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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250701T180000
DTEND;TZID=Europe/Madrid:20250701T190000
DTSTAMP:20260409T015200
CREATED:20250424T113309Z
LAST-MODIFIED:20250627T124729Z
UID:10000993-1751392800-1751396400@museutapies.org
SUMMARY:Offering to the Earth
DESCRIPTION:In July the Earth is thirsty. It needs feeding. Offering to the Earth is a ritual of Andean origin based on reciprocity. The gods are thanked for the produce received and presented with an offering to satisfy their hunger and thirst. \nInvited by Marc Caellas\, conservationist and activist for Amazonia\, Magdalena Ruiz\, will conduct a ritual of gratitude. This event—the second in the series A Hatch in the Void\, conceived by Caellas as part of the exhibition Antoni Tàpies: The Imagination of the World—aims to question and broaden the traditional reading of the exhibition by creating spaces where the works are counterposed with contemporary thought and opened up to a range of interpretations. \n 
URL:https://museutapies.org/en/event/offering-to-the-earth/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/04/pagament-a-la-terra-museu-tapies.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250703T190000
DTEND;TZID=Europe/Madrid:20250703T200000
DTSTAMP:20260409T015200
CREATED:20250410T152918Z
LAST-MODIFIED:20250701T110159Z
UID:10000977-1751569200-1751572800@museutapies.org
SUMMARY:Muérdago
DESCRIPTION:  \nThe Museu Tàpies has invited Adelaida to dialogue with the creative universe of Marta Palau\, in a concert conceived to show how the singer and artist share ritualistic aspects that connect the body with nature and ancestral memory. Through organic sonorities and all-encompassing atmospheres\, Muérdago [Mistletoe] evokes transitional\, transformational space\, similar to the symbolic territories that Palau creates with primal materials like wood\, earth or botanical fibres. The creations of both artists appeal to sensorial and mystical experience\, where matter and gesture become channels for a deep-set connection with both the sacred and the earthly. \nAdelaida lives and works on the full moon. A mermaid of heaven and hell\, she lifts her voice in an incantation. Born and raised in Barcelona\, she has a degree in Fine Arts from Central Saint Martins\, which enlivens the performative nature of her endeavour. Her classical voice training at the Orfeó Català is patent in her innovative\, personal compositional language\, with which she explores the limits of the voice and its expressive and ritualistic potential. On stage\, she transforms into the phoenix\, then from phoenix into songster\, from songster to sea nymph\, and so on. \nThis Catalan singer-songwriter and producer has recently released her second album\, Muérdago. The recording poses many questions and provides few answers. Infinite\, delicate mantras of sound distinguish this ASMR labyrinth\, bursting with lamentations and wounded desires. It features everything from choral ambiences to darker\, baroque electronics\, with her voice always front and centre. The album features the collaboration of Catalan producers MANS O and Pura Cadera\, and was mixed by Rashad Becker. The live presentation took place at Sonar 2024\, with a hypnotic\, moody performance\, and since then Adelaida has been touring in Europe and\, more recently\, in Mexico. \nAdelaida made her debut with Cántaro [Jug]\, an album of endless vocal layers done with LANAV\, and released in September 2022. It was featured in Primavera Sound in 2022 and 2023\, Eufònic 2022 at the Fundació Joan Miró\, the Festival BAM 2023 and She Makes Noise 2023\, amongst many other performances. \n  \n© Bo Bannink
URL:https://museutapies.org/en/event/muerdago/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/04/Adelaida.-Muerdago.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250708T193000
DTEND;TZID=Europe/Madrid:20250708T210000
DTSTAMP:20260409T015200
CREATED:20250505T163525Z
LAST-MODIFIED:20250626T155508Z
UID:10001002-1752003000-1752008400@museutapies.org
SUMMARY:Llorenç Barber. L’espai alliberat [Liberated Space]
DESCRIPTION:Extramurs is an artistic project by the Museu Tàpies that conceives the city as a space of intervention and mediation. With a pluralistic\, multidisciplinary approach\, the project encourages inter-institutional dialogue\, along with dialogue with public space and the environment. Featuring the ongoing collaboration of EINA Centre Universitari de Disseny i Art de Barcelona and the Festival Grec\, Extramurs contributes to a rethinking of the role of the institution from a more holistic perspective\, through interventions and activities that respond to contemporary demands\, encouraging new community narratives in urban space. Inspired by concepts of situated knowledge\, this spirit advances reflection on how we mediate our surroundings\, and how we might inhabit the world in a more conscious\, integrating way. At the same time\, the gesture of considering the walls of public space as the carriers of residents’ voices\, spaces where collective discourses are materialised and where shared experiences find new meanings\, connects us directly with the thought of Tàpies. \nHeld annually\, each edition of Extramurs is presented in the public space\, coinciding with the Festival Grec. For the 2025 edition\, the artist Elena del Rivero has been invited to develop the project Transiting La Quema\, curated by Mateo Feijóo. The proposal is grounded in an intense process of collaborative research and production on the topic of the burning of the artist’s first works\, performed as a cleansing gesture. \nThe installations conceived by Del Rivero as part of the Extramurs project\, in collaboration with students from EINA Centre Universitari de Disseny i Art de Barcelona\, will be shown on the façade and interior of the Museu Tàpies\, as well as at Basílica Santa Maria del Pi\, Centre d’Art La Capella\, the Teatre Grec gardens\, Galeria Senda and Loop Barcelona. The exhibition includes photographs\, collages\, objects and an illuminated sign. The cartography of these intervened spaces invites us to reflect on the resilience of human and social structures\, as well as on the dialogue between past and present\, accentuating the tensions and continuities that define history in the construction of the contemporary city. \nThe inaugural event of La Quema takes place at the Rubió i Lluch Gardens with the concert L’espai alliberat\, by Llorenç Barber\, a musician\, composer\, musicologist\, bell-ringer and pioneer of sound art in Europe. This visual and sound artist\, recognised for introducing minimalist music to Spain\, has created a portable set of bells used for the development of his own performance technique. Barber’s bell concerts have been held in over two hundred cities in twenty different countries. He has done concerts for the closing ceremonies of three cultural capital years (Lisbon\, Copenhagen and Stockholm)\, and his performances have featured at biennial exhibitions and art fairs in Japan\, France\, Thailand and Brazil\, while inaugurating two separate Heads of State and Government Meetings (in Salamanca and Rome). \nThe sound of bells brings us to the world of Elena del Rivero\, an international artist committed to the exploration of reparation and memory. We invite you to reflect with us on the resilience of human and social structures and on the dialogue between past and present\, accentuating the tensions and continuities that define history in the construction of the contemporary city. \n  \nWith the collaboration of students from Conservatori Municipal de Música de Barcelona\, Fundació Conservatori del Liceu\, Escola de Música l’Antàrtida de Barcelona\, Escola Municipal de les Arts de Santa Perpètua de la Mogoda and the musical band La Valenciana\, and the support of ESMUC. \n  \nA coproduction of the Festival Grec de Barcelona 2025 and the Museu Tàpies \n  \nExtramurs is an initiative of the Museu Tàpies with the collaboration of EINA Centre Universitari de Disseny i Art de Barcelona and festival Grec\, with the complicity of Centre d’Art La Capella\, Basílica Santa Maria del Pi\, Galeria Senda and Loop Barcelona. \nArtist: Elena del Rivero \nCurator: Mateo Feijóo \nThe realization of Elena del Rivero – La Quema\, at Galicia\, promoted by A Casa do Pozo\, had the support of: AECID and Fundación Cañada Blanch
URL:https://museutapies.org/en/event/llorenc-barber-lespai-alliberat-liberated-space/
LOCATION:Jardins de Rubió i Lluch\, c. Hospital\, 56\, Barcelona
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/05/llorenc-barber.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250717T190000
DTEND;TZID=Europe/Madrid:20250717T193000
DTSTAMP:20260409T015200
CREATED:20250509T103744Z
LAST-MODIFIED:20250711T114559Z
UID:10001010-1752778800-1752780600@museutapies.org
SUMMARY:Thirteen Over Zero. Ritual-action-performance
DESCRIPTION:Tattoo the sacred numbers of the Maya civilisation (13 and 0) on the upper right side of the chest. Thirteen is the number with the highest energy; zero (0) was used by the Maya long before the Western world used Arabic numerals. Zero is absence\, emptiness\, nothingness; zero is silence\, expanding and stretching the eternity of the Maya civilisation. \nIn the Maya Cholqi’ij calendar\, cycles are made up of 13 weeks and 20 days. It is a sacred calendar with 260 days (13 x 20 = 260). In Maya numerical symbolism\, the number 13 is represented by drawing two sticks and three dots. Then a space is left underneath and a conch shell\, symbolising zero\, is drawn. This creates the number 260\, like the 260 days of the Maya calendar\, an ancestrally sacred number. Western modernity ignores\, secularises\, even demonises the number 13; for the Maya\, it is sacred. Zero is totality\, the beginning and the end; it symbolises the agricultural cycle and is represented by a conch shell. \nThe ritual-action-performance Thirteen Over Zero involves tattooing the sacred numbers 13 and 0 on Benvenuto Chavajay’s body. It is about dusting off history and activating memory\, countless stories\, wounds and accumulated legacies. Through this gesture\, the Guatemalan artist activates ancestral memory to take a step forward\, to heal and embrace all the wounds and legacies. It is about giving history a second chance. \nChavajay offers his skin as a sacrifice and an offering to his ancestors. He wounds his body\, opens cracks in it\, dropping in tiny black drops and creating lumps and grooves of memory. Scarring\, coagulation\, blood and charcoal\, pain and tattooing. \n  \nBenvenuto Chavajay (San Pedro La Laguna\, Atitlán Lake\, Guatemala) defines himself as a chunchero artist\, that is\, an observer and intervener of chunches\, a term that in Tz’utujil—the artist’s mother tongue—designates discarded objects that have lost their use value. His aim is to identify\, ratify and dignify symbolic elements that are part of the history and ancestral knowledge of Maya culture\, which he has inherited. In this interview\, Chavajay uses his works in the Museo Reina Sofía Collection as a reference to explain how art can be a healing rite in response to the colonial wound. Based on this premise and far removed from the logics of modern Western thinking\, in his project El retorno de las almas [The Return of the Souls] the artist embodies the dignification of the indigenous cultures that have been erased from history. \nA session of  the second edition of the series The Chairs of Tàpies
