INHALTSVERZEICHNIS - LVR€¦ · INHALTSVERZEICHNIS. PRESSEMITTEILUNG S. 3 MIRÓ 2.0 S. 4 BIOGRAFIE JOAN MIRÓ S. 6 ZITATE JOAN MIRÓ S. 8 RAHMENPROGRAMM S. 9 PRESSEBILDER S. 11 PRAKTISCHE

Joan Miró, Jeune fille s’évadant (Fliehendes junges Mädchen), 1968, bemalte Bronze, Sam

mlung Fondation Maeght ©

Successió Miró | VG Bild-Kunst, Bonn 2017

Welt der Monster 3.9. 2017 – 28.1. 2018

www.maxernstmuseum.lvr.de

Tickets inkl. VRS-Fahrausweis über Medienpartner

In Zusammenarbeit mit Gefördert durch

2

INHALTSVERZEICHNIS

PRESSEMITTEILUNG S. 3

MIRÓ 2.0 S. 4

BIOGRAFIE JOAN MIRÓ S. 6

ZITATE JOAN MIRÓ S. 8

RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11

PRAKTISCHE HINWEISE S. 16

„IN DER PLASTIK ERSCHAFFE ICH EINE WAHRHAFT TRAUMHAFTE WELT

LEBENDER MONSTER.“

Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 1 In collaboration with Mœbius Production

Arzak le rocher, 1995, gouache and acrylics on paper © 2020 Mœbius Production

15.9.2019 – 29.3.2020

Supported by Ticket including the VRS-travel ticket

Presswww.maxernstmuseum.lvr.de




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 2

CONTENT

PRESS RELEASE 3

BIOGRAPHY 5

QUOTES 8

PRESS PHOTOS 11

INFO SERVICE 16

YOUR CONTACT PERSON FOR EDITORIAL QUESTIONS:

Max Ernst Museum Brühl des LVR

Press / Public Relation

Doris Vogel

Phone +49 2232 5793 – 111

E-Mail: [email protected]


Cover

Mœbius, Arzak le rocher, 1995, gouache and acrylics on

paper, 14.2 x 9.6 in. © 2020 Mœbius Production




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 3

»MŒBIUS« – SURREAL COMICWORLDS

Exhibition at Max Ernst Museum Brühl des LVR

15 September 2019 until 29 March 2020

The Max Ernst Museum Brühl des LVR is showing an exhibition of visionary worlds by the eminent

French comics illustrator and scenarist Jean Giraud (1938 – 2012), who attained international fame

under the name Mœbius. Mœbius explored the spheres of dreams and science fiction and inspired films

by George Lucas, Ridley Scott or Hayao Miyazaki with his design of an archaic-looking future. In his

stories, utopian architecture and futuristic, mega-metropolitan cities meet desert landscapes and sha-

manistic travels through space and time.

Mœbius blurs the boundaries between the genres of comic strips and art. With his immense power of

imagination, he created a constant flow of surreal worlds with his precisely placed lines. For decades

he created iconic figures like the warrior Arzak, Major Grubert or the space travelers Stell and Atan. To-

gether with them he also sends the viewers on adventure trips into the infinite worlds of his imagination.

The exhibition with approximately 450 works is devoted to Mœbius’s extensive œuvre and his picture

stories: Beginning with his notebooks (“carnets”), in which he concentrated the fundamental ideas of

his image production, and continuing via the scenically structured series of comics, sketched drawings,

abstract paintings, up to his popular printed graphics, the spectrum of his art of drawing is spread out

before our eyes.

This exhibition of the work of Mœbius is the result of an exclusive collaboration with Mœbius Production.

PRESS RELEASE




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 4

INFO SERVICE:

Opening Hours:

Tuesday – Sunday: 11 a.m. – 6 p.m.

as well as 3 Oct., 1 Nov., 26 Dec.

