Galerie Maeght, 13 rue de Teheran, Miró, l’oiseau solaire, l’oiseau lunaire, étincelles 

Editor: This is a lithograph print, or a poster, really, by Joan Miró for Galerie Maeght. I think it is meant to advertise the gallery. I see shapes resembling birds, suns, and stars with playful abstractions. The composition feels quite balanced, but it has a dreamy, surreal quality that I can't quite place. How do you interpret this work? Curator: Miró! He uses symbols almost as primal building blocks of a shared, collective memory. See how the sun and moon—the *oiseau solaire*, the *oiseau lunaire*, just as the text indicates—are not mere astronomical bodies, but primal symbols? Editor: Primal, how? Curator: In the way they recur across cultures, carrying weight from ancient myths to modern psychology. These birds, too...do they evoke a particular culture’s art for you? Egyptian hieroglyphs? Indigenous art? It's the echo of something ancient. Editor: Now that you mention it, the forms do seem reminiscent of hieroglyphs. It does trigger something deep! The connection to cultural memory is interesting, especially how Miró reduces everything to these simplified, powerful signs. Curator: Yes! Miró distills forms down to their essence. The simplicity itself becomes a pathway into our collective unconscious. A few colours, some strong lines, a recognizable image here or there, and suddenly a whole history of symbols awakens within us. Notice also the title “Etincelles”, sparks – all this visual vocabulary creates what? Editor: It's interesting to consider how his abstract forms trigger deeply rooted cultural memories, which is very different to my initial approach from a purely aesthetic viewpoint. This poster becomes almost a kind of visual code, doesn't it? Curator: Exactly. The symbolic image sparks a range of personal and historical associations, transforming the viewer's understanding, expanding our personal story within humanity's bigger visual history.