URL:https://museutapies.org/en/event/thirteen-over-zero-ritual-action-performance/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2025/05/benvenuto.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250917T190000
DTEND;TZID=Europe/Madrid:20250917T203000
DTSTAMP:20260409T015200
CREATED:20250902T080218Z
LAST-MODIFIED:20250915T085152Z
UID:10001060-1758135600-1758141000@museutapies.org
SUMMARY:Opening of the exhibition 'André du Colombier.  A Lyrical Point of View'
DESCRIPTION:The Museu Tàpies invites you to the opening of the exhibition ‘André du Colombier. A Lyrical Point of View’\, curated by Adam Szymczyk \nAndré Paliard Iscu was born in 1952 in Barcelona. In the early 1970s\, he studied literature and philosophy in Paris. He chose to change his name to du Colombier (“of the dovecote”)\, decided to become an artist and held his first individual exhibition\, entitled Modestie\, Compétence\, et Efficacité (Modesty\, Competence and Efficiency) at the Galerie Eric Fabre in Paris in 1977. He died in Paris in 2003. \nHis earliest surviving work is a vertical silver line: a trace of pencil lead on a sheet of black sandpaper. As if left when sharpening a writer’s tool\, it is an anti-drawing against the grain. Other early works are sequences of black-and-white photographs documenting dynamic actions with household utensils\, or\, by contrast\, static and exposed objects\, defamiliarised under clinical white light. \nStandard-sized sheets of reflective Chromolux paper in various colours became over time the artist’s medium of choice\, used as a backdrop for handwritten or Letraset texts: odd words\, equivocal phrases and cryptic\, coded sentences. Another genre in du Colombier’s practice was his mise-en-scènes. Composed of toys\, tourist souvenirs and accessories arranged and performed on café tables or in other casual situations\, these were often staged for an invited audience of one and never documented. \nThe exhibition’s titular phrase ‘lyrical point of view’ is a title of the text accompanying du Colombier’s show at Patricia Dorfmann’s gallery in Paris in 1999. It captures the position of an artist whose elusive oeuvre keeps confronting us\, free and equal\, with the ever-evolving work of interpretation. \n  \nAndré du Colombier\, Untitled [Flour and Hot Water Bottle]\, n.d. 1977
URL:https://museutapies.org/en/event/opening-of-the-exhibition-andre-du-colombier-a-lyrical-point-of-vue/
LOCATION:Museu Tàpies
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/06/Untitled-la-farine-et-la-bouillote01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250920T100000
DTEND;TZID=Europe/Madrid:20250920T110000
DTSTAMP:20260409T015200
CREATED:20250714T125531Z
LAST-MODIFIED:20250715T150821Z
UID:10001041-1758362400-1758366000@museutapies.org
SUMMARY:Visit of the curator to the exhibition "Anna Malagrida. Opacities. Veiling transparency"
DESCRIPTION:As part of the programming of Barcelona Gallery Weekend\, the Museu Tàpies invites us to a guided visit through the exhibition by Anna Malagrida. Opacitas: Veiling Transparency\, accompanied by Patricia Sorroche\, head of exhibitions at the museum and the show’s curator. Malagrida is represented by Galeria Senda. During the visit we will learn about the artist’s creative process and discover the conceptual reflections and concerns that have shaped her work. \nThis exhibition is centred on the notion of transparency as contemporary fiction\, proposing a critical perspective on the limits between what is visible and what is hidden\, between what is shown and what is veiled. Working alternatively in photography\, video and installation art\, Malagrida calls on us to reflect on urban space\, nature and everyday gestures as scenarios of opacity and resistance.
URL:https://museutapies.org/en/event/visit-of-the-curator-to-the-exhibition-anna-malagrida-opacities-veiling-transparency/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2025/07/Screenshot_1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250920T110000
DTEND;TZID=Europe/Madrid:20250920T120000
DTSTAMP:20260409T015200
CREATED:20250904T143645Z
LAST-MODIFIED:20250908T123719Z
UID:10001068-1758366000-1758369600@museutapies.org
SUMMARY:Visit of the artist to the exhibition "Anna Malagrida. Opacities. Veiling transparency"
DESCRIPTION:  \nAs part of the programming of Barcelona Gallery Weekend\, the Museu Tàpies invites us to a guided visit through the exhibition by Anna Malagrida. Opacitas: Veiling Transparency\, accompanied by the artist. Malagrida is represented by Galeria Senda. During the visit we will learn about the artist’s creative process and discover the conceptual reflections and concerns that have shaped her work. \nThis exhibition is centred on the notion of transparency as contemporary fiction\, proposing a critical perspective on the limits between what is visible and what is hidden\, between what is shown and what is veiled. Working alternatively in photography\, video and installation art\, Malagrida calls on us to reflect on urban space\, nature and everyday gestures as scenarios of opacity and resistance. \n  \nAnna Malagrida at the exhibition. Photo: Pep Herrero
URL:https://museutapies.org/en/event/visit-of-the-artist-to-the-exhibition-anna-malagrida-opacities-veiling-transparency/
LOCATION:Museu Tàpies
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/09/Anna-Malagrida-artista-20250312-roda-premsa-AnnaMalagrida.Opacitas-MuseuTapies-Foto-Pep-Herrero-28-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250920T180000
DTEND;TZID=Europe/Madrid:20250920T200000
DTSTAMP:20260409T015200
CREATED:20250702T161200Z
LAST-MODIFIED:20250724T093540Z
UID:10001036-1758391200-1758398400@museutapies.org
SUMMARY:Following the Sun: Guillem Jiménez / laSADCUM
DESCRIPTION:Oliver 04 \nThis body essay is the staging of an investigation into digi-modernist poetics. It functions as a compilation of various gestural investigations that stem from the world Guillem Jiménez\, choreographer and dancer from Barcelona\, seeks to build through his company\, laSADCUM. A portal to a fantasy world that takes certain bodily behaviours cultivated by capitalism and cyberspace to the extreme.  \nThrough the use of satire\, Jiménez proposes a character governed by the logics of pop magic\, interns\, techno-feudalism and a series of online and offline cultural conventions. Oliver is a kind of alter ego\, not only of Jiménez\, but of a whole system of bodies subject to the authorities that operate in the interstices of digital algorithms. \n  \nGuillem Jiménez / laSADCUM \nlaSADCUM is a Barcelona-based dance company led by choreographer Guillem Jiménez that\, through the lens of dance and choreography\, addresses certain poetics of the post-internet era. \nlaSADCUM have produced four performance pieces so far: two small-scale pieces (The Uncanny Valley\, 2019\, and The Lesson\, 2020) and two large-scale pieces (Aclucalls\, 2022\, and Navaja\, 2024). They have also carried out two exhibitions (Classmates\, 2020\, and Twink Twink Twink\, 2022)\, workshops and curatorial programmes\, as well as various collaborations with artists and institutions. They have received various awards\, including the ActAward 2021 for best dance piece (The Lesson)\, 10 Sentidos 2021 for best dance piece (The Lesson)\, DansaCat 2024 for best music (Aclucalls)\, DansaCat 2024 for best choreography (Aclucalls)\, DansaCat 2024 for best show (Navaja) and Pedra Viva 2024 (Navaja). \nlaSADCUM’s work has been presented at venues such as the CCCB\, Teatros del Canal\, Festival Dansa València\, La Casa Encendida\, the Museo Guggenheim Bilbao\, Dansa Metropolitana\, Tanečno Festival\, Teatro Réplika\, Sala Apolo\, Pluto and La Mutant\, among others. \nGuillem Jiménez\, on the other hand\, works as a performer (with Pedro Torres\, Amaranta Velarde\, Mar Aguiló and Benjamin Abel\, among others) and as assistant choreographer and movement director (with Meritxell de Soto\, Marina Fueyo and Gabriela Richardson\, among others). This year he will premiere Duplex Studio (2025)\, a piece co-created alongside choreographer Luqui Lagomarsino\, at Antic Teatre as part of the Grec Festival. \n  \nA session within the framework of the 2nd edition of the “Following the Sun 2025” cycle\, curated by Gabriel Virgilio Luciani. \n  \n[Photo: Guillem Jiménez en Duplex Studio\, @gergelyofner ] \n 
URL:https://museutapies.org/en/event/following-the-sun-guillem-jimenez-lasadcum/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/06/GuillemJimenez-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250920T190000
DTEND;TZID=Europe/Madrid:20250920T200000
DTSTAMP:20260409T015200
CREATED:20250807T101147Z
LAST-MODIFIED:20250902T160121Z
UID:10001053-1758394800-1758398400@museutapies.org
SUMMARY:Following the Sun. Sejal Parekh
