Working with Miro for the past decade has been a joy. What started as a one-off request to collaborate on my first museum exhibition in 2013 (Dread), has developed into a lasting friendship.

After I saw his work with David Maljković at the Van Abbe Museum in Eindhoven in 2012, I decided to e-mail him. Not only did he say yes to my invitation to design the exhibition architecture, he influenced the curatorial outcome with his scenographic sensibility. Something we have continued to do in every project since.

The alien superstructure that infected an enormous museum in Gijón in 2014 resulted in a new logical progression through the building.

The TARDIS space in Brighton in 2016 that contained The Sprawl engendered energy inside an exhibition room that had none.
The dynamic labyrinth that dissected the static structure of a brutalist architecturein Rotterdam in 2022 respawned the generational club RoXY as a Provo disco inside New Babylon.

To meet someone who understands your ideas and feelings, and is able to make your work better is the dream. Creative collaborations like these are rare.
In fact, I don’t think I have ever met an architect as generous, cultured and spirited as Miro. Who knows his communism from his anarchism. Who understands the significanceof inventing the future whilst honouring the ancestors. And who always sides with the revolutionary.

vizuali / visuals