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DTSTAMP:20260509T224731
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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
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2024/03/ub.png
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DTSTART;TZID=UTC:20240518T110000
DTEND;TZID=UTC:20240518T133000
DTSTAMP:20260509T224731
CREATED:20240112T150743Z
LAST-MODIFIED:20240214T155433Z
UID:10000122-1716030000-1716039000@museutapies.org
SUMMARY:Montaner y Simón: A Publishing House with History. Guided Tour
DESCRIPTION:Tickets\n  \n \nA guided tour that aims to explore the history of the former Montaner y Simón publishing house\, the work of the modernista architect Lluís Domènech i Montaner\, through a visit to the Fundació Antoni Tàpies\, the former main offices of the publishing house\, and two closely related buildings by the same architect: the Palau Montaner\, now headquarters of the Spanish government’s delegation in Catalonia\, and the Casa Thomas\, currently the Cubiñá designer furniture store.
URL:https://museutapies.org/en/event/la-montaner-y-simon-una-editorial-amb-historia-itinerari/2024-05-18/
LOCATION:Museu Tàpies
CATEGORIES:Visites i diàlegs
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DTSTART;TZID=Europe/Madrid:20240518T120000
DTEND;TZID=Europe/Madrid:20240518T140000
DTSTAMP:20260509T224731
CREATED:20240415T125226Z
LAST-MODIFIED:20240503T095541Z
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SUMMARY:Following the Sun: Candela Capitán
DESCRIPTION:  \n \n  \nThe roof of the Fundació Antoni Tàpies is to become an experimental playground for Opimelissa\, a collective who cook\, sing\, dance and lots more. We’ll be following the sun with the gentle irony and humour of Júlia Barbany\, the architecture of the catchy electrosong of Petit Ibèric\, the philosophical canticles of Max Grosse about the life and lovesickness of an odd sock with a hole in it\, the egodilirium of the sharp-penned dramatist and writer Berta Prieto (if you don’t know who she is yet\, you’re living in a cave!)\, the rhythm of DJ\, performer and militant for self-governance Meritxell de Soto\, the overflowing energy of tender\, multi-faceted punkmother Belén Barenys\, the experimental Latin music of Deprerreo\, the contorted body of Candela Capitán\, who denounces the sexualisation of women through convulsive metrics. \nThird session of the programme Following the Sun\, an experimental series of sound and stage performances\, presenting nine new sessions by young creative talents. The programme\, curated and produced by Carolina Olivares Esturillo\, aims to promote the youthful\, inexhaustible energy of artists to light up and give new life to Tàpies’ solitary sock that presides over the Fundació’s roof terrace. \n  \nThird session: Candela Capitán \nControl tools in freedom\, cowbells and algorithms\, “slow living” and “screen hypnotism” are the basis of CELDA SONORA\, the new solo by Candela Capitán (Seville\, 1996) for the cycle “Following the sun”\, curated by Carolina Olivares Esturillo\, at the Fundació Antoni Tàpies\, which will be presented on May 18 to celebrate International Museum Day. \n  \nCELDA SONORA is a “dance” process that explores the body and movement to demystify the idea of ​​finding a deeper connection with oneself\, others and the environment through the New Age phenomenon. This piece fuses two instruments of free control as disparate as the cowbell and the algorithm\, and implements what Captain calls “Slow Living movement practice” in dance. The constrained body and a rudimentary soundtrack are the response to technological saturation\, the accelerated pace and search for instant gratification that characterize much of contemporary generations. \n  \nCandela Capitán is an action artist and choreographer. Her personal work explores the activation and deactivation of social links\, putting the body in relation to other bodies\, objects and images collective. New communication technologies\, relationships cross-border interactions between artistic disciplines or the intergenerational impact and its consequences are some of the subjects that his projects go through.These serve to create dream spaces and parallel realities in the form of choreographies\, installations or performances that invite audience to participate directly in their tensions\, joys and delusions. Mostly uses the language of performance to study the limits of dance\, thanks to an exhaustive knowledge of the body in movement and its presence on stage. Her works are developed in different media (live actions\,facilities or the audiovisual field) and vehicles (through platforms virtual or live)\, with the aim of finding different channels of interconnection with the public or questioning artistic disciplines and their possibilities. \n  \n\n\nProgramme curated and produced by Carolina Olivares Esturillo \nDesign: Ana Habash and Ignasi Ayats. Illustrated by: Eduard Sales \nTicket sales through the Fundació website and at the box office. Limited capacity \n\n\nLink to the full programme.