DESCRIPTION:  \nWhat Did You Say \nWhat Did you Say is a sociological and sonic inquiry into the distortion of meaning and fact caused by deliberate or non-deliberate miscommunication or misunderstanding. Activated by the Indian-British artist Sejal Parekh\, the performance—which functions more as a reckoning—confronts imperial mistranslations\, the deliberate deafness of power and the symbolic violence of asking someone to repeat themselves in a language not their own.  \nThe dynamic dialogues with several non-verbal communication phenomena\, such as: the Sufi zikr\, where breath carries meaning beyond the rational; Vedic chant\, whose potency lies in vibrational memory; or Ashanti drum language\, where rhythm speaks what cannot be said. Furthermore\, the piece proposes a participative action\, a take on a children’s game previously referred to in the United Kingdom as Chinese Whispers. The Sinophobic origins of the game’s title dialogues with other cultural bullyings and otherings\, such as the Greek barbarian\, with an onomatopoeic etymology mocking the sounds of those who did not speak Greek. \nTàpies’ Mitjó [Sock] will be activated as a listening device or witness through sounds of whispers and semiotics\, which the audience should attempt to decipher by navigating the space around the sculpture. In the words of the artist: “What happens when whispers are given form\, volume and permanence?” The corporeal gesture of collectively leaning in\, attempting to understand\, actively listening and accepting the sacred discomfort of not understanding\, are the core elements of this spatial choreography. \n  \nSejal Parekh is a cross-disciplinary artist. Through site-specific installations\, video and sound work\, she excavates the intricate topologies of hiraeth\, a Welsh diasporic condition that transcends mere nostalgia\, articulating instead a radical reimagining of spatial and cultural inhabitation. \nEmerging from an intricate understanding of parallel world systems\, where cultural dynamics are not merely observed but performatively dismantled\, Parekh’s aesthetic strategy constitutes a fundamental archaeology of gesture. She recuperates and transforms objects\, motifs and performative actions that were historically deployed to marginalise and stratify\, transmuting them into nuanced instruments of critical refusal. \nSejal has an MA in Sculpture from Royal College Art\, London. Her work has been shown at MACBA\, Somerset House\, Hope93\, Ovada Gallery\, SWAB Art Fair\, Art Meets Apolo with Galería Senda and Stone Space Gallery. She has upcoming exhibitions at Barbati Gallery Venice\, VHC Gallery India and the Souvenir for Loop Video Art Festival 2025. \n  \nA session within the framework of the 2nd edition of the “Following the Sun 2025” cycle\, curated by Gabriel Virgilio Luciani.
URL:https://museutapies.org/en/event/following-the-sun-sejal-parekh/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/08/Sejal-Parekh-Portrait-Side-WDYS.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250924T100000
DTEND;TZID=Europe/Madrid:20250924T190000
DTSTAMP:20260409T015200
CREATED:20250902T091909Z
LAST-MODIFIED:20250903T074613Z
UID:10001065-1758708000-1758740400@museutapies.org
SUMMARY:Open day and guided tour on the occasion of La Mercè 2025
DESCRIPTION:  \nAs every year\, on the occasion of the La Mercè 2025 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: \nAntoni Tàpies. The Imagination of the World \nAnna Malagrida. Opacitas. Veiling Transparency \nAndré du Colombier. A Lyrical Point of Vue \nand the project Extramurs 2025. Elena del Rivero. Transiting “la Quema” \n  \nLa Mercè 2025 Image. Artistic Director: Lluís Danés
URL:https://museutapies.org/en/event/open-day-and-guided-tour-on-the-occasion-of-la-merce-2025/
LOCATION:Museu Tàpies
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/09/Merce2025-cartell-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250925T180000
DTEND;TZID=Europe/Madrid:20250925T183000
DTSTAMP:20260409T015200
CREATED:20250722T165032Z
LAST-MODIFIED:20250916T153115Z
UID:10001047-1758823200-1758825000@museutapies.org
SUMMARY:Joan Morey. Double Event
DESCRIPTION:In 2004\, as part of an artistic project\, Joan Morey tattooed “DECEPTION” on his left forearm. The choice of this word was not arbitrary\, since it carries a semantic ambiguity\, multiple layers of interpretation and a high potential for misunderstanding. Far from considering it a closed statement\, he used it to highlight one of the structural conditions of art: its artificial\, fictional and even tricky character\, but\, at the same time\, its capacity to convey complex forms of truth. \nTwenty years later\, that inscription on the skin can be read as the symbolic beginning of an artistic journey based on ambiguity\, plurality and openness. Far from seeking conclusive forms or a univocal language\, Joan Morey has developed his work from unstable and\, at times\, contradictory positions. It is precisely in this oscillation where his power resides: in his ability to accommodate other voices\, embody other bodies and channel demands—both his own and collectively—that critically question the present. \nThe performance DOUBLE EVENT (in progress since 2004) fits into this context\, developed not as a finite work\, but rather as a machine or an open production mechanism. Its title refers to the double event theatrical technique\, which describes the simultaneous coexistence of two perceptive levels on stage: on the one hand\, the fictional event\, and on the other\, the conscious recognition of the stage device. The performance therefore works as a system of transference and displacement\, a kind of musical chairs\, with witnesses and mirrors that challenge the notion of authorship and unitary presence and where body\, time and gaze come into constant friction. \n  \nWith the special collaboration of: Sílvia Arenas\, Sònia Gómez and Ester Guntín. \n  \nJoan Morey (Mallorca\, 1972) holds a degree in Fine Arts from the University of Barcelona. Since the late 1990s\, his artistic practice has included performances\, videos and installations\, as well as sound and graphic works\, exploring the intersection between theatre\, cinema\, philosophy\, sexuality and subjectivity. His work is characterised by a profound reflection on authority\, power and the dynamics of domination\, exploitation and inequality present throughout the history of humanity.  \nHe has presented performances\, works and site-specific interventions in many museums\, art centres and galleries. His retrospective solo exhibitions include COLLAPSE. Desiring Machine\, Working Machine\, curated by Latitudes at the Contemporary Art Centre of Barcelona – Fabra i Coats (Barcelona\, 2018); COLAPSO. Máquina de representación [COLLAPSE. Representation Machine]\, curated by Alex Brahin\, at the Claustro de San Agustín – Museo de la Universidad Nacional de Colombia (Bogotá\, 2019–2020) and COLLAPSE. Bachelor Machine\, curated by Latitudes\, at Casal Solleric (Palma de Mallorca\, 2020). \n  \nActivity within the framework of the second edition of The Tàpies Chairs series\, coordinated by Judith Barnés.
URL:https://museutapies.org/en/event/joan-morey-double-event/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2025/07/Joan-morey.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250930T180000
DTEND;TZID=Europe/Madrid:20250930T203000
DTSTAMP:20260409T015200
CREATED:20250901T115725Z
LAST-MODIFIED:20250930T111838Z
UID:10001057-1759255200-1759264200@museutapies.org
SUMMARY:Conference I\, You\, World: Symbol and Universe
DESCRIPTION:Following on from the success of the first edition of the I\, You\, World: Symbol and Universe study days\, held last year as part of the programme marking the centenary of the artist’s birth\, the Museu Tàpies now presents the second and final edition of these study days. The aim is to delve into one of the most complex and essential aspects of Antoni Tàpies’ work: his ability to create a symbolic language that transcends material form and enters a realm that is both deeply personal and universally resonant. \nBy bringing together art theorists\, poets and image specialists\, those sessions spurred the development of fresh insights and multivoiced readings of Tàpies’ Sèrie Teresa [Teresa’s Series] (1966) and Cartes per a la Teresa [Letters to Teresa] (1974)\, two key works for understanding the dialogue between art\, writing and existence in his career. \nTàpies’ oeuvre can be seen as a living essay that shapes a symbolic universe in which poetic vision and material form are in constant interplay. The focus on his Cartes per a la Teresa portfolio and Sèrie Teresa series brought to light the dialectic between sign and gesture\, word and space\, and the intersection of private life with the public construction of an artwork. This body of images and texts embodies an idea of art not merely limited to representation\, but as an open process of exploration and symbolic creation\, where each work becomes both meditation and communication extending beyond the artist himself. \nThe exhibition Antoni Tàpies: The Imagination of the World\, currently on view at the Museu Tàpies\, presents a selection of twelve works from Cartes per a la Teresa. Building on research shared in these study days\, the show offers visitors a rare opportunity to explore the intersection of love letters\, collage and lithography\, expressed through a language that fuses cosmic gestures with the intimacy of the everyday. This ensemble reflects Tàpies’ gift for decoding and reconstructing shared life experiences\, transforming them into spaces rich in meaning and open to multiple interpretations. \nIn this spirit\, the I\, You\, World: Symbol and Universe study days reaffirm the Museu Tàpies’ commitment to placing the artist’s work within an interdisciplinary framework that allows it to be understood as a meeting point of personal history\, symbolic vision\, politics and aesthetic reflection. This broader perspective reveals how Tàpies’ art transcends its historical and cultural origins to become a universal expression in which the relationship between sign and world expands into the creation of a new universe. \n  \nPROGRAMME \n  \nSESSION 1 \nDate: 30 September 2025 \n6 pm. Welcome and introduction by Imma Prieto \n6.10 pm. Talk: “An Education by Stone”\, by Pedro G. Romero \n6.50 pm. Talk: “Visual Letters: Overflowing Language\, Matter\, Affection and Gesture”\, by Andrea Soto Calderón \n7.30 pm. Poetry reading: “Uneasy Peace”\, by Blanca Llum Vidal \n8 pm. Open floor for questions \n8.30 pm. Closing remarks \n  \nSESSION 2 \nDate: 1 October 2025 \n6 pm. Introduction by Judith Barnés \n6.10 pm. Talk: “Essays on Love Without History”\, by Raül Garrigasait \n6.50 pm. Poetry reading: “Rag Days: Sequentiality\, Epistolarity\, Abstraction\, Tàpies and Millares”\, by Eloy Fernández Porta \n7.30 pm. Debate \n8 pm. Closing remarks \n  \n[Image: Antoni Tàpies. Original model (1971) for the series of lithographs\, lithograph-collages and collages Letters to Teresa\,  1974. © Comissió Tàpies / VEGAP\, 2025] \n  \nLink to the first edition of the conference.
