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DTSTART;TZID=Europe/Madrid:20260603T190000
DTEND;TZID=Europe/Madrid:20260603T210000
DTSTAMP:20260602T035227
CREATED:20260508T121500Z
LAST-MODIFIED:20260521T094117Z
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SUMMARY:Àngel Jové: Bite the Image. Film series
DESCRIPTION:  \nThe Museu Tàpies\, in collaboration with Espai Texas\, presents the film series Àngel Jové: Bite the Image\, which explores the cinematographic side of one of the most unique creators in the contemporary Catalan scene\, an artist who was radical\, experimental and interdisciplinary. \nAlongside his artistic career\, Jové developed a body of work of a potent experimental character the field of cinema.  After (1968)\, a part of a performative action\, to the creation of Primera muerte (1969) with the El Maduixer conceptual group — considered the first piece of video art in Spain) — his audiovisual work became a terrain for radical research on the image. This line of work culminated in later projects like Lo pedrís\, viatge per les terres de Ponent (Lo pedrís\, voyage to western lands\, 1989)\, made with Benet Rossell and Carles Hac Mor. \nStarting in the late 1960s\, Jové would take on regular roles in the films of Bigas Luna\, becoming an actor with a cult reputation in films like Bilbao (1978)\, Caniche (1979) and Angustia (1987)\, as well as in other productions of Catalan and Spanish film in the 1980s and 1990s. His artistic career has likewise been the subject of film\, as seen in the documentaries Gonzalo Herralde made about him over various decades. \nThe series Àngel Jové: Bite the Image thus proposes an approximation to the audiovisual side of Jové\, with three sessions combining screenings and contextual contributions from respective experts\, with the aim of polyhedrally placing Jové within this form of register. \n  \nProgramme \n  \nSession 2 — The view of Gonzalo Herralde: documentaries on the work and thought of Àngel Jové \nScreening of Capiscar la fior de la mà morta (1991) and Altra volta mossego un tros de pa. Cristòfol-Pavese (2007). \nA dialogue between Gonzalo Herralde and Maria Josep Balsach\, curator of the exhibition Àngel Jové. De intactu\, at the Museu Tàpies. \nDate: Wednesday 3 June\, 7 pm \n  \nSession 3 — Experimental cinema: conceptual artistic practice at Primera muerte \nScreening of Primera muerte (1969) and Eco de Primera muerte (2017) \nThe final session will begin with a presentation by Daniel Pérez Pàmies\, Professor of Film History (UdG) and member of the research group GROC\, and will close with a presentation by Imma Prieto\, director of the Museu Tàpies\, who will focus on Jové’s role in the early years of video art. \nDate: Thursday 11 June\, 7 pm \n  \nPast: \nSession 1 —The cinema of transgression: Àngel Jové and Bigas Luna as a paradigm of the 70s \nScreening of Bilbao (1978)\, by Bigas Luna \nThis session features an introduction by Jordi Balló\, who will address how this film represented an aesthetic and thematic rupture. \nDate: Wednesday 20 May\, 7 pm \n  \nImage: Àngel Jové. Eco de Primera muerte\, 2017
URL:https://museutapies.org/en/event/angel-jove-bite-the-image-film-series/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260604T180000
DTEND;TZID=Europe/Madrid:20260604T184000
DTSTAMP:20260602T035227
CREATED:20260522T113306Z
LAST-MODIFIED:20260530T124658Z
UID:10001290-1780596000-1780598400@museutapies.org
SUMMARY:Vibe. The Weight of Sand
DESCRIPTION:Vibe: The Weight of Sand is a performance inspired by the cosmogony of Black Africa\, where objects\, gestures and words are part of the same relational system. In this domain\, functionality and symbolism coexist without hierarchies: the everyday can become a ritual\, and the simplest of gestures might reveal a profound\, ancestral side of things. \nThis piece takes shape as an act of divination occurring in a contemporary urban context. Instead of percussion\, we use sand and electronic devices to create frequences able to move it. We then draw over top of this living surface\, evoking ephemeral forms\, enabling them to appear\, as if matter were trying to speak. \nSand represents vibration\, latent energy and movement. \nThe stool represents weight\, a centre and stability. \nAt the heart of the action we have the nkoh\, a stool from ethnic Bamileke culture. I sit on it covered by a large piece of cloth that transforms the body into an almost pyramidal figure. The stool is a seat\, drum\, throne and memory itself: the hidden chair; the grandfather’s throne; the chair at the door\, waiting without expecting anyone; the presence the body resonates from. \nTwo cameras film the drawing tables and project the images on