACBA MiraldaMadeinUSA.