URL:https://museutapies.org/en/event/seminar-i-you-world-symbol-and-universe/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/08/OG-473-cartesteresa_B_FG.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251001
DTEND;VALUE=DATE:20251005
DTSTAMP:20260409T015200
CREATED:20250926T180100Z
LAST-MODIFIED:20250930T114409Z
UID:10001083-1759276800-1759622399@museutapies.org
SUMMARY:Museu Habitat: II International Meeting Countering Abysses. Poetics of Scale 2025
DESCRIPTION:With two years of experience\, the Museu Habitat program has opened several spaces for reflection\, exchange\, production and experimentation around the history and current affairs of the museum institution. The Museu Habitat has been built as a protean organism that seeks to bring together different types of communities and generate non-consensual spaces. The task of mobilizing meetings and actions has been carried out by a diverse team of artists\, curators\, activists and managers\, which includes the research and mediation collectives Entrar Afuera\, IDRA and Transductores. \nThe set of initiatives deployed has been complemented by two meetings and an exhibition. The first meeting\, “Which museum?”\, held in May 2024\, started from a question that represents the germ of the program: which museum is possible and desirable today? And in 50 years? The second\, “Turning spells”\, stated that today it is no longer possible to reflect on the institution exclusively from its own foundations\, be they physical or conceptual. Thinking and acting only from what happens within this normative building leads to inevitable sensory and epistemological frustration. For its part\, through more than 120 works\, the exhibition “Fabular paisatges” reflected on how exhibition devices are constructed\, which stories are privileged and which stories are silenced. In line with these two meetings and taking into account the polarization that Fabular paisatges aroused\, the Habitat Museum opens a new moment of synthesis and possible reformulations based on the seminar “Contrariar abisms. Poetics of scale”. \nIn December 2024\, an assembly was held at the CAP Gornal\, organized by the Entrar Afuera collective and mediated by Ràdio Nikosia\, in which social and institutional agents converged. In this assembly\, the notion of vertigo was taken as a clinical space\, of personal experience and institutional challenge\, from which to rethink roles and provoke experiences. In this sense\, the general impotence that we all feel in the face of war\, inequality\, racism\, gender violence and the devastation of nature\, seems to lead us irremediably into the abyss\, but at the same time it calls us\, definitively\, to resistance. This is posed as an urgent need. \nIn this context\, the Habitat Museum proposes a dynamic of work on multiple scales\, ranging from micro to macro and vice versa\, and which delves into the interstices\, into undefined options\, that is\, into what is located between gesture and action\, between the personal and the social\, between discourse and affections. \n“Contrariar abismes. Poetics of scale” unfolds from three conceptual axes: exhibiting\, narrating\, fable-making. Exhibiting and narrating are two of the intrinsic tasks of the museum and both work in constant interaction. The decisions about what and how is exhibited construct a story that can and must be questioned permanently. In turn\, fable-making is thought of here as a way of imagining other forms of narrating\, but also as an exercise in confrontation with what has been fabled. \nIn this sense\, the meeting seeks to resume and open up questions\, contradictions and proposals with the aim of generating escape routes that can give rise to the necessary transformative movements and the construction of other spaces and ways of doing things. \n  \nDownload the programme.
URL:https://museutapies.org/en/event/museu-habitat-ii-international-meeting-countering-abysses-poetics-of-scale/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/09/images.jpeg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251008T180000
DTEND;TZID=Europe/Madrid:20251008T190000
DTSTAMP:20260409T015200
CREATED:20250908T133809Z
LAST-MODIFIED:20251117T154858Z
UID:10001071-1759946400-1759950000@museutapies.org
SUMMARY:New vinyl of the series Tàpies’ Chairs 2024
DESCRIPTION:The Museu Tàpies presents the vinyl curated from the first edition of the series Tàpies’ Chairs\, a collection of sound actions that took place as part of Tàpies Year. The first edition of this multidisciplinary series\, brought together proposals by artists who worked with voice\, spoken word and oral memory\, using the Tàpies universe as a starting point for performative experimentation. \nActions\, developed as part of the centenary of the artist’s birth\, were created specifically for the museum and displayed diverse languages\, ranging from music to text and gesture to sound\, from unique perspectives. The first edition of the Tàpies’ Chairs series included the participation of MUOM\, Félix Denuit\, Biel Mesquida\, Itziar Okáriz\, Cabosanroque\, Joana Gomila\, Bartolomé Ferrando\, Blanca Llum Vidal and Los Sara Fontán\, Hugo Gómez-Chao Porta\, Amidea Clotet (Cicle Difraccions)\, Eduard Escoffet\, Mal Pelo and Niño de Elche. \nThe publication of this record responds to the desire to give continuity and permanence to a project designed to be experienced live. Capturing part of it on a physical medium such as vinyl\, allows you to listen from a more intimate place\, while prolonging the evocative power of the sound performances. By doing this\, the Museu Tàpies reaffirms the value of listening and the sound archive\, as active forms of transmitting artistic memory. \nAs part of the presentation\, there will be an audition of the vinyl and the presence of some of the guest artists. In addition\, anyone who wants to purchase the vinyl on this occasion will enjoy a special price of 25 euros (the official price is 30 euros). \nWithin the framework of Càtedra Antoni Tàpies – UPF d’Art i Pensament Contemporanis. \n 
URL:https://museutapies.org/en/event/new-vinyl-tapies-chairs-2024/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2025/09/Screenshot_12.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251014T180000
DTEND;TZID=Europe/Madrid:20251014T190000
DTSTAMP:20260409T015200
CREATED:20250926T164019Z
LAST-MODIFIED:20250929T151505Z
UID:10001080-1760464800-1760468400@museutapies.org
SUMMARY:Rhythm and Substances
DESCRIPTION:As part of the exhibition Antoni Tàpies: The Imagination of the World\, the Museu Tàpies presents the third activation in the cycle A Hatch in the Void\, a series of events conceived by writer Marc Caellas to activate the materials presented in the exhibition\, highlighting the epochal spirit in which we find ourselves. \nThis time\, Caellas invites guitarist and improviser Juanma Trujillo to share a poetry and music recital that revisits the spirit of the historic evenings of the Club 49\, a group of artists and intellectuals who\, in the forties and fifties\, renewed the cultural scene in Barcelona with talks\, recitals and avant-garde actions. \nThe duet will recall essential voices of 20th-century poetry\, such as Carlos Edmundo de Ory\, Joan Perucho\, J. V. Foix and Juan Eduardo Cirlot\, establishing a living dialogue between word and sound. Reading and music will make up a shared space for discovery and experimentation\, true to the transgressive spirit that characterised the Club 49 and to the way Antoni Tàpies saw art: as a constant questioning and as a window on the world. \nThis event offers the audience an intimate\, immersive experience\, one that invites listening in a different way\, letting oneself be surprised and inhabiting a space where poetry and music not only meet\, but enrich one another.
URL:https://museutapies.org/en/event/rhythm-and-substances/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/09/i-TTMGzZB-X4.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251016T190000
DTEND;TZID=Europe/Madrid:20251016T210000
DTSTAMP:20260409T015200
CREATED:20251006T170701Z
LAST-MODIFIED:20251006T171057Z
UID:10001095-1760641200-1760648400@museutapies.org
SUMMARY:Opening of the exhibition: Germaine Dulac. Je n’ai plus rien
DESCRIPTION:Opening of the exhibition Germaine Dulac. Je n’ai plus rien\, curated by Imma Prieto\, director of the Museu Tàpies\, and Imma Merino\, film critic and university professor. The event will take place on Thursday\, October 16\, 2025\, at 7:00 p.m.\, at the Museu Tàpies (Carrer de Aragó\, 255\, Barcelona). \nGermaine Dulac. Je n’ai plus rien is the first monographic exhibition dedicated to Germaine Dulac (Amiens\, 1882 – Paris\, 1942) in the catalan and spanish context. The exhibition is based on a selection of films\, texts\, and archival materials—some previously unpublished—that allow us to explore the complexity of the cinematographic work of this prominent filmmaker and theorist of the avant-garde art. It also introduces the viewer to French cinematic impressionism\, close to a certain narrative cinema\, and facilitates the analysis of the critical tensions toward the heteropatriarchal hierarchies of her time\, as well as experimental and documentary cinema from the end of her career. \nThe exhibition revisits more than thirty years of her career and offers a rigorous reflection on cinema\, image\, and the vindication of the female figure. It also reminds us of the eternal return of history and constitutes a denunciation of the rise of nationalism and the far right. \nThe retrospective expands with a film programme at the Filmoteca de Catalunya (from October 1 to November 23) and with the publication of the book Germaine Dulac. ¿Qué es el cine? (Wunderkammer / Museu Tàpies\, 2025)\, which brings together\, for the first time in Spanish\, the filmmaker’s writings and lectures. \nAdmission to the general opening is free and requires no prior reservation.