the wall. In this way\, the hands working the sand become a kind of digital divination: shaky traces\, hesitant gestures\, ongoing appearances and disappearances. \nThe performance also explores other ways of holding up and moving the body. Carrying someone on your back\, like a child; improvising seating with sacks or unstable structures; moving an elderly person between two poles from one village to another. Here the chair is not just a functional object\, but an extension of the body\, an instrument of survival\, care and transmission. \nA visible chair. \nAnother that is invisible. \nThe chair of life. \n  \nXumo Nunjo. An independent artist\, musician and producer from Cameroon\, based in Barcelona. His grandparents initiated him in traditional Bamileke performing arts\, which would have a powerful impact on his artistic sensibility and creative path. His interests include architecture\, art history\, anthropology\, theatre and the visual arts\, all of which contribute to his original\, cross-disciplinary work. In his career he has participated in the creation and production of stage shows\, recordings\, performance art\, street art projects and advertising campaigns. He has performed in throughout Europe\, the United States\, Asia and Africa\, presenting original work that reflects on his abundant artistic universe. \n  \nAngel Ihosvanny. A multidisciplinary artist living and working between Barcelona and Luanda. His practice encompasses painting\, installation\, video and music\, addressing themes in contemporary urban planning\, consumerism and the transformation of the environment. He has exhibited in international events like the Luanda Triennale and the Venice Biennale. \n  \nSeries “The Chairs of Tàpies” are curated by Judith Barnés.
URL:https://museutapies.org/en/event/vibe-the-weight-of-sand/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260610T180000
DTEND;TZID=Europe/Madrid:20260610T190000
DTSTAMP:20260602T035227
CREATED:20260529T131329Z
LAST-MODIFIED:20260529T131356Z
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SUMMARY:Mur mur i zo
DESCRIPTION:  \nMur mur i zo* is a kinetic and poetic exploration of the exhibition Antoni Tàpies: The Perpetual Movement of the Wall\, held at the Museu Tàpies. This collaborative research project on movement and stasis has been developed between two artists from different disciplines\, dance (Georgia Vardarou) and the visual arts and poetry (Nathalie Karagiannis). The project is grounded on three core concepts: the repetition of the wall motif in the work of Tàpies and its implications\, the relationship between body and memory (memory as a dead archive or creative vitality) and interaction between these two creators. \nPresented at the Museu Tàpies\, this exploration is the result of the first edition of the research residency Archival Body\, a collaborative project between the Museu Tàpies and Graner – Centre de creació de dansa i arts vives. \n* The title of the project is the transliteration into Latin characters of a Greek verb meaning ‘murmur’. Placed in this format\, it repeats the Catalan word mur\, meaning ‘wall’\, as well as zo\, the Greek word for ‘live’. \n  \nGeorgia Vardarou graduated from the National School of Dance (Κ.Σ.Ο.Τ.) in Greece and then from P.A.R.T.S.\, in Belgium. As a professional dancer she has worked with Salva Sanchis\, Marc Vanrunxt and Anne Teresa De Keersmaeker / Rosas\, among others. As a choreographer she is interested in personal movement\, the content it carries and intersubjectivity between the observer and the dancer in perception of the dance. Her most recent pieces have been seen at STUK (Leuven)\, Mercat de les Flors (Barcelona)\, KC NONA (Antwerp)\, Corso-Berchem (Belgium)\, Spider Festival (Slovenia) and December Dance (Bruges). Vardarou is a member of the teaching staff at Centre Superior d’Art Dramàtic Eòlia. Her work is produced by kunst/werk. \nNathalie Karagiannis works in writing\, drawing and installation. She has degrees in Public Law (Paris I) and Political Science (Sciences Po Paris)\, and did a doctorate in Social and Political Theory from EUI in Florence. Her most recent exhibitions are Three Breaths of Fresh Air (Islahane Museum\, 2025)\, Vent (La Pahissa del Marquet\, 2025) and Dago (Hadjmihali Museum\, 2025). She is the curator of Art and Crisis at the CCCB (2013)\, the Festival SUD de Poesia at the Reial Cercle Artístic deBarcelona (2015)\, Der Blinde Fleck at Warburg Haus (2019) and Elogio del riesgo and Vallas at La Fusteria (2023). She has published seven books\, is the editor of three volumes of writing\, and has written articles on democracy\, debt\, solidarity and other questions related to social and political theory.
