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DTSTART;TZID=UTC:20240409T180000
DTEND;TZID=UTC:20240611T180000
DTSTAMP:20260509T215405
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SUMMARY:Antoni Tàpies and Universitat de Barcelona
DESCRIPTION:  \nCombined visit to the Fundació Antoni Tàpies and the University’s Historic Building \nOn the occasion of the Tàpies’ Year we are organising\, together with the Universitat de Barcelona (UB)\, a combined visit to the former home of Editorial Montaner y Simón\, now the headquarters of the Fundació Antoni Tàpies\, designed by Lluís Domènech i Montaner\, and the university’s Historic Building\, designed by Elies Rogent. Both buildings were built in the second half of the 19th century and are examples of an architecture shifting towards modernity\, within a historicist style in the case of the university and early Art Nouveau in the case of Montaner y Simón. The visit is a chance to find out about the history of the two buildings\, but also about the artist’s links with the university. \nAntoni Tàpies’ relationship with the Universitat de Barcelona began in 1944\, when he began his studies in the Law faculty. There he made friends with poets\, writers and key figures in Catalan letters and communication\, including Carlos Barral\, Alfonso Costafreda\, Jaime Gil de Biedma\, Alberto Oliart\, Joan Reventós\, Josep Maria Castellet\, Manuel Sacristán and Josep Maria Ainaud\, among others. \nThough he never finished these studies\, his link to the university was reinforced by the events known as La Caputxinada\, in 1966. Tàpies was invited as a well-known Catalan artist to take part in this clandestine meeting at the Capuchin monastery in the Sarrià neighbourhood of Barcelona\, where students and intellectuals discussed setting up the first democratic student union at the university since the end of the Spanish Civil War. After several days under siege\, he was arrested by the police\, together with the other participants\, and subsequently fined (the Supreme Court confirmed the fine imposed on the artist in 1971). As he recalled in his autobiography Memòria personal [Personal Memories]\, which he began writing that same year\, “Entering the packed meeting room to great acclaim from the students was moving. It was the first time I had played a prominent part in a large event\, and all this affected me a lot.” \n  \nAntoni Tàpies’ civic and political commitment \nAntoni Tàpies was a committed artist in relation to the political and social events of contemporary history. While this positioning is to be found at the beginning of his career\, it was from the second half of the 1960s that his commitment to the struggle against the Franco dictatorship and for democracy became clearer. Following the dictator’s death\, Tàpies often sided with civil and political initiatives aimed at self-government for Catalonia and an amnesty for political prisoners\, and showed his support for other oppressed peoples around the world\, environmentalism and anti-militarism. \nFrom the 1980’s onwards\, demand for his posters from institutions and other bodies rose. Highlights in this context include the posters he created for initiatives set up by the university together with other institutions\, such as for example Catalan Week in New York (1983)\, published by the UB\, the Barcelona city council\, the savings bank Caixa d’Estalvis de Catalunya and New York University\, and the poster for the production of Goethe’s Urfaust in the university’s Paranimf auditorium (1983). \n  \nPreliminary work and the creation of Tàpies’ monument to Picasso \nUnder this title\, in 1983 the Paranimf auditorium in the University of Barcelona’s Historic Building hosted an exhibition devoted to the artistic process in which Antoni Tàpies created his Homenatge a Picasso [Homage to Picasso] (1983)\, commissioned two years before by Barcelona city council. Homenatge a Picasso (1983) was installed in 1983 on the Passeig Picasso\, near one of the gates to the Ciutadella park. When the monument was restored by Pere Casanovas in 2006\, the Fundació Antoni Tàpies organised another exhibition in which his preliminary sketches were displayed. \nTàpies conceived the monument as an assemblage of art nouveau artefacts—specifically\, a piece of furniture that combines the functions of a sofa\, mirror and cupboard all at once\, from the time when the painter from Malaga lived in Barcelona—with some steel bars running through them. While the piece of furniture is a symbol of comfort in a specific time and social setting\, the bars—which suggest the industrial Barcelona of the day—represent the discomfort of revolt. The piece is completed by a pile of chairs tied with ropes and some white sheets spread out with phrases written on the bottom part\, including one that translates as\, “A painting is not to decorate a lounge\, but is a weapon of attack and defence against the enemy.” The piece therefore sets out to stress the social function of art. \nThe exhibition was open from 7th April to 18th May 1983. It was organised by the faculty of fine art\, which devoted a special issue of its newsletter to the exhibition. This included a plan of the pieces in the exhibition\, accompanied by the preliminary sketches and several texts reflecting on the monument\, illustrated by an extensive photo report by Francesc Català-Roca. \nThe opening of the exhibition was a major institutional event\, attended by leading figures in the worlds of politics and culture at the time\, including Jordi Pujol\, then head of the Catalan government; Max Cahner\, Catalan minister of culture; Pasqual Maragall\, mayor of Barcelona; Joan Guitart i Agell\, Catalan minister of education; Josep Maria Cullell\, Catalan minister of regional policy and public works; José María Maravall\, Spanish minister of education and science\, and Tomás de la Quadra-Salcedo\, Spanish minister of regional administration\, among others. The university organised a series of lectures in connection with the exhibition\, including one by Alfonso Pérez Sánchez\, director of the Museo del Prado in Madrid\, under the title Monument and Painting. \n  \nDoctor Honoris Causa \nOn 22nd June 1988\, at the request of the faculty of geography and history of the Universitat de Barcelona\, Antoni Tàpies was awarded an honorary doctorate\, sponsored by Dr. Immaculada Julián. In her speech\, the latter reviewed his career as an artist from its beginnings in the forties\, mentioning his different stages and concluding by describing him as “an artist who\, without being a teacher there\, has been a master for many generations at the faculty of fine art\, because of the value\, substance and conceptuality of his work”. \nOne of the high points of the ceremony was an emotional speech about art and spirituality given from the pulpit in the Paranimf\, dealing with several topics: the social function of art as a path for knowledge and a means of changing awareness and behaviour\, the validity of certain spiritual and contemplative experiences and their adaptation to current needs\, and the importance of the artist’s work as a contribution to the struggle against commercialism and banalisation. His speech\, entitled Art and Spirituality\, concluded with these words: \nThe point is\, as has often been discussed\, one thing is good spiritual or moral intentions and another is also to possess the set of qualities\, or artistic gifts\, that characterise certain personalities; in the end\, everything that makes art truly Art\, with all the enigmatic mechanisms\, complexities and adventures that belong to it\, but of which the “spiritual” world\, as we have seen\, never ceases to be the essential\, inseparable foundation. \n  \nBookings: visitesguiades@ub.edu \nComments: Comfortable footwear is recommended. The parts visited in the Historic Building of the Universitat de Barcelona are not accessible to people with reduced mobility.