URL:https://museutapies.org/en/event/opening-of-the-exhibition-germaine-dulac-je-nai-plus-rien/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251018T130000
DTEND;TZID=Europe/Madrid:20251018T150000
DTSTAMP:20260409T015200
CREATED:20251002T110634Z
LAST-MODIFIED:20260223T134118Z
UID:10001087-1760792400-1760799600@museutapies.org
SUMMARY:Venus Jasper: Weeping Swamp
DESCRIPTION:Multidisciplinary artist\, Venus Jasper\, weaves together a new live performance stemming from their ongoing research Wetlands Worship; an exploration of swamp sentiments\, climate grief\, queerness and sacred ecologies. Born from speculative fiction modalities of storytelling and narrative deconstruction\, the sonic aspect of the performance includes many samples of water\, insects and metal\, paired with a noise machine and haunting vocals. This future-facing folklore speaks of a rotting\, turbulent sea and a journey to a mythic swamp-island where decay is sacred and rage has its rituals.  \nThe artist based in Amsterdam\, NL has received travel support from the Mondriaan Fund and will develop the piece during a week-long residency at Graner; an experimental movement and dance center in Barcelona where they will also spend time to investigating and queering the legacy of the Aloja and the Encantades—water spirits in Catalan folklore. \nVenus Jasper (they/he) is a queer visual artist\, singer-performer\, educator\, writer and curator – currently based in Amsterdam. In their counter-cultural and ritualistic work they envision spirited and sensuous post-capitalisms that spell the decolonization of the Anthropocene\, rekindle more-than-human kinship\, and forward (neuro)-queer and trans-historic perspectives on ecology\, folklore\, contemporary culture\, spirituality and the self. \nA session within the framework of the 2nd edition of the “Following the Sun 2025” cycle\, curated by Gabriel Virgilio Luciani.
URL:https://museutapies.org/en/event/venus-jasper-weeping-swamp/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/10/Venus-Jasper-_Ouo_Ouo_Ou×_Ouo_Ou_Ouƒ_Ouƒ_Ou¡-_Ou_Ou╗_Ou▒-_Ouy_Ouy_Ouƒ_OyC_Ou©_OuA_Ou╗-_-2023-_-photo-by-Andrej-Vasilenko-_-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251028T183000
DTEND;TZID=Europe/Madrid:20251028T193000
DTSTAMP:20260409T015200
CREATED:20250512T143148Z
LAST-MODIFIED:20251007T151224Z
UID:10001015-1761676200-1761679800@museutapies.org
SUMMARY:Book-Wall. Reading club 2025
DESCRIPTION:Within the framework of the exhibition Antoni Tàpies: The Imagination of the World\, 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 made by the bookseller—will be related to themes present in the exhibition\, such as popular culture\, psychoanalysis and esoteric practices. \nLlibre-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. \n  \nProgramme \n· Tuesday\, July 15\, 2025\, 6.30 pm\, at Museu Tàpies: La intrusa\, by Irene Pujadas (L’Altra Editorial) with Olga Federico and Mireia Perelló\, from the La Impossible bookshop\, and the writer. \n· Tuesday\, September 16\, 2025\, at the Museu Tàpies: Gossos dempeus\, by Eduard Olesti (Club Editor)\, with Cèlia Esteva\, from La Central bookstore. \n· Attention\, change of date: Due to the strike called for October 15\, the third session will be held on Tuesday\, October 28\, 2025\, at 6:30 p.m.\, in the Museu Tâpies Library: we will discuss the work entitled “El setè cavall”\, by Leonora Carrington (Extinció Edicions)\, with Àurea Perelló\, from the Finestres. bookstore. \n[Image: Antoni Tàpies. Llibre-mur (Book-Wall) 1990. © Comissió Tàpies / VEGAP\, 2025] \n 
URL:https://museutapies.org/en/event/book-wall-reading-club-2/
LOCATION:Museu Tàpies
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/05/llibre-mur.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251029T180000
DTEND;TZID=Europe/Madrid:20251029T190000
DTSTAMP:20260409T015200
CREATED:20250918T162155Z
LAST-MODIFIED:20251028T113247Z
UID:10001074-1761760800-1761764400@museutapies.org
SUMMARY:Maladruà\, with Estel Boada and Xavier Michel
DESCRIPTION:“Maladruà” is “maladroit.” It means “clumsy” in French. However\, the interpretation of languages ​​and codes from different regions always plays a clumsy role when it comes to establishing immediate connections. \nEstel Boada (Catalonia)\, singer and multidisciplinary artist\, together with Xavier Michel (France)\, poetic performer of the absurd\, will introduce us to the universe of André du Colombier through a perspective filled with humor\, linguistic play\, and experimentation with space. \nThe Maladruà activity is part of the RELÉ program of the ARTefACTe5 conference\, a CLUB9 project promoting contemporary French performance. With the support of Espai nyamnyam. \n  \nXavier Michel (Poitiers\, 1990) holds a degree in Systems Engineering and a Bachelor of Fine Arts from the Villa Arson in Nice. For several years\, he has developed a performative work in which he manipulates tool-sculptures in absurd and poetic productions. His practice draws on object theater\, circus\, dance\, and music\, giving rise to a polysemic and sensitive language. In recent months\, he has been working in Barcelona\, ​​where his work finds resonance and a certain affinity with the local art scene. He is currently in residency at Hangar-org. \nEstel Boada (Barcelona\, ​​1991)\, singer and multidisciplinary artist\, defines herself as a contextual juggler. With a background in Fine Arts\, she explores space\, community\, and voice through performance. Her work\, marked by humor and absurdity with touches of fantasy\, burlesquely reflects on her life as a “frustrated diva.” Interested in experimental education\, contextual art\, sound\, music\, and drawing\, she uses action and humor as tools of critique. She has participated in numerous interdisciplinary art interventions and curated self-organized contemporary art series. She is also a composer and vocalist for various musical projects. \n  \nAndré du Colombier. A Lyrical Point of View. Installation view. Photo: Eva Guillamet
URL:https://museutapies.org/en/event/maladrua-with-estel-boada-and-xavier-michel/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/09/Maladrua.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251030T190000
DTEND;TZID=Europe/Madrid:20251030T193000
DTSTAMP:20260409T015200
CREATED:20250929T154105Z
LAST-MODIFIED:20250930T081833Z
UID:10001086-1761850800-1761852600@museutapies.org
SUMMARY:Leo Castro. Over half way
DESCRIPTION:“I always carry memory with me for a long time\, in body and in thought\, in any process of constructing a poetics or a fiction\, which then end up being shared with lots of other strangers . . . Imagined landscapes\, decisive conversations\, those that are left halfway or unfinished because the thread leads somewhere else\, the visual or drawn elements\, I sketch them out. I talk about what’s left out but shapes the journey\, which is no less beautiful than all that is finally validated.” \nRevisiting thoughts and the body\, with the space as a landscape\, to recall the half of the way travelled so far. \nActivity within the framework of the second edition of the action cycle The Chairs of Tàpies\, led by Judith Barnés\, head of public programs at the Tàpies Museum. \n  \nLeo Castro is an artist\, performer and graduate in Philosophy from the University of Barcelona (1996). She trained as an actress from 1992 to 1996 at the Estudi Nancy Tuñón (Stanivslaski/Strasberg)\, and in dance in 1996\, coming into contact with a range of contemporary techniques and creative talents: Benoît Lachambre\, Ruth Zaporah\, Mark Tompkins\, Lisa Nelson\, María Muñoz\, Andrés Corchero\, DD Dovilier and Julyen Hamilton\, among others. In 1999 she founded Col·lectiu SIAMB\, devoted to Improvisation and Contact Improvisation. She acts in productions by TVE\, TV3\, TVC and the Teatre Nacional de Catalunya\, as well as with the companies Senza Tempo\, Sol Picó and Konic Thtr\, and intermittently with the LaViuda company since 2002. \nShe began her partnership with the Mal Pelo company in 2004\, and since then has worked with them as an actor and assistant director\, as well as on audiovisual directing and creativity for the company’s stage and exhibition projects. She embarked on her own creative exploration in presenting the stage productions Amadou (2009) and Olivia (2012). In 2010 she started working with creative centre L’animal a l’esquena as head of videographic documentation of residency projects and the centre’s different artistic activities. From 2008 to 2016\, together with Hermann Bonnin\, she worked on productions for Teatro Español in Madrid\, Teatre Nacional de Catalunya and La Seca / Espai Brossa\, as movement director\, stage director and acting coach. She worked as assistant director with the loscorderos.sc company on its pieces El mal menor\, El cielo de los tristes and Ultrainocencia. Since 2013 she has worked as an audiovisual editor with film producer and distributor Fromzero. In 2015 she started teaching Performance Technique in Dance and Composition on the postgraduate course in Performing Arts at ERAM\, University of Girona.
