Meeting Point
2026-06-09 17:00 - 19:00 (Europe/Madrid)
In the context of the exhibition Antoni Tàpies: The Perpetual Movement of the Wall, the Museu Tàpies presents a public enlivening of the research process developed by Mauricio Sierra through conversations with various individuals who either work in the museum or visit it.
Opening up this process represents an invitation to place the body inside the exhibition space and experience varied manners of perception. The format combines mechanisms for artistic mediation and performance, and will be open to the participation of any person visiting the museum during designated opening times.
The proposal is founded on the idea that encounter activates movement, arouses murmurs, activates other rhythms and makes pauses possible, along with necessary relief and rest periods. In this regard, Sierra proposes to work on the basis of the collective gestures that bodies produce within museum spaces, understanding the museum as a site of relation and conversation. Through these gestures of approximation, the research project delves into the appearance of subtle gestures and forms of shared presence, rehearsing the museum as a meeting point influenced by everyday relationships, where many actors coincide, and where spaces for listening and exchange might be created. In this way, the proposal pursues an existing line of work focused on experiencing ways of being together and collectively inhabiting spaces.

Mauricio Sierra is a researcher, performer, collaborative playwright and director, assistant director and mediator. His practice addresses the collective body as ongoing support and object of study, as well as a possibility for destabilisation and basis of research. He has worked on projects in theatre, dance, performance, cinema and museography in Colombia, Spain and England. He develops processes with professional and academic groups in the performing arts where, through contemporary forms of communication, and with particular attention to non-conventional spaces, he explores the possibilities of design, reception and participation in artistic experiences.

Four people observe Marró i ocre [Brown and ochre] (1959), by Antoni Tàpies, at Sala Gaspar, 1960. Personal Archive of Antoni Tàpies.

Mur mur i zo
2026-06-10 18:00 - 19:00
Mur 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.
Presented 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.
* 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’.

Georgia 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.
Nathalie 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.

Àngel Jové: Bite the Image. Film series
2026-06-11 19:00 - 21:00
The 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.
Alongside 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.
Starting 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.
The 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.

Programme

Session 3 — Experimental cinema: conceptual artistic practice at Primera muerte
Screening of Primera muerte (1969) and Eco de Primera muerte (2017)
The 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.
Date: Thursday 11 June, 7 pm

Past:
Session 1 —The cinema of transgression: Àngel Jové and Bigas Luna as a paradigm of the 70s
Screening of Bilbao (1978), by Bigas Luna
This session features an introduction by Jordi Balló, who will address how this film represented an aesthetic and thematic rupture.
Date: Wednesday 20 May, 7 pm
Session 2 — The view of Gonzalo Herralde: documentaries on the work and thought of Àngel Jové
Screening of Capiscar la fior de la mà morta (1991) and Altra volta mossego un tros de pa. Cristòfol-Pavese (2007).
A dialogue between Gonzalo Herralde and Maria Josep Balsach, curator of the exhibition Àngel Jové. De intactu, at the Museu Tàpies.
Date: Wednesday 3 June, 7 pm

Image: Àngel Jové. Eco de Primera muerte, 2017

Lliurament de premis de la tercera edició del concurs Teresa Barba d’escriptura crítica
2026-06-16 18:00 - 19:30

Raquel G. Ibáñez. Sienten las piedras [The Stones Feel]
2026-06-19 19:00 - 21:00
If we were to plunge into the hole of Antoni Tàpies’ Mitjó [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 contemplation of the everyday becomes strangely mysterious. As if perception, by straying just slightly from its usual course, had opened up 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.”
Perhaps, 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.

With this invitation in mind, Raquel G. Ibáñez has designed a listening session in which recordings of atmospheric phenomena and natural environments enter into a distorted dialogue—like a thread in an expanded, nonhierarchical weave, intertwining the ancestral and the technological, the intimate and the geological. In resonance with Mary Oliver’s poetic sensitivity to the wondrous dimensions of the everyday, this piece subtly shifts perception to reveal—if only momentarily—other ways of relating to the environment.
…
From 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.