URL:https://museutapies.org/en/event/mur-mur-i-zo/
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260619T190000
DTEND;TZID=Europe/Madrid:20260619T210000
DTSTAMP:20260602T035227
CREATED:20260522T075902Z
LAST-MODIFIED:20260522T075902Z
UID:10001289-1781895600-1781902800@museutapies.org
SUMMARY:Raquel G. Ibáñez. Sienten las piedras
DESCRIPTION:  \nIf we were to plunge into the hole of Antoni Tàpies’ Sock\, perhaps we would see the sky. Or the bowels of the earth. Or that familiar corner we had never truly noticed before. The hole would then appear as an opening\, a threshold from which to gaze upon a terrace exposed to the sun and the elements—a space where the contemplation of the everyday becomes strangely mysterious. As if perception\, by straying just slightly from its usual course\, opened a small fissure. An interstice that\, following Tim Ingold’s reflections\, would not enclose a fixed meaning but would remain between the lines. “An aerial knot.” \nPerhaps\, then\, it would be enough to pull the thread and listen. To listen to the wind\, the flowing water\, the melting snow\, or the distant crack of a falling tree. To listen also to what vibrates between bodies and objects. From this sustained attention\, a small-scale ritual would unfold. If we were to plunge into the hole. \n… \nFrom this invitation\, the artist proposes a listening session in which recordings of atmospheric phenomena and natural environments dialogue and distort. Like another thread in an expanded weave\, the ancestral and the technological\, the intimate and the geological\, intertwine without hierarchies. In resonance with Mary Oliver’s poetic sensitivity to the wondrous dimensions of the everyday\, the piece subtly shifts perception and opens—if only momentarily—other ways of relating to the environment. \n  \nRaquel G.Ibáñez’s artistic practice explores liminality and the boundaries between sound\, language\, and visual image\, using listening—both human and more-than-human—as a methodological tool rooted in acousmaticology. Her work focuses on the intangible and the thresholds between the human\, the spiritual\, and the natural\, while also examining the tension between the ancestral and the future within a context of global crisis. Her processes highlight the fragility and interdependence of biological life\, materializing in various formats such as sound\, drawing\, performance\, installation\, and expanded publishing. \nShe has developed projects in institutions such as CA2M-Centro de Arte Dos de Mayo\, Fundación Cerezales Antonino y Cinia\, Tsonami Arte Sonoro\, CDAN\, Sonandes\, La Casa Encendida\, and MACBA. She has received awards and grants including the Premi Miquel Casablancas 2024\, Circuitos Artes Plásticas 2024\, the Comunidad de Madrid’s Visual Arts Creation Grants\, and public grants for the creation\, research\, and production of artistic projects from the Ministry of Culture. \nHer career includes artistic residencies at spaces like aadk\, Jazz ao Centro\, and Bulegoa\, as well as participation in sound art and experimental music festivals such as Insonora 14\, Sur Aural\, Rota Music Festival\, and Soundtiago\, among others. Her involvement in the poetry and performance collective Una fiesta Salvaje and the publication of her book Granate solidify a practice that intertwines creation\, research\, and writing. \n  \nActivity programmed as part of the Museu Tàpies series Following the Sun\, entitled Uncovering the Gaze\, curated by Carolina Ciuti. \n  \nImage: Raquel G. Ibáñez. Photo: Juan Hoppe
URL:https://museutapies.org/en/event/raquel-g-ibanez-sienten-las-piedras/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260704T190000
DTEND;TZID=Europe/Madrid:20260704T193000
DTSTAMP:20260602T035227
CREATED:20260423T133738Z
LAST-MODIFIED:20260505T115208Z
UID:10001260-1783191600-1783193400@museutapies.org
SUMMARY:Mari Lyn Diniz / Dora García. Corocuerpo (de feminidades disidentes o Mejor os calláis todos)