URL:https://museutapies.org/en/event/leo-castro-over-half-way/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2025/09/4_LUGAR-2-.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251108
DTEND;VALUE=DATE:20251110
DTSTAMP:20260409T015200
CREATED:20250530T123252Z
LAST-MODIFIED:20250602T100701Z
UID:10001026-1762560000-1762732799@museutapies.org
SUMMARY:Segni mossi. PURPLE training
DESCRIPTION:Segni mossi is a research project created by Alessandro Lumare (visual artist) and Simona Lobefaro (choreographer) that focuses on the relationship between dance  – as a projection in space and the emergence of our emotional side – and drawing – as an extension of the body and action\, and as a means to trace the essence of experiences. \nIn this event\, Segni mossi is presenting its training PURPLE\, which is aimed at teachers\, artists\, educators and all those interested in art and education. The artists say that this training “tastes of bungee jumping\, light breeze\, and earthquake”. \n“We will be magnetic dances\, attractive colours. We will stretch movements\, release signs. We will bounce between tempera\, bodies\, and environments. We will be magma\, pumice\, lava. Invisible like the wind\, we will lift leaves\, trees\, and buildings. We will be traces in the storm”. \n  \n 
URL:https://museutapies.org/en/event/segni-mossi-purple-training/
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/05/15-bounce.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251108T103000
DTEND;TZID=Europe/Madrid:20251108T123000
DTSTAMP:20260409T015200
CREATED:20251013T162719Z
LAST-MODIFIED:20251107T125042Z
UID:10001100-1762597800-1762605000@museutapies.org
SUMMARY:Stretch and scatter. Workshop for families with Segni mossi
DESCRIPTION:Activity canceled \n  \n \nA workshop where bodies trace elastic trajectories and let themselves be carried by invisible forces. We’ll play with movements that stretch and return\, then we’ll be swept away by the wind that moves objects\, people and marks. An experience for families\, between tension\, lightness and sudden storms. \nSegni mossi is a research project created by Alessandro Lumare (visual artist) and Simona Lobefaro (choreographer) that focuses on the relationship between dance  – as a projection in space and the emergence of our emotional side – and drawing – as an extension of the body and action\, and as a means to trace the essence of experiences.
URL:https://museutapies.org/en/event/stretch-and-scatter-workshop-for-families-with-segni-mossi/
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/10/Segni-mossi.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251114T180000
DTEND;TZID=Europe/Madrid:20251114T200000
DTSTAMP:20260409T015200
CREATED:20251102T140350Z
LAST-MODIFIED:20251113T153408Z
UID:10001115-1763143200-1763150400@museutapies.org
SUMMARY:"La Quema" [The Burning]: New documentary about Elena del Rivero’s creative journey
DESCRIPTION:As the climax of the second Extramural art project\, Elena del Rivero. Transitar «La Quema» [Elena del Rivero: Transiting ‘The Burning’]\, the Museu Tàpies presents\, as part of the programme of the Barcelona Loop Festival\, the new documentary La Quema\, produced by Impro Films\, A Casa Do Pozo and The Paraclete\, in collaboration with Mateo Feijóo\, curator of the project Elena del Rivero: Transitar «La Quema». \nThe project La Quema follows Elena del Rivero’s journey and her earliest works\, created in the seventies and eighties\, from her studio in Madrid to the Galician village of San Pedro Fiz de Vilar. There\, the paintings were exhibited in domestic settings—houses\, stables\, the local church or school—before they were given up to the passing of time… or to the fire. Through the artist’s reflections\, the cooperation of the residents and the final ritual of the burning\, the film portrays a process of letting go\, memory and transformation\, in which loss becomes the beginning of a new creative stage. \nLike a diptych\, this documentary is presented together with O carro e o home [The Cart and the Man]\, an audiovisual that is part of the legacy left by the ethnographer from Ourense Xaquín Lorenzo\, Xocas\, to the Museo do Pobo Galego\, of which he was the founder and first chairman of the Board of Trustees. The original film—made in 1940\, scripted by Xocas and directed by Antonio Román—recounts the life of the cart as a symbol of traditional Galician material culture. A work strongly influenced by Soviet cinema and the work of Robert J. Flaherty whose actors and actresses are the residents of the hamlet of Facós\, in the Municipality of Lobeira (Ourense province)\, the birthplace of Xaquín Lorenzo. \nIn 1980\, starting from a copy that appeared at the Museo Arqueolóxico Provincial de Ourense and is kept at the Museou do Pobo Galego\, the ethnographer\, together with film-maker Eloy Lozano\, made a new cut with a less mock traditional soundtrack\, with text and voiceover by Xocas himself. This second version\, sponsored by the Museo do Pobo Galego\, was recently digitalised in cooperation with AGADIC (Axencia Galega das Industrias Culturais) and Filmoteca de Galicia. \nThe presentation of the documentary will be carried out by Mateo Feijóo. \n  \nCredits:  \n  \nLa Quema [The Burning] \nAuthors: Daniel Fuertes Perea\, Gabriel Jesús García Duque\, Gregorio Alejandro Blanco Rivas \nProduction: Impro Films \nYear: 2025 \nLength: 64 min \n  \nO carro e o home [The Cart and the Man] \n1940/1980\, Galicia\, 11 min\, original language \nProduction: P.A.C.E. \nDirector and photographer: Antonio Román \nScript: Xaquín Lorenzo and Antonio Román \nEditing: Antonio Román and Carlos Serrano de Osma \nNarrator: Ignacio Mateo \nSound: Laffon-Selgas \nLaboratory: Arroyo \n  \nO carro e o home [The Chart and the Man] (1980 cut) \nProduction: Praia Lenta Films and Museo do Pobo Galego \nRestoration: Eloy Lozano \nScript and editing: Xaquín Lorenzo and Eloy Lozano \nText and voiceover: Xaquín Lorenzo \nBackground music: Eloy Lozano
URL:https://museutapies.org/en/event/la-quema-the-burning-new-documentary-about-elena-del-riveros-creative-journey/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251115T130000
DTEND;TZID=Europe/Madrid:20251115T143000
DTSTAMP:20260409T015200
CREATED:20251105T135439Z
LAST-MODIFIED:20251106T093721Z
UID:10001122-1763211600-1763217000@museutapies.org
SUMMARY:Bella Báguena. Jardín de piel [Garden of Skin]
DESCRIPTION:A vulnerable aria\, a ritualistic conversation: she bleeds in front of her audience\, accompanied by witchy textures\, sublime atmospheres and ecstatic prayers. This Valencian artist’s confessional and autobiographical sound work narrates personal stories\, sometimes cryptically and sometimes very openly. \nLike a kind of contemporary folklore made up of disconnected and abstract stories\, Bella uses her raw\, operatic voice to address themes such as dissent\, bodily transitioning\, love and heartbreak\, ecstasy\, error and the unknown. She invites us—in the midst of Scorpio season—to a concert for lesbians and other sentient beings\, presenting an echographic exploration of her inner world\, her wanderings and paths\, her outbursts\, her obsessions and her emotional diary. \n  \nBella Báguena (València\, 1994) is a trans female artist who has worked in disciplines such as performance art and sculptural jewellery\, currently focusing on her musical project. Combining pop imagery\, internet culture and nature\, her work explores the link between body\, emotion and sonic experience\, seeking to establish an honest connection between artist and spectator. \nShe has presented her work at institutions such as La Casa Encendida (Madrid)\, CCCB (Barcelona) and Palais de Tokyo (Paris)\, as well as with the Kuboraum brand (New York). She has collaborated on projects by Lina Lapelytė and was a SHAPE 2023 artist. In 2024\, she completed a sound residency with A Comparative Dialogue Act for the 60th International Art Exhibition of the Venice Biennale (Luxembourg Pavilion). \n  \nA session within the framework of the second edition of the “Following the Sun” cycle\, curated by Gabriel Virgilio Luciani.