Raquel 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 on 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, materialised in various formats such as sound, drawing, performance, installation and expanded publishing.
She 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 a number of awards and grants, including the 2024 Miquel Casablancas Prize, the 2024 Circuitos Artes Plásticas Prize, the Comunidad de Madrid’s Visual Arts Creation Grants and public grants from the Spanish Ministry of Culture for the creation, research and production of artistic projects.
Her career includes artistic residencies at spaces like AADK, Jazz ao Centro and Bulegoa and she has participated 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 consolidate a practice that entwines creation, research and writing.
Activity programmed as part of the Museu Tàpies series Following the Sun, entitled Uncovering the Gaze, curated by Carolina Ciuti.

Image: Raquel G. Ibáñez. Photo: Juan Hoppe

Mari Lyn Diniz / Dora García. Corocuerpo (de feminidades disidentes o Mejor os calláis todos)
2026-07-04 19:30 - 20:30, 2026-07-06 20:00 - 20:30
A 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.
.

Sylvia 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.
This 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.
The 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.
Corocuerpo (De feminidades disidentes o Mejor os calláis todos) andEl bichoform 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.
Each 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.

Part of the Tàpies Museum project Extramurs 2026, coordinated by Judith Barnés, head of public programmes at the Museu Tàpies.

A production by the Museu Tàpies and the 2026 Barcelona Grec Festival.

Performers: Mari Lyn Diniz (BR) | Amanda Araújo (BR) | Helen Bogado (AR) | Lola Callejas (CL) | Milah Lorsalles (AR) | Soltanaterra (BR)
With the collaboration of:
Daniela Barriga | Isidora Cruz Berta Esteve | Bárbara Lara Leiva | Benjamin Muñoz | Mitzi Reyna, students of the Master Universitario en Investigación en Arte y Diseño (MURAD), Eina
Lucas Camacho | Carla López | Sara Mato, students of the Desing Degree, Eina
Rita Duelt | Mireia Solé, students of the Humanities Degree, Universitat Pompeu Fabra
Maia Braselli, Universitat de Barcelona

Extramural 2026. Opening program
2026-07-04 19:30 - 22:00
The project resucítame (Resurrect Me)—which includes performance, public debate, memory walks, posters, a programme of films and an art intervention on the façade of the museum—is unbounded yet firmly rooted in the intersection of borders, between life and death and back to life, through time and chronologies, crossing genres and inserting languages. The best way to begin such a project is with a fleeing female voice, a cappella, uttering lines by Mayakovsky that might encapsulate this project: “Resurrect me / if only / because I am a poet / and I longed for the future.”
The programme of activities for the 2026 edition of Extramural kicks off on 4 July at 7.30 pm at the Foyer at the Gran Teatre del Liceu, with performances of Corocuerpo (Chorus/Body) and El Bicho (The Bug), and the participation of Erika Michi.
A performance of the second chapter of El Bicho—described as “a timeline with a parasite, an experimental seminar for the embodiment of a text”—will be held in the Foyer at the Liceu at the same time on the following day, 5 July.
On July 6 the opening program will conclude with a dialogue between Frau Diamanda and Diego Marchante, in collaboration with social producer Mescladís, at 6.30 pm at the Foyer del Teatre Lliure de Montjuïc and the second performance of Corocuerpo at 8 pm at plaça Margarida Xirgu.

Image: Introducing El Bicho at the Centro Cultural Condeduque, Madrid, 2022, produced by El Amor. Photo by © Santiago Carrión for Madrid Destino

Dora García. El Bicho
2026-07-04 20:00 - 22:00
Taking 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.

In 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.
Obsessed 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.
The 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.
This performance unfolds in two consecutive parts, one for each day of performance, each part building upon the previous one. The audience is welcome to attend both days; or they may choose to witness only one part; this choice will affect the role of the spectator and the nature of the work. Each part lasts two hours.

El 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.
Each 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.

Part of the Tàpies Museum project Extramural 2026, coordinated by Judith Barnés, head of public programmes at the museum.

A production by the Tàpies Museum, the Gran Teatre del Liceu and the 2026 Barcelona Grec Festival.
Suitable for audiences of all ages.