Closed: Monday as well as 24 Dec., 25 Dec., 31 Dec.,

1 Jan. 2020

Admission Fees:

Adults 10,50 € | reduced rates 6,50 €

Children / teenagers up to 18 years: Free admission

Recipients of LVR benefits (incl. one accompanying

person): Free admission

Further information:

WWW.MAXERNSTMUSEUM.LVR.DE

A catalogue is published in accompanying the exhibition: MOEBIUS, Max Ernst Museum Brühl des LVR,

15.9.2019–29.3.2020, with 272 pages, 240 reproductions and essays by Patrick Blümel, Isabelle Giraud,

Jean Giraud, Achim Sommer, Friederike Voßkamp and Jürgen Wilhelm, available in the shop of the

museum.




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 5

BIOGRAPHY

Biography Jean Henri Gaston Giraud alias Gir & Mœbius

1938 Born in Nogent-sur-Marne.

1942 Grows up in Gontenay-sous-Bois with his grandparents.

1954 His father introduces him to science fiction by showing him the first issues of the French

magazin Fiction. Starts training at the École Supérieure des Arts Appliqués Duperré.

1955 First trip to Mexico.

1956 First publication in Far West magazine, contributes to Fripounet et Marisette, Coeur Vaillants…1958 Starts 27 months of military service in Germany and Algeria, illustrations for the army

magazine 5/5 Forces Françaises.

1960 Stories for the magazine Bonux-Boy, alongside Joseph Gillain aka Jijé, Roba, Peyo…

1961 Works for Jijé, inking an album of Jerry Spring. Illustrates L’histoire des civilisations with

Jean-Claude Mézière for Hachette.

1963 Publishes a dozen stories in the magazine Hara-Kiri until 1964. Blueberry first appears

in Pilote magazine.

1964 Second trip to Mexico. Tries peyote. First Blueberry album entitled Fort Navajo.

1968 Publishes Le Secret de Blueberry [Blueberry´s Secret] in Super Pocket Pilote magazine.

1969 Marries Claudine Conin with whom he will have two children, Hélène (1970) and Julien (

(1972). Science fiction book covers for Opta.

1973 La Déviation [The Detour] (Pilote magazine) opens up new leads.

1974 Publishes Cauchemar blanc in the magazine L´Écho des Savanes and Le Bandard fou [The Horny Goof] with Éditions du Fromage. Les Merveilles de lúnivers first appears in

Pilote in March. Creation of character Major Grubert followed by a publication in

France-Soir in July 1974.




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 6

BIOGRAPHY

1975 Launch of Métal Hurlant and founding of the publishing company Les Humanoïdes Associés. Creation of Arzak. Unrealized film adaption project for Frank Herbert’s Dune.

Creation of The Long Tomorrow with Dan O’Bannon.

1976 Publication of Le Garage Hermétique [The Airtight Garage] in Métal Hurlant.1979 Beginning of the LÌncal [The Incal] series with the adventures of John Difool. Costumes

for Ridley Scott´s Alien. Beginning of the Jim Cutlass Western series.

1981 Grand Prix at the Angoulême festival.1982 Contributes to Steven Lisberger´s Tron, the first film with computer graphics. Animation

movie Les Maîtes du temps [Time Masters] with René Laloux.

1983 Moves his studio to Tahiti.

1984 Moves to Los Angeles. First meets Isabelle Champeval in Venice, Italy, with whom he will

have to more children, Raphaël (1989) and Nausicaä (1995).

1985 An advertising project for Citroën leads to the series Le Monde dÉdena [The World of

Edena]. In Tokyo, he works on sets and costumes for the animation movie Little Nemo.

1986 Founds the publishing company Starwatcher Graphics in Los Angeles in late 1986.

Marvel translates his work in the USA.

1987 Costumes for Ron Howard´s Willow. Study for James Cameron´s Abyss.

1988 Les Jardins dÉdena [The Gardens of Aedena] (Casterman). Collaboration with Stan Lee

on the superhero comic The Silver Surfer. Returns to Isabelle in Paris.

1989 Death of Jean-Michel Charlier during the development of the Blueberry album Arizona Love.1990 La Déesse [The Goddess] and La Planète encore [The Still Planet] (Casterman).

1991 Continues writing Marshall Blueberry, one album of which is drawn by William Vance

and Michel Rouge. Silkscreens, printed images, and deluxe limited editions (Stardom).

Pilot for Starwatcher, the first film made entirely with computer graphics.