DESCRIPTION:Part of the Tàpies Museum project Extramurs 2026\, curated by Imma Prieto\, director of the Museu Tàpies\, and Judith Barnés\, head of public programmes at the Museu Tàpies. \n\n\nA chorus of trans women raise their voices to engage in dialogue with one another and address the audience as if they were a Greek chorus. Resurrection as justice. \n. \n\n\n\n\nSylvia Rivera\, one of the pioneers in the fight for the rights of gay\, lesbian and trans people\, delivered a speech at the New York City Christopher Street Liberation Day Rally in 1973 that became known as “Y’all Better Quiet Down”. Mari Lyn Diniz and Dora García will take inspiration from this speech in a performance art piece in which they work with a group of trans women who\, like a Greek chorus\, will interact with the audience. \nThis corocuerpo\, or chorus/body\, offers a direct critique of the structural violence of cis-normative discourse\, both heterosexual and  homosexual\, and celebrates ways of life that have historically been excluded from the public sphere. The incorporation of excerpts from the song O Amor\, by Brazilian singer Gal Costa\, reinforces the idea of resurrection as justice: here\, resurrection means bringing visibility to silenced voices\, excluded bodies and dissident genealogies. \nThe concept of resurrection is also present in Dora García’s second creation in the Extramurs project\, El bicho. The Gal Costa song that is recited adapts a poem by Vladimir Mayakovsky (Amor 3)\, the same author who inspired El bicho. \nCorocuerpo (De feminidades disidentes o Mejor os calláis todos) and El bicho form part of the Tàpies Museum project Extramurs\, which conceives the city as a space for action and outreach. With a multidisciplinary and inclusive approach\, it fosters dialogue between institutions\, with public spaces and with the environment. Developed in collaboration with Barcelona’s Eina University School of Art and Design and the Barcelona Grec Festival\, among others\, the Extramurs project proposes creations and activities that address contemporary needs and encourage new community narratives in urban spaces. It champions the idea of public walls as bearers of city residents’ voices\, places where collective narratives take shape and shared experiences are re-signified\, connecting directly with Tàpies’ thinking. \nEach annual edition of Extramurs moves from the Tàpies Museum into public spaces in collaboration with the Barcelona Grec Festival and other city institutions. The 2026 edition has invited the artist Dora García. Dora García works primarily in the visual arts and occasionally dance and theatre\, as well as engaging with social and political contexts. Her work spans literature\, film\, installation and performance art\, and focuses on stories she constructs and stages herself\, creating situations designed to engage visitors and create unique\, introspective experiences. \nA production by the Museu Tàpies and the 2026 Barcelona Grec Festival. \n\n  \nPerformers: Mari Lyn Diniz (BR) | Amanda Araújo (BR) | Helen Bogado (AR) | Lola Callejas (CL) | Milah Lorsalles (AR) | Soltanaterra (BR) \nWith the collaboration of: \nDaniela Barriga | Isidora Cruz Berta Esteve | Bárbara Lara Leiva | Ben Muñoz | Mitzi Reyna\, students of the Master Universitario en Investigación en Arte y Diseño (MURAD)\, Eina \nLucas Camacho | Carla López  | Sara Mato\, students of the Desing Degree\, Eina \nRita Duelt | Mireia Solé\, students of the Humanities Degree\, Universitat Pompeu Fabra
URL:https://museutapies.org/en/event/mari-lyn-diniz-dora-garcia-corocuerpo-de-feminidades-disidentes-o-mejor-os-callais-todos/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2026/04/corocuerpo-web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260704T200000
DTEND;TZID=Europe/Madrid:20260704T220000
DTSTAMP:20260602T035227
CREATED:20260423T135857Z
LAST-MODIFIED:20260601T080110Z