URL:https://museutapies.org/en/event/following-the-sun-candela-capitan/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=UTC:20240518T210000
DTEND;TZID=UTC:20240518T220000
DTSTAMP:20260509T224731
CREATED:20240320T162439Z
LAST-MODIFIED:20240503T122502Z
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SUMMARY:Barcelona Poetry Festival. With Miquel Desclot and Horacio Curti
DESCRIPTION:  \nWithin the framework of the Night of the Museums and within the programming of the Barcelona Poetry festival\, the poet Miquel Desclot will recite a selection of the poems that are included in the poetic anthology On a pillow of grass which includes an extensive selection of classical Japanese lyrics\, from the 4th century to the present\, with haikus and tanks chosen and covered by Desclot. \nThe poetic recital will consist of three parts and between each part there will be a musical interlude performed by the shakuhashi flutist\, Horacio Curti. \n  \nPARTICIPANTS \nMiquel Desclot \nHe published the first book of poetry\, with the Lullian title of Ira it’s sad passion\, as winner of the Amadeu Oller prize for unpublished works\, in the spring of 1971. During the half century that has passed since then\, he has continued publishing his own verses\, such as Songs of the moon in the hat (1978)\, Aucas and scarecrows (1987)\, As if always (1994)\, Fantasies\, variations and escape (2006)\, and poetic versions\, such as Lambeth prophetic books\, de William Blake (1987-89)\, I have herbs everywhere. From Japanese lyric (1995)\, Song book by Francesco Petrarca (2016)\, I have punished life by living it\, de Vincenzo Cardarelli (2020) or The beautiful lady without mercy. Poetic interpretations of English (2021)\, as well as compilations by Jacques Prévert\, William Wordsworth\, Umberto Saba\, Michelangelo Buonarroti\, Robert Frost and Wilhelm Müller. In 2020 he won the Carles Riba poetry prize with the book Wake me up when I’m not sleeping. \nIn the field of theater\, he has translated several works by William Shakespeare for different companies\, collected in the volume Choice of works (2017)\, and seven comedies by Molière\, collected in Seven comedies and one ballet (2022)\, and works by Carlo Goldoni and Guillaume Apollinaire. \nHe has also published poetry for children\, collected under the title The word tamer (2012)\, and books about music\, The golden age of music (2003 and 2022). \n  \nHoracio Curti \nDoctor in Ethnomusicology\, he is a professor at the Escuela Superior de Música de Cataluña (ESMUC) and a collaborating researcher of INET at the Universidad de Aveiro from where he researches sound aesthetics of Japanese music and artistic research. \nHe learned about the shakuhachi flute in the Himalayan region and traveled to Japan to study it under the guidance of Kaoru Kakizakai within the Kokusai Shakuhachi Kenshukan. He has played and taught in Asia\, several countries in Europe and North and South America\, developing an artistic activity that includes work within traditional Japanese classical music\, as well as free improvisation and contemporary Western classical music. \nHe has performed as a soloist with orchestras such as the National Orchestra of Spain and the Royal Philharmonic Orchestra of Liège (Belgium)\, and regularly collaborates with dance\, poetry and theater. Beyond ephemeral creations\, he has published two solo albums (It is and Home is now)\, the book-CD Zen Stories: Little stories to wake up (together with Marta Millà) and edited the book Eolssigu! The Sounds of Korea.
URL:https://museutapies.org/en/event/night-of-the-museums-2024-barcelona-poetry-festival-with-miquel-desclot-and-horacio-curti/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
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