Performers:
Dora García | Simón Asencio | Castillo | Persis Bekkering | Adriano Wilfert Jensen | Krõõt Juurak | Michelangelo Miccolis | With the collaboration of Ramón Bonvehí

Thanks to:
IUAV Venezia | KHiO Oslo | DeSingel & M KHA Amberes | and the students of the course THE BUG at the Oslo National Academy of Arts

Image: Presentation of El Bicho at the Centro Cultural Condeduque, Madrid, 2022, produced by El Amor. Photography by © Santiago Carrión for Madrid Destino

Conversation between Frau Diamanda and Diego Marchante
2026-07-06 18:30 - 19:30
As a prologue to the performance Chorus/Body, part of the project Extramural – Dora García: Timelines / resurrection, taking place on the same day at the Plaça Margarita Xirgu, Frau Diamanda and Diego Marchante will offer an open conversation with the aim of introducing some of the theoretical, political and conceptual lines of thought found in the new issue of the journal Convit/e, to be released in the autumn.
The encounter addresses issues related to the history of trans struggle and its convergence with other struggles, the metaphor of resurrection as justice in the face of the structural violence of cisnormative discourses, collective bodies and tensions between community, identity and dissidence. These issues, which are key for the publication as well as for the performance to follow, will work as the starting point for a shared reflection on the possibilities of constructing community and contemporary forms of resistance and mutual support. This space for dialogue is conceived as a contextual opening to Chorus/Body, providing the public with the tools and perspectives to enable comprehension of the performative experience.
Convit/e is a publishing project initiated by the social production group Mescladís, under the artistic direction of Dora García, and in collaboration with the Museu Tàpies. The journal proposes a space for critical thought and experimentation in relation to contemporary artistic and social practices.

Frau Diamanda
Writer, translator, transvestite audiovisual artist, drag performer, independent curator, arts administrator, DJ and occasional actress. She has specialised in transgender art and multimedia performance. She followed the Independent Study Programme (PEI) at MACBA from 2017 to 2018, and has published the books Escenas catalanas. Errancias antropológico-sexuales (La Máquina Barcelona, 2020) and Sexual Dissidences: Frau Diamanda’s Catalan Scenes, Travesti Politics of Resistance and Anti-Canonical Knowledge (Stenberg Press, 2025). Her artistic interests also include photography, video, installation, spoken word, electronic music and net art.

Diego Marchante “Genderhacker”
Transfeminist activist, transmedia artist and teacher. With a doctorate in Fine Art from the University of Barcelona, since 2008 he has lectured in Audiovisuals and Gender Studies at the University of Barcelona Faculty of Fine Art. His art work has been exhibited at CaixaForum, Fabra i Coats, Sala d’Art Jove, CCCB, MACBA and the Museo Reina Sofia. He has published various texts in books including Transfeminismos. Epistemes, fricciones y flujos (2013), Barbarismos queer y otros esdrújulas (2017), New (ego). Cuerpos conectados (2021) and Glossary of Common Knowledge Vol. 2 (2022).

A proposal by the Tàpies Museum and Mescladís.

Photo1: Cecilia Gamarra / Photo 2: Genderhacker

To invoke conflict
2026-09-10 18:00 - 19:00
To invoke the gap, or the crack, the flaw, the difference, the penalized, the incongruity, the dissonance, the disappointment, the buried root, the shameful. To invoke conflict. But to do so as a window onto a truth, onto a dogma that suffocates, excludes, and blinds.

Truth, an interstice within the normative and hegemonic narrative, is interpreted through voice, guitar, rhythm, dance, movement, words, matter, sounds, and tradition. A theatrical attempt to materialize each truth, which is not singular but rather the truth of each individual.

With this newly created staging, the Barcelona-based musical duo offers us a pseudo-epistemological concert/recital/performance that reinterprets this crack by Antoni Tàpies, and from chairs that the duo’s singer himself, during his student years at Pompeu Fabra University, worked on as a guide and host.

Carla Motis and Vignesh Melwani are a Barcelona-based guitar and vocal duo who, since forming in 2019, have performed over fifty concerts throughout Catalonia, as well as in Madrid and Valencia. Over the years, they have drawn inspiration from jazz and bossa nova standards to reinterpret songs from a wide range of musical styles and cultures, adopting a minimalist and eclectic sound where fusion is not sought after but inherent and inevitable. While they have always infused their repertoire with critical, feminist, and queer perspectives, this is the first time they have presented original compositions created from this perspective.