URL:https://museutapies.org/en/event/bella-baguena-jardin-de-piel-garden-of-skin/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251119T180000
DTEND;TZID=Europe/Madrid:20251119T190000
DTSTAMP:20260409T015200
CREATED:20251110T151300Z
LAST-MODIFIED:20251127T090545Z
UID:10001126-1763575200-1763578800@museutapies.org
SUMMARY:Presentation of the book "Tàpies i jo. Una exegesi recíproca"\, by Rita Segato
DESCRIPTION:The Museu Tàpies hosts the public presentation of the book Tàpies i jo. Una exegesi recíproca\, which has arisen from the first edition of the International Essay Prize ‘Gestures of the Past\, Thought of the Present’. The ceremony features the participation of Rita Segato\, author of the publication; Imma Prieto\, director of the Museu Tàpies; and Pablo Allepuz\, curator of the collection. \nThe centennial of the birth of Antoni Tàpies (in 2023–2024) inaugurated a new stage in the manner his massive visual\, literary and institutional legacy is approached. Following on the experience of that commemorative year\, the museum has set up new structures for research and collaboration\, such as with the Antoni Tàpies – UPF Chair in Contemporary Art and Thought—developed with the Universitat Pompeu Fabra—and the Institute of Critical Derives\, encouraging interdisciplinary dialogue in inciting new ways of understanding the artist. This is the context of the International Essay Prize ‘Gestures of the Past\, Thought of the Present’\, which in each edition invites a theoretical to write an essay on Tàpies\, reflecting their own expertise and knowledge. \nThe first invitee was Rita Segato\, an internationally-recognised Argentine anthropologist and a key figure in feminist and decolonial thought. Free from the habitual conditions of artistic historiography\, her perspective offers a new reading of Tàpies. Segato shifts the image of an artist centred on the self—author of his own autobiography\, founder of the institution that bears his name—toward that self-questioning facet of Tàpies that is constantly shifting to a place outside of himself\, open to alterity and reflection on the other. This reciprocal exegesis between Segato and Tàpies sketches out connections between anthropology and art\, between matter and spirituality\, between ethics and aesthetics. In her essay\, the writer proposes seven ways to renew the study of Tàpies\, opening Tàpies studies up to new frameworks of understanding on identity\, belonging and the political meaning of creation. From a reading of gesture as a form of knowledge\, to the connection between historical memory and present-day struggles\, the book reveals Tàpies to be deeply contemporary\, able to continually give rise to critical thinking out of the here and now. \nPublished in Catalan and Spanish\, this work opens a new\, stable editorial line of activity on the part of the Museu Tàpies\, dedicated to the encouragement of research and the promotion of new perspectives on the artist’s work\, in dialogue with current debates in contemporary thought. \n  \n[Artwork: Antoni Tàpies\, Self Portrait\, 1992 © Comissió Tàpies / VEGAP\, 2025 ]
URL:https://museutapies.org/en/event/presentation-of-the-book-tapies-i-jo-una-exegesi-reciproca-tapies-and-i-a-reciprocal-exegesis-by-rita-segato/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251127T190000
DTEND;TZID=Europe/Madrid:20251127T193000
DTSTAMP:20260409T015200
CREATED:20251024T130830Z
LAST-MODIFIED:20251127T094114Z
UID:10001109-1764270000-1764271800@museutapies.org
SUMMARY:Mireia Calafell. FE-RI-DES (WOUNDS)
DESCRIPTION:What does it mean to think through wounds? What is it like to experience life through them? Can poets write about scars without using metaphors? Is it even worth trying? \n  \nThe beginning is marked by a chair placed next to another\, that is\, a meeting between friends and the opportunity to pronounce wounds. Mireia Calafell uses friendship as a means of talking and reflecting on scars through the reading of her own poems\, along with the words of others. She is joined by Fina Birulés\, Miquel Missé\, Pol Guasch and other voices who deserve to be heard when we talk about wounds. All this accompanied by another friend\, composer Clara Peya\, and her piano. \nThis activity is supported and endorsed by the Maria Canals International Piano Competition in Barcelona. As part of the second edition of the action cycle The chairs of Tàpies\, by Judith Barnés\, head of public programs at the Museu Tàpies. \n  \nMireia Calafell is a poet. She is the author of Poètiques del cos (2006)\, Costures (2010)\, Tantes mudes (2014)\, Nosaltres\, qui (2020) and Si una emergència (2024). She has received several awards\, including the Lletra d’Or for Best Book in 2014\, the Josep Maria Llopart Award for Best Poetry Collection Published in 2020 and the Carles Riba Award in 2023. Calafell is co-director of the La Sullivan cultural production company and was formerly co-director of the POESIA i + (2015–2016) and Barcelona Poesia (2018–2021) festivals. \nClara Peya is a pianist\, composer and one of the most unique creators of the Catalan music scene. With a career that fuses jazz\, pop\, and electronica\, she has released thirteen albums and has written numerous soundtracks for stage shows and cinema. Awarded the Premi Nacional de Cultura (2019)\, her work addresses issues such as feminism\, dissidence\, and vulnerability with great poetic and scenic power. \n  \nA collaboration with the Maria Canals International Piano Competition \nAntoni Tàpies had an ongoing relationship with music throughout his career. His interest included contemporary music—which he was close to on an intellectual and creative level—and musical practice\, understood as a universal language of communication. It was not fortuitous that Tàpies worked in collaboration with various initiatives where music and the arts were in dialogue\, such as those organised by Club 49\, a key space for the promotion of the artistic avant-garde in postwar Barcelona. \nAs part of the current collaboration between the Museu Tàpies and the Maria Canals Competition\, for three days (November 28\, 29 & 30\, 2025) a piano from the event will be installed inside the exhibition Antoni Tàpies: The Imagination of the World\, in dialogue with the broad presentation of invitations for cultural activities organised by Club 49. The proximity between the piano and these documents makes it possible to delve more deeply into the ambience of creative exchange Tàpies found himself in\, as well as into the role played in it by contemporary music. \nIn parallel with the recovery of democracy\, Tàpies sought to intensify his participation in cultural and social projects by creating posters\, which he considered an accessible form of communication. This is the context of the poster the artist created for the 50th anniversary of the Maria Canals International Piano Competition\, which arose out of his personal connection with the Barcelona music scene. Tàpies’ involvement was made possible due to the mediation of the Gaspar Farreras family and Galeria Gaspar\, in particular through Elvira Farreras de Gaspar and her daughter Elvira Gaspar Farreras. The friendship between Tàpies and the musician Rossend Llates\, the husband of pianist Maria Canals\, is seen in the poster with the initials R. LL. on it\, which likewise features those of the competition’s founder. \nIn the museum gallery we find Tàpies’ original artwork from which the poster was printed\, making it possible to place the work in its context: dialogue between the visual arts and music\, complicity between creators and cultural institutions\, and the role of Tàpies as an artist closely aligned with the social and cultural fabric of the Catalonia of his time. \n  \n[Photography by Àlex Espuny]
URL:https://museutapies.org/en/event/mireia-calafell-fe-ri-des-wounds/
CATEGORIES:Public Programme
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DTSTART;VALUE=DATE:20251203
DTEND;VALUE=DATE:20251205
DTSTAMP:20260409T015200
CREATED:20251118T113649Z
LAST-MODIFIED:20251129T140153Z
UID:10001131-1764720000-1764892799@museutapies.org
SUMMARY:International Symposium "Primitive Images\, Modern Dreams: Tàpies and Post-War Visual Culture"
DESCRIPTION:As part of the exhibition Antoni Tàpies: The Imagination of the World\, the Museu Tàpies is organising an international symposium to explore the study of the image on the basis of its collection. This initiative is part of the museum’s ongoing line of research and aims to rethink the visual narratives that shape our collective imagination\, paying special attention to the symbolic\, aesthetic world view surrounding Antoni Tàpies’ work. \nThe symposium sets out from the body of work on exhibition\, made up of works by Tàpies from the forties and fifties\, prior to his material period; pieces belonging to the artist’s private collection from non-Western cultures or by other artists in his context\, and archive material—both belonging to the museum and acquired by it specifically to prepare this exhibition—related to the popular imagination of the day. \nOn the basis of these materials\, the symposium concentrates on three subject areas that can be followed throughout the exhibition: primitivism\, psychoanalysis and popular culture. These areas allow us to place Tàpies’ artistic output in the context of a post-war Barcelona deeply marked by social\, political and cultural changes\, and to connect it with international avant-garde movements. At the same time\, this encounter sets out to explore other aspects\, such as the way Tàpies approached vernacular traditions and ancestral practices\, the impact of psychoanalytic thought on his work as a tool for addressing psychological concerns typical of an era\, and the dialogue between academic art and popular knowledge as forms of resistance and radical expression. \nThe symposium stands out for its interdisciplinary approach\, incorporating philosophy and psychoanalysis to address images not only as aesthetic forms but also as instruments of thought and symbolic construction. Its ultimate goal is to offer an updated\, critical reading of Tàpies’ work\, opening up spaces for discussion of the image\, the historical narrative and cultural memory. \n  \nProgramme of the symposium \n  \nWednesday\, 3 December 2025 \n· 6 pm. Welcome and