UID:10001263-1783195200-1783202400@museutapies.org
SUMMARY:Dora García. El Bicho
DESCRIPTION:  \nPart of the Tàpies Museum project Extramurs  2026\, curated by Imma Prieto\, director of the Tàpies Museum\, and Judith Barnés\, head of public programmes at the museum. \n\n\nTaking the satirical comedy of a disillusioned poet as the starting point\, a leading figure in performance art invites us to break down the hierarchy between audience and performance artists in pursuit of the “bug” of our time. \n\n\n\n\nIn 1929\, the futurist poet Vladimir Mayakovsky wrote “The Bedbug” (published in Spanish as “La chinche”)\, a science-fiction story about a Soviet revolutionary who\, in 1929\, is accidentally frozen along with an insect that parasitises him. Fifty years later\, in 1979\, both the revolutionary and the insect come back to life. \nObsessed with this story\, Dora García creates a work of performance art involving seven performers and the audience\, imagining a collective author who asks what happens over a fifty-year period\, who or what tells what has happened\, and who decides which events have transformed the world over that time. \nThe piece (which varies in length depending on the space in which it is presented) imagines a story repeated cyclically\, a kind of eternal return that\, however\, contains a flaw\, a parasite\, an insect\, a bug\, that prevents this repetition from unfolding without victims. Each presentation of the performance involves the audience in a different activity: sometimes it is a lecture\, sometimes a workshop\, or perhaps a dance class or a skating demonstration; and sometimes a play. Here\, hierarchies are subverted: between performer and viewer\, between those who speak and those who listen. \nEl Bicho (like the Corocuerpo\, performance art piece\, also included in the Grec programme) forms part of the Tàpies Museum project Extramurs\, which conceives the city as a space for action and outreach. With a multidisciplinary and inclusive approach\, it fosters dialogue between institutions\, with public spaces and with the environment. Developed in collaboration with Barcelona’s EINA University School of Art and Design and the Barcelona Grec Festival\, among others\, the Extramurs project proposes creations and activities that address contemporary needs and encourage new community narratives in urban spaces. It champions the idea of public walls as bearers of city residents’ voices\, places where collective narratives take shape and shared experiences are re-signified\, connecting directly with Tàpies’ thinking. \nEach annual edition of Extramurs moves from the Tàpies Museum into public spaces in collaboration with the Barcelona Grec Festival and other city institutions. The 2026 edition has invited the artist Dora García. Dora García works primarily in the visual arts and occasionally dance and theatre\, as well as engaging with social and political contexts. Her work spans literature\, film\, installation and performance art\, and focuses on stories she constructs and stages herself\, creating situations designed to engage visitors and create unique\, introspective experiences. \nA production by the Tàpies Museum\, the Gran Teatre del Liceu and the 2026 Barcelona Grec Festival. \nSuitable for audiences of all ages. \n\n\n\nPerformers: \nDora García | Simón Asencio | Castillo | Persis Bekkering | Adriano Wilfert Jensen | Krõõt Juurak | Michelangelo Miccolis | With the collaboration of Ramón Bonvehí \n  \nThanks to: \nIUAV Venezia | KHiO Oslo | DeSingel & M KHA Amberes | and the students of the course THE BUG at the Oslo National Academy of Arts \n  \nImage: Presentation of El Bicho at the Centro Cultural Condeduque\, Madrid\, 2022\, produced by El Amor. Photography by © Santiago Carrión for Madrid Destino
URL:https://museutapies.org/en/event/dora-garcia-el-bicho/
CATEGORIES:Public Programme
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