Presentation of the book “El mapa del tresor”, a story inspired in Antoni Tàpies
2026-09-15 18:00 - 19:00
The Museu Tàpies hosts the presentation of The treasure map written by Alba Puig and illustrated by Àgata Gil, the book was recently published by Mediterrània in their Palomitas de Arte collection. The event will feature the author and illustrator, who will discuss the book’s creation process and their approach to the world of Antoni Tàpies.
A piece of paper with an X drawn on it seems to indicate the existence of a treasure. But what if things aren’t exactly what they seem? Based on this premise, The treasure map invites children to discover that the same image can give rise to multiple interpretations and that imagination is an essential tool for looking at the world.
Inspired by the work Ochre and blue stains, an Antoni Tàpies’s 1972 work, this story introduces young children to contemporary art through a narrative that fosters curiosity, creativity, and observation. The book is part of the collection Crispetes d’Art, a series of picture books that introduce children to the work of prominent artists through fiction and play.

Technical specifications

Text: Alba Puig Romañach
Illustrations: Ágata Gil Capeta
Publisher: Mediterrània (collection Crispetes d’Art)
Publication date: September 9
Size: 17.5 × 17.5 cm
Binding: paperback
Pages: 24
Recommended age: 3 years and up
Theme: art, painting and creativity
Price: €10
ISBN (Catalan): 979-13-88106-36-1
ISBN (Spanish): 979-13-88106-39-2

Book-Wall. Reading club 2026
2026-09-16 18:30 - 19:30 | Museu Tàpies
Within the framework of the exhibition Àngel Jové. De intactu, we have organised a reading group in collaboration with the bookshops Finestres, La Central and La Impossible. On this occasion, the selection of books, which as always will be the responsibility of the bookseller, will be related to the list of books published by the Anagrama publishing house that will incorporate illustrations by Jové on their covers.
Llibre-mur [Book-Wall] (1990) is a work by Antoni Tàpies that lends its name to the series of reading clubs we have organised in recent years in collaboration with bookshops in the neighbourhood concerning our current exhibitions. Tàpies’ interest in books, both as objects and as sources of knowledge, and the fact that the museum premises formerly housed a publishing company, Montaner y Simón, make dialogues like this about writing, reading and art appropriate.

Programme
· Tuesday, June 2, 2026, at 6:30 p.m., at the Library of the Museu Tàpies: “Bajo el signo de marte“, by Fritz Zorn (Editorial Anagrama), with Cèlia Esteva, from the La Central. bookstore.

· Tuesday, July 14, 2026, at 6:30 p.m., at the Library of the Museu Tàpies: “El héroe de las mansardas de Mansard“, by Alvaro Pombo (Editorial Anagrama), with Olga Federico and Mireia Perelló, from the La Impossible bookstore.

· Wednesday, September 16, 2026, at 6:30 p.m., at the Library of the Museu Tàpies: “El sobrino de Wittgenstein“, by Thomas Bernhard (Editorial Anagrama), with Noelia Nistal, from the Finestres bookstore.

[Image: Exhibition “Àngel Jové. De intactu” by Museu Tàpies, Barcelona. Photography: Pep Herrero, 2026.]

Presentation of the catalogue Àngel Jové. De Intactu
2026-09-17 18:30 - 20:00
The presentation of the catalogue of Àngel Jové. De Intactu concludes the public program that the Museu Tàpies has organized within the framework of the temporary exhibition, a program that has been marked by polyphony, dialogue between disciplines and the desire to open new ways of approaching the figure of a creator with a production of many registers.
More than a record of the exhibition, this catalogue expands and unfolds the universe of Àngel Jové from a plurality of perspectives. Thus, the publication brings together contributions from leading voices in the fields of art, literature, and thought, creating a multifaceted reading that engages with the complexity of his work. The texts by Enrique Vila-Matas, Hans Ulrich Obrist, Javier Antich, José Luis Corazón, Jesús Martínez Clarà, and Maria Josep Balsach offer complementary approaches to Jové’s trajectory: from the most intimate and literary dimension to the international reach of his practice; from a historical review of the Catalan artistic context of the 1970s and 80s to the philosophical, aesthetic, and poetic readings that explore recurring concepts in his work, such as illumination, trauma, the scream, and the horizon.
This meeting will be an opportunity to share the key aspects of a publication that extends the research begun by the exhibition and contributes to situating Àngel Jové’s work from new interpretive frameworks, making the catalogue a collective work that, true to the spirit of Àngel Jové. De Intactu continues to raise questions and generate dialogue.
The event will feature the participation of Imma Prieto, director of the Tàpies Museum; Maria Josep Balsach, curator of the exhibitionÀngel Jové. De Intactu and Enrique Vila-Matas, one of the voices included in the catalogue. As the culmination of the event, and of the public program linked to the exhibition, the poet, narrator, and literary critic Susanna Rafart will offer a reading of poems conceived as an activation of Àngel Jové’s poetic constellation.