presentation by the Museu Tàpies \n· 6.10 pm. Talk: ‘The Material Imagination’\, by Emmanuel Alloa \n· 6.50 pm. Talk: ‘A Visionary Context: Spiritualism\, Clairvoyance and the Unconscious’\, by Andrea Graus Ferrer \n· 7.30 pm. Break \n· 7.40 pm. Talk: ‘The Origin and Context of primitivism in Antoni Tàpies’\, by Estela Ocampo \n· 8.20 pm. Round table and debate moderated by the Museu Tàpies \n· 9 pm. Closing \n  \nThursday\, 4 December 2025 \n· 6 pm. Welcome and presentation by the Museu Tàpies \n· 6.10 pm. Talk: ‘Imagination\, imagined\, imaginary’\, by Chiara Boticci (online) \n· 6.50 pm. Talk: ‘Club 49\, a Window on the World’\, by Muriel Gómez \n· 7.30 pm Break \n· 7.40 pm Talk: ‘Swing and Modernity: Jazz in postwar Barcelona’ by Jordi Pujol Baulenas  \n· 8.20 pm. Round table and debate moderated by the Museu Tàpies \n· 9 pm. Close with ‘Echoes of Club 49’\, by the Carlos Falanga Trio \n  \nSpeakers \n  \nEmmanuel Alloa. Professor of Aesthetics and Philosophy at the University of Freiburg (Switzerland). A researcher at NCCR eikones\, he has lectured at Paris 8 University and been a guest lecturer at the universities of Weimar (Germany)\, Morelia (Mexico)\, Belo Horizonte (Brazil)\, Shanghai (China) and Berkeley\, Columbia and Yale (United States). \nAlloa has published a dozen books on contemporary philosophy\, phenomenology and the relations between aesthetics and politics. His work has been translated into English\, German\, French\, Spanish\, Portuguese and Chinese. Highlights among his publications in Spanish include: La resistencia de lo sensible (2009)\, ¿Cómo (no) leer las imágenes? (2019)\, La imagen diáfana (2021)\, Pensar la imagen I & II (2020 and 2022) and Repartos de la perspectiva (2024). His research work has won several awards\, including the Latsis Award in 2016 and the Aby Warburg Award in 2019. \n  \nChiara Bottici. An Italian philosopher and writer\, she lives and works in New York. She holds a chair in Philosophy in the Philosophy department of the New School for Social Research\, where she lectures\, among other things\, on the thought of Hannah Arendt and Ágnes Heller. As well as lecturing in political philosophy and aesthetics\, at the same institution she has founded and run the Gender and Sexualities Studies Institute. \nShe has written\, among other things\, Filosofía del mito político (Bollati Boringhieri\, 2012)\, The Myth of the Clash of Civilizations (2010\, with Benoît Challand)\, Imagining Europe: Myth\, Memory and Identity (2013\, with Benoît Challand)\, Manifest anarcafeminista (Laterza\, 2022)\, Cap submissió: El feminisme com a crítica de l’ordre social (2023)\, Mitologia feminista (Castelvecchi\, 2022) and La política de la imaginació (Castelvecchi\, 2023). Her work has been translated into a dozen foreign languages. \n  \nCarlos Falanga. Born in Buenos Aires (Argentina)\, at a very early age he started learning drums with Roberto Cesari Jr. At the age of 22 he decided to move to Barcelona\, where he continued his study of harmony and the piano at the Taller de Músics\, and of the drums with the great Aldo Caviglia. He subsequently graduated from the Barcelona Conservatory (ESMUC)\, where he studied with Jo Krause and David Xirgu. \nSince 2002 he has played an active part in the Catalan music scene\, performing in clubs and festivals all over Europe\, Asia and the Americas\, with a range of Spanish musicians and artists including Jorge Rossy\, Marco Mezquida\, Amparo Sanchez\, Carme Canela\, Horacio Fumero\, Bill McHenry\, Fredrik Carlquist\, Guillermo Klein and the Orquestra Simfònica del Liceu\, among others. He has released two albums under his own name: Gran Coral (Underpool) and Quasar (Fresh Sound New Talent)\, and with his experimental project IHHH he has made several recordings and performed at many festivals\, including Sónar Festival and Keroxen. \n  \nMuriel Gómez. She has a doctorate in the History of Art from the University of Zaragoza. She is currently an associate lecturer and vice-dean for Alliances\, Community and Culture in Art and Humanities Studies at the Universitat Oberta de Catalunya (UOC). A member of the SEC (Society\, State and Culture) history research group\, her research focuses on the analysis of processes of rupture and continuity in Catalan artistic modernity between the pre-war and post-war periods. Her main areas of study include the links between ADLAN and Club 49\, and the figures of Joan Miró and the sculptor Eudald Serra. \n  \nAndrea Graus Ferrer. Ramón y Cajal researcher at the Institució Milà i Fontanals d’Investigació en Humanitats at the CSIC. With a doctorate in the History of Science from the UAB\, she worked at the Centre Alexandre Koyré at the CNRS in Paris and at the University of Anvers (Belgium) for six years. The author of Ciència i espiritisme a Espanya (1880-1930) (Comares\, 2019)\, she has published work on the history of psychic research with mediums\, hypnosis and mystical phenomena in the 19th and early 20th centuries. Her current line of research focuses on the history of gifted children and child talent in contemporary Europe\, the subject of her next book. She curated the exhibition Gifted Children: Fame\, Science and Politics (Biblioteca de Catalunya\, 2024). \n  \nEstela Ocampo. She was a tenured lecturer at the University of Barcelona from 1987 and at the Pompeu Fabra University in Barcelona from 1987 until her retirement in September 2021. Academic secretary at the Pompeu Fabra University’s Institut de Cultura (2000–2008). Director of the Pompeu Fabra University’s Institut Universitari de Cultura (2008–2014)\, She is currently director and lead researcher at CIAP\, the Research Centre for Primitive Art and Primitivism at the Pompeu Fabra University. She has carried out research projects funded by the Spanish ministry of education and science into primitive art between 1997 and 2003\, and into primitivism and modern art between 2007 and 2016. \nShe has published numerous articles in Spanish and international journals. Her most recent books are: El Fetitxe en el Museu\, (Madrid\, 2011)\, Primitivisme a Europa i Amèrica\, (Barcelona\, 2017) and Traços. Pintura aborigen australiana: tradició i contemporaneïtat (Barcelona\, 2022)\, among others. She has given numerous lectures and seminars in Spain and abroad. She has curated several exhibitions\, the last being Strokes. Australian Aboriginal Painting: Tradition and Contemporaneity (Museu Etnològic i de les Cultures del Món\, December 2021 – June 2022). \n  \nJordi Pujol Baulenas. Born in Barcelona in 1953\, in 1983 he founded the music label Fresh Sound Records\, devoted to jazz\, after having worked as a textile designer in Lyon and Barcelona. In the course of his career\, he has recovered historic recordings like the concert by Louis Armstrong in Windsor (1955)\, and\, with the label Fresh Sound New Talent\, recorded the debut albums by artists like Brad Mehldau\, Robert Glasper\, Ambrose Akinmusire and Kurt Rosenwinkel\, as well as numerous local musicians. The winner of awards from the Académie du Jazz and the Académie Charles Cros\, he has featured in articles and interviews in media including Down Beat\, Jazz Magazine\, The New York Times and Los Angeles Times. He is the author of the book Jazz a Barcelona 1920-1965\, winner of the Ciutat de Barcelona Award in 2006. \n  \n[Imagen: Antoni Tàpies\, Gossos (Dogs)\, 1948. Col·lecció particular\, Barcelona © Comissió Tàpies / VEGAP\, 2025]
URL:https://museutapies.org/en/event/international-symposium-primitive-images-modern-dreams-tapies-and-post-war-visual-culture/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251205T173000
DTEND;TZID=Europe/Madrid:20251205T183000
DTSTAMP:20260409T015200
CREATED:20251107T130509Z
LAST-MODIFIED:20251128T120638Z
UID:10001123-1764955800-1764959400@museutapies.org
SUMMARY:Artistic mediations at the André du Colombier: A Lyrical Point of View exhibition\, with Estel Boada
DESCRIPTION:Mediation experience at the André du Colombier: A Lyrical Point of View exhibition\, led by artist Estel Boada\, aimed at the audiences visiting the museum on Friday afternoons. \nWhat connection do you think there is between a ceramic frog\, a collection of rubbers\, different-coloured party plates and shopping bags? These are some of the mundane objects which du Colombier gave a poetic setting and space. What would you choose from your bag or your pockets if you had to give an improvised gift? Don’t worry: if you haven’t got anything on you\, you can always give a play on words! In this immersion in du Colombier’s work we’ll be revealing new messages hidden behind the assemblages selected for the exhibition at the Museu Tàpies\, creating new plays on words and listening to music from the edges in a homage to du Colombier’s outside universe. \n  \nEstel Boada (Barcelona\, ​​1991)\, singer and multidisciplinary artist\, defines herself as a contextual juggler. With a background in Fine Arts\, she explores space\, community\, and voice through performance. Her work\, marked by humor and absurdity with touches of fantasy\, burlesquely reflects on her life as a “frustrated diva.” Interested in experimental education\, contextual art\, sound\, music\, and drawing\, she uses action and humor as tools of critique. She has participated in numerous interdisciplinary art interventions and curated self-organized contemporary art series. She is also a composer and vocalist for various musical projects.
URL:https://museutapies.org/en/event/artistic-mediations-at-the-andre-du-colombier-a-lyrical-point-of-view-exhibition-with-estel-boada/
CATEGORIES:Education
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251213T130000
DTEND;TZID=Europe/Madrid:20251213T143000
DTSTAMP:20260409T015200
CREATED:20251202T115507Z
LAST-MODIFIED:20251202T115507Z
UID:10001140-1765630800-1765636200@museutapies.org
SUMMARY:Mami Sugar. Search no. 3: Rewriting
DESCRIPTION:A sock: an everyday object\, minimal\, almost insignificant. When I look at it\, I make an immediate association: \nsock → foot → shoe \nAnd this journey leads me to think about hundreds\, thousands of people who walk: \n\nwho cross deserts\, coasts\, cities and frontiers;\nwho reach Europe or try to get to Catalonia;\nwho disappear from our view as soon as they get to the city;\nwho cannot go into museums\, but sustain everyday life.\n\