1992 La Folle du sacré cœur [The Madwoman oft he Sacred Heart] with Alejandro Jodorowsky.

1993 Le Piège de lírrationnel [The Trap of the Irrational] with Alejandro Jodorowsky. Griffe dÁnge [Angel Claws] (Les Humanoïdes Associés).

1994 Stel, le monde dÉdena [Stel, The World of Edena] (Casterman). L´Homme du Ciguri [The Man from the Ciguri] (Dark Horse).

1995 Marries Isabelle Champeval. Continues to work on the Blueberry series as writer and

artist with Mister Blueberry (Dargaud). Writer for Little Nemo with Bruno Marchand.




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 7

BIOGRAPHY

1996 Large exhibitions in Italy. Publishes Folles Perspectives with Stardom.

1997 Ombres sur Tombstone [Shadows on Tombstone] (Dargaud). Contributes to The Fifth Element by Luc Besson. Runs Stardom with Isabelle. Adapts the myth of Icarus for Japan

with the manga series Icare, with Jiro Tanigushi, storyline by Mœbius (script colla-

borator, Jean Annestay).

1998 Le Fou de la Sorbonne [The Sorbonne´s Madman] with Alejandro Jodorowsky.

1999 Publishes 40 Days dans le desert B [40 days in the Desert B] and Une jeunesse heureuse [Happy Youth] with Stardom. Illustrates Dante´s Divine Comedy (Nuages edition).

Publishes Histoire de mon double [A Story of My Double] (Éditions no 1).

Géronimo lápache (Dargaud).

2000 Large retrospective exhibition at the Angoulême museum. 2001 Après Jesus Christ with

Jean Luc Coudray, digital print.

2001 Founds Mœbius Production, merges with Stardom. Sra, le monde dÉdena [Sra, The

World of Edena] (Casterman).

2003 Release of Jan Kounen´s film adaptation Muraya, l´histoire secrete de Blueberry [Blueberry]. OK Corral (Dargaud).

2004 Miyazaki-Mœbius exhibition at the Hôtel de la Monnaie in Paris. Inside Mœbius, Vol. 1.

2005 Publishes Dust, last Blueberry album.

2007 Draws La Version irlandaise [The Irish Version], one of the endings of Van Hamme’s XIII series.

2008 Le Garage Hermétique opens as a ride at the Futuroscope theme park.2010 Publishing of Le Chasseur déprime and Arzak, lÁrpenteur [Arzak: The Surveyor].

Mœbius-Transe-Forme exhibition at the Fondation Cartier. Realizes the 3D film

adaptation of La Planète encore, directed by Geoffrey Niquet.

2011 Le Major [The Major] and La Faune de Mars [Martian Wildlife] (Mœbius Production).

2012 Jean Giraud dies on March 10 in Montrouge. In September, his monumental fresco Le Saut de lÁnge is inaugurated in the Beffroi de Montrouge.




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 8

Nature and Metamorphosis

”We are constantly transforming, usually in response to various stimuli, visible or invisible, internal or

external, creating a movement in life, a physical and psychic change. For me, the plastic metamorpho-

sis that runs through my drawings is not a fetish or a graphic discovery, it is the metamorphosis that

happens inside us all the time.”

Spirituality and Alchemy

“One should spend the whole life discovering every facet of the own being and nature and all that it re-

presents: fire, air, earth and water, the basic elements, but also the animalistic and emotional archety-

pes, and especially the physiological functional type. Likewise the more angelic structures.“

The dream of flying and falling

“The true birth of Mœbius as an established phenomenon came with Arzach. I was actually struck by

the discovery of science fiction when I was very young, around the age of 14 or 15. Now, it is a sponta-

neous part of my vocabulary and mental heritage—a bit like the Western genre. Western and science

fiction eventually blended: the universe described in Arzach very much resembles a sort of imaginary

West, transposed onto a no less imaginary planet. What emerged through Arzach is a kind of charac-

ter or silhouette that has become a signature of mine: a rather high Phrygian hat, conical, with ear

cups and a visor. But that signature comes with a price, and I had to make sure the character kept

evolving through variations, repetitions, subtle modifications: he has become very mean at times, very

disturbing, very extraterrestrial, very reptilian. At others, he was very angelic. He took the posture of a

Pre-Raphaelite symbol, or inherited an aesthetic from classical Greek statues. He became a man, an

androgyne, a woman. The character of Arzach went through some changes over time. He even became

Starwatcher for a while.”