Anna Irina Russell uno, dos, tres.
2026-09-18 19:00 - 21:00
Playing lies at the heart of Anna Irina Russell’s artistic practice. Throughout her work, she reclaims it as both a methodological framework and a mode of relation, resisting interpretations that reduce it to mere frivolity. As Antoni Tàpies observed in his 1967 essay El joc de saber mirar, “To play does not mean doing things ‘just because’ (…). Through play, as children, we learn to grow up. Through play, we cultivate our spirit and expand the horizons of our vision and our understanding.”
Russell’s work is deeply rooted in this sensibility. Play functions as a catalyst, shifting the habitual relationships between people, materials, and their surroundings. Often taking the form of large-scale soft inflatable sculptures that move and breathe, her practice unsettles the conventional hierarchy between artwork and audience, transforming participants into active agents: bodies that reshape the work even as they are reshaped by it.
In the sculpture Antoni Tàpies envisioned for the Oval Hall of the MNAC, he imagined an oversized sock that visitors could step inside—a hollow, perforated body conceived to be inhabited. With uno, dos, tres., Anna Irina Russell revisits this playful imaginary and brings its latent possibilities to life. The work invites us to enter Tàpies’ imagined sock and explore the inner workings of an artistic practice that is as much about learning to see through play as it is about the distinctly contemporary—and profoundly poetic—urgency of reimagining the relationships between living beings, objects, and space.

The artistic practice of Anna Irina Russell is articulated through soft sculpture and installation as a way of speculating on non-hegemonic communication processes, where air and breathing function as relational materials. His work proposes situations in which matter becomes communicative and subtly subverts the structures that usually organize the way we relate. Based on a trust in the expressive capacity of matter, his research focuses on inflatable structures that breathe, expand and waver on the threshold of collapse, attending to what resists words and overflows images: overflow, contagion and asphyxiation.
He graduated in Fine Arts from the University of Barcelona in 2015 and later took the Master in Sound Art in 2018. He is currently an artist in residence at La Escocesa (Barcelona), after having been at Hangar and Fabra i Coats. In 2025 he received the Because of Many Suns award from the Collezione Taurisano during Artorama (Marseille), and in 2022 he obtained the Miquel Casablancas Prize for the installation Contain · Overflow.
He has just inaugurated his solo exhibition The first flower is born in the air at the Can Mario Museum of the Vila Casas Foundation, curated by blanca arias. She has recently presented the solo exhibitions As elastic as a lung a Tabakalera (San Sebastian, 2025) i A contagion in Bombon Projects (Barcelona, ​​2025). He has also shown his work collectively in institutions such as the Fundació Joan Miró, Santa Mònica, La Panera, MACBA, La Casa Encendida, CCCB, among others. In 2024 he published Take a breath, an artist’s book published by Brillo Editorial.

Activity programmed as part of the Museu Tàpies series Following the Sun, entitled Uncovering the Gaze, curated by Carolina Ciuti.

Those Who Can Remember the Future. A series of artistic-poetic actions, part of the Blai Bonet Year
2026-09-22 18:00 - 19:00
The Museu Tàpies joins the commemoration of the Blai Bonet Year, participating in the series of artistic-poetic actions entitled Those Who Can Remember the Future, with the collaboration of the Museu Picasso and the Fundació Joan Miró as well.
Blai Bonet was a personal friend of both Joan Miró and Antoni Tàpies. He explored the work of Pablo Picasso on various occasions, especially in the catalogue of the first Erotic Picasso exhibition in Barcelona. Drawing from this relationship, and as part of the commemoration of the centenary of the birth of this writer from Santanyí, the series Those Who Can Remember the Future explores the relationship between poetry and art, examining how the word combines with other disciplines, such as dance, music and performance, with a particular interest in researching the life of the gaze.
The session hosted by the Museu Tàpies takes as its title Here Pain is Made of Sweet Iron, and features the participation of the poets Carme Alegre, Júlia Febrer and Sergi Olivet, who join the dancer Mar Aguiló. As a kind of triptych, the three young poets and the dancer come into dialogue with the space and contents of the exhibition Antoni Tàpies: The Perpetual Movement of the Wall, which recently could be visited at the Museu Tàpies. The voices of Carme Alegre, Júlia Febrer and Sergi Olivet, and the weaving elegance of Mar Aguiló’s steps, offer a unique way to experience the exhibition space.
This activity has been developed jointly with the Institució de les Lletres Catalanes, organiser of the entire series.

Mar Aguiló
Born in Palma, Aguiló is a choreographer, dancer and artistic director. She trained at the École Atelier Rudra Béjart, Switzerland, and for the past sixteen years has performed with Spain’s Compañía Nacional de Danza, working with choreographers such as William Forsythe, Jiří Kylián, Johan Inger and Mats Ek.
As a creator, she has developed projects that explore the hybridisation of languages and the dialogue between dance and architectural and museum spaces. In this vein of work, she has collaborated with institutions such as Museo del Prado, Fundació Joan Miró, Museo Thyssen-Bornemisza and MACBA. Featured projects include Stella, Swan and Swans. She currently complements her career at the Compañía Nacional de Danza with the direction of the Palma Dansa festival.

Carme Alegre
Born in the district of L’Horta Nord (Valencia Region), Alegre studied English Philology at the University of València, and has a Master’s degree in Literary Theory from the University of Barcelona. In 2023 she was a nominee for the Salvador Iborra Young Poetry prize, and later participated in the anthology Solstici d’estiu released by Joves Poetes de la Mediterrània. Strappo seguit de Pare Aforístic o Galatea a la paret was her first book. Alegre makes a living teaching the past continuous and irregular verbs ad infinitum at an Official Language School.

Sergi Olivet
Born in Tarragona, Olivet has a degree in Literary Studies and is currently studying Philosophy at the University of Barcelona. In the field of music, he has created his own rap project under the name XTerra, releasing the EP La X del Mapa. He has twice been nominated for the Salvador Iborra Poetry Competition (2023 and 2025), and for many years has participated actively in politically-engaged venues, initiating cultural activities in Tarragona and Barcelona.

Júlia Febrer
Born in Sant Joan, Mallorca, Febrer understands poetry as a way to be in the world and read the world. This relationship gives rise to texts, photography and artistic installations. She has been the coordinator of Viure Poèticament (Manacor, 2025), a thematic series on the relationship between literature and other disciplines.
Her poetry book Arrel inoïda (Adia, 2025) was awarded the Ciutat de Manacor Miquel Àngel Riera Prize. This upcoming autumn she will release Llum de cendra (Viena, 2026), after having won the Martí Dot Prize in Sant Feliu de Llobregat.
Febrer currently works as a linguistic consultant and proofreader, but her writing is situated in the poetics of errors and gaps in language.

Open day and guided tour on the occasion of La Mercè 2026
2026-09-24 10:00 - 19:00
As every year, on the occasion of the La Mercè 2026 festivities, the Tàpies Museum offers an open day, from 10 a.m. to 7 p.m., and a free guided tour, at 5:30 p.m., to approach the exhibitions in course:
Antoni Tàpies. The Perpetual Movement of the Wall
Àngel Jové. De intactu
and the project Extramural 2026. Dora García. Timelines / resurrection

[Image: Museu Tàpies. Photo: Pep Herrero]

Montaner y Simón, a publishing house with history. Itinerary 2026
2026-09-26 11:00 - 13:30
Guided itinerary that aims to introduce the history of the former Montaner y Simón publishing house through a visit to the Museu Tàpies, the former headquarters of the publishing house and the work of the catalan modernist architect Lluís Domènech i Montaner, and to two buildings by the same architect in Barcelona that are closely linked to it: the Palau Montaner, now the headquarters of the Spanish government delegation in Catalonia, and the Casa Thomas, which today houses the Cubiñá design furniture store.
This activity is organized as part of the programme of Barcelona 2026, World Capital of Architecture.

Approaches. Guided tour 2026
2026-09-27 12:30 - 14:00
Introduction to the history of the Tàpies Museum building and guided tour of the current exhibitions:

· Antoni Tàpies. The Perpetual Movement of the Wall
· Àngel Jové. De intactu