URL:https://museutapies.org/en/event/antoni-tapies-and-the-university-of-barcelona-combined-visit-to-the-fundacio-antoni-tapies-and-the-universitys-historic-building/
LOCATION:Museu Tàpies
CATEGORIES:Visites i diàlegs
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DTSTART;TZID=UTC:20240413T110000
DTEND;TZID=UTC:20240413T120000
DTSTAMP:20260509T215405
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LAST-MODIFIED:20240404T130849Z
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SUMMARY:Zazen. Seated meditation
DESCRIPTION:  \nZen is a Japanese word derived from the Sanskrit dhyāna which literally means ‘meditation’. Zen is therefore meditation. As part of the temporary exhibition Tàpies: The Zen Imprint\, the Nalanda Zen centre of Barcelona is organising an open session of zazen\, the seated meditation traditional in Zen. \nThere is an art derived from Zen\, from the practice of meditation. There is no Zen art. Everyone finds their own way based on their own experience. Meditating is experimenting with yourself; painting as Tàpies did is\, too. The fruit of a mind freed from attachments and preconceptions to leave the hand free to draw. When you let yourself go\, freedom appears. \nThere is nothing to gain. Just sitting\, letting body and mind go. A thousand and one times. Nothing matters any more other than staying seated\, letting thought go\, aware of one’s own body and its breathing. Like this\, sitting becomes a unique chance to observe one’s true nature. \nThis session will consist of two parts: the first in the form of seated meditation and a brief meditation while walking round the exhibition space\, and the second part of seated meditation. The session ends with some traditional chants. \n  \nI close my eyes\, seated in meditation\, \na thousand mountains in the dawn. \nThe ten thousand concerns of the human world are in vain. \nAlone and unmoving on my cushion\, \nin the vacuum\, sitting before an empty window. \n  \nRyōkan Taigu (1758–1831) \n  \nYou can enrol for the activity either by emailing nalanda@nalanda.cat or on the day of the activity in reception at the Fundació Antoni Tàpies. The session is suitable for all kinds of people\, but capacity is limited. \nAttendees are asked to be punctual and to wear black or at least neutral-coloured clothing. \n 
URL:https://museutapies.org/en/event/zazen-seated-meditation/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
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DTEND;TZID=UTC:20240413T140000
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SUMMARY:Art of Another Kind: Art Informel in Catalonia\, 1956–1966\, Catalogue Presentation
DESCRIPTION:  \nArt informel was one of the leading art movements in Catalonia in the second half of the 20th century\, bursting with creative freedom and breaking free from the limitations of representation. Deeply personal and introspective\, it embraced a wide range of painting styles — matter painting\, tachisme\, gesture-sign painting and spatialism — that dominated the European\, and Catalan\, art scene throughout the 1950s and 1960s. \nThe exhibition Art of Another Kind: Art Informel in Catalonia\, 1956–1966\, which can currently be seen at the Museu d’Art de Girona\, is the most comprehensive survey of this movement in Catalonia to date and features many artists—particularly women—whose work has not been widely exhibited and who have received little attention in the historiography of Catalan art informel. The show also dedicates a space to historian and critic Juan-Eduardo Cirlot (Barcelona\, 1916–1973)\, one of the movement’s greatest proponents\, and pays tribute to artists Albert Ràfols-Casamada\, Romà Vallès\, Evarist Vallès and Antoni Tàpies\, as part of the commemorations to mark their centenary years. \nAs a way of bringing the spirit of the show to Barcelona\, the Fundació Antoni Tàpies is delighted to present the exhibition catalogue\, which includes texts by Àlex Mitrani and Lourdes Cirlot\, among others. The presentation will be given by the exhibition curators\, Conxita Oliver and Joan Gil\, who will be joined by graphic designer Jordi Ortiz and the director of the Museu d’Art de Girona\, Carme Clusellas. \n  \n[Antoni Tàpies. Terra i pintura (1956). © Fundació Antoni Tàpies\, Barcelona/vegap. Photography: © Gasull Fotografia\, 2024.]  
URL:https://museutapies.org/en/event/art-of-another-kind-art-informel-in-catalonia-1956-1966-catalogue-presentation/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
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