QUOTES

»AN ARTIST MUST SMASH DOWN THE SYSTEMS

THAT DOMESTICATE THE MIND.«

MŒBIUS




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 9

The inner desert and its representation

“I did feel some tenderness, a strong fondness for deserts, especially for the North American desert

with its very distinctive features—speckled here and there with tufts of grass at regular intervals, with

cacti like motionless beings, and boulders in fantastic, almost organic forms. [...]”

Wanderers between worlds

“My primary jumping-off point was 1960s science fiction and its prevailing theories on time: all revol-

ving around the idea that time can be subdivided into different possible streams, that each moment

in time creates a proliferation of possibilities. These timestreams may run dry or they may continue,

though they all take place simultaneously . . . But I always saw this in a very literary, dreamlike light:

as if, by dreaming, we might be able to enter tangential zones between those different times and diffe-

rent spaces.“

Abstract forms

“One of the adventures of contemporary art is retreating into the part of oneself that hasn’t been fully

sublimated by social domestication, by politeness, by the need to survive in a complex society. These

small works give me very, very strong feelings when I see them because I can’t figure out what they

represent. At times, they look organic, but they can be mineral; they can be concretions of basalt or

semi-transparent, semi-precious stones, embedded in clay gangues, with bubbles, bulbs, snakes so-

metimes—though they’re not real snakes since they don’t have any scales. Rather, they’re like shapes

or pipes; it’s not clear. They may be organs.”

“They are simply very arbitrary forms, a chaos of forms. And then, little by little, as elements are

introduced, they arrive at an inextricable situation, and the question arises: what does it say? So, I start

reuniting and closing some forms, extending others, but less in the spirit of adventure than of reorgani-

zation and justification, in order to create meaning. I do so according to an aesthetic sense that suits my

tastes, of course. I’m not going to obey and follow just any school. I’m immersed in my own personal

satisfaction, absolute, selfish, egotistical, total.




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 10

But always with a craft that will transform this kind of primitive soup into something rather lively for

the person who will see it and tell themselves: ‘Oh, that’s weird, but still, it’s not just strange becau-

se it is well done. And you can see it is. Everything is well done. Everything is impeccable. It exactly

describes the thing as it should be.’ But what it describes remains unknown. It describes something

unidentifiable, but perfectly done. That’s what I love. This can be found in the work of the surrealists, on

the literary level, text-wise. The great poets of that time worked in that direction. They started with an

automatic process and then looked at what kind of adventure they had gotten into. They came out of the

diving bell, you see, and—whoosh!—they released the butterfly. That’s a good thing.”

The Utopia of the Wonderful

“I realize that my art is a reflection of my life, and not in reverse, like it’s the case for other artists.

Their life reflects their art. But I don’t want to go that way, although it can be a big temptation. It was a

conscious decision, and for me a very big decision, because my life became a reflection of my art in a

certain way.“

The double person

“I am a follower of controlled schizophrenia. Schizophrenia is a completely positive human conditi-

on. We begin to call it schizophrenia when it derails, when it’s no longer controlled. Then it becomes

something to treat. [...] Schizophrenia, that is the ability to have separate, different registers within

oneself and to use them, not to manipulate, but to do what we have to do to survive in the world, this is

essential.“




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 11

PRESS PHOTOS

Please note that the use of this press images is only free of charge and requires no approval in the

context of current coverage and by mentioning the captions and the copyright:

© 2020 Mœbius Production

Additional note: The works may not be altered. Cropping and/or overprinting are not permitted and only

possible after prior approval by Mœbius Production.

Here you can download the press images, please send us an E-Mail to get the password for the link:

https://infokomcloud.lvr.de/owncloud/index.php/s/xTBIFrtYWbpCGId

YOUR CONTACT PERSON

FOR EDITORIAL QUESTIONS:


Press / Public Relation

Doris Vogel

Phone +49 2232 5793 – 111

E-Mail: [email protected]





Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 12

Press image 1 Mœbius, Arzak le rocher, 1995, gouache and

acrylics on paper, 14.2 x 9.6 in. © 2020 Mœbius Production

Press image 2 Mœbius, La chasse au mayor, 2009, acrylics on canvas, 35.4 x

51.2 in. © 2020 Mœbius Production

Press image 3 Mœbius, L´Homme du Ciguri, 1994, Airbrush and mixed technique on

paper, 15.4 x 11.6 in. © Les Humanoïdes

Associés/ Mœbius Production




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 13

Press image 4 Mœbius, Starwatcher, 1985, Ink and water-

color on paper, no dimensions © 2020 Mœbius Production

Press image 5 Mœbius, Inside Mœbius, 2007, Page 82/ 83, Volume 6, 2010, Ink on

paper, digitally reworked and colored

© 2020 Mœbius Production

Press image 6 Mœbius, Plasme Volant from:

La Faune de Mars, 2007, Ink on paper, digi-

tally reworked and colored © 2020 Mœbius

Production




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 14

Press image 7 Mœbius, Trait de génie: Giraud-Mœbius,

2000, Ink and watercolor on paper, 9.4 x 12.6 in. © 2020

Mœbius Production

Press image 8 Mœbius, Le Lac (Detail), 1998, Design for the interior decorati-

on of the Sony Metreon, San Francisco,

USA, Acrylic and gouache on paper, 9.1

x 36.6 in. © Sony Development/ Mœbius

Production

Press image 9 Mœbius, Ayna, 1989, Page 4,

Colored ink, gouache and acrylic on paper,

12.7 x 8.9 in. © 2020 Mœbius Production




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 15

Press image 10 Mœbius, Le chasseur déprime, 2007/2008,

Page 29, Ink on paper, digitally reworked © 2020 Mœbius

Production

Press image 11 Mœbius, 40 jours dans le désert B, 1999, Page 11, Ink on paper,

6.3 x 9.3 in. © 2020 Mœbius Production

Press image 12 Portrait Jean Giraud, 2012,

Photo: Isabelle Giraud © 2020 Mœbius

Production




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró




Welt der Monster 3.9. 2017 – 28.1. 2018




2

INHALTSVERZEICHNIS


MIRÓ 2.0 S. 4



RAHMENPROGRAMM S. 9

PRESSEBILDER S. 11




Joan Miró

SEITE 16

INFO SERVICE


Comesstraße 42 / Max-Ernst-Allee 1, 50321 Brühl (near Cologne)

Phone +49 2232 5793 – 0, Fax +49 2232 5793 – 130

[email protected], www.maxernstmuseum.lvr.de

Museumsverwaltung / Fantasie Labor *

Schloßstraße 21, 50321 Brühl

* At the so called Fantasie Labor the workshops of the educational department take place.

Permanent Collection

MAX ERNST – WORK AND LIFE – 70 YEARS OF CREATION

Temporary Exhibition

MŒBIUS

15.9.2019 –29.3.2020

Opening hours

Tuesday – Sunday: 11 a.m. – 6 p.m. as well as 3 Oct, 1 Nov., 26 Dec.

Closed: Monday as well as 24 Dec., 25 Dec., 31 Dec., 1 Jan. 2020

Admission Fees

Adults 10,50 € | reduced rates 6,50 €

Children / teenagers up to 18 years: Free admission

Recipients of LVR benefits (incl. one accompanying person): Free admission

Free admission to the permanent collection on the last Thursday of each month

Further information: www.maxernstmuseum.lvr.de

Advance purchase of tickets

as home print-outs, which inlude the VRS-travel ticket, via koelnticket.de or respectively,

bonnticket.de, Ticket Hotline: +49 221 2801 or +49 228 502010 and at all known advance

booking services

Info Service | Booking

kulturinfo rheinland, Phone +49 2234 9921 555, Fax +49 2234 9921 300

[email protected]

VISIT US AT:

Facebook, Youtube

und Instagram

Documents

INHALTSVERZEICHNIS - LVR€¦ · INHALTSVERZEICHNIS. PRESSEMITTEILUNG S. 3 MIRÓ 2.0 S. 4 BIOGRAFIE JOAN MIRÓ S. 6 ZITATE JOAN MIRÓ S. 8 RAHMENPROGRAMM S. 9 PRESSEBILDER S. 11 PRAKTISCHE