When Spanish painter Joán Miró got involved with the Surrealist group in Paris in the 1920s, he embraced their central idea of automatism that the way to liberate the mind from hierarchy and convention was to allow the unconscious to guide the pen and the paintbrush. Art writer Julian Stallabrass examines Miró's 'Painting' from 1927, and explores the wider implications of automatism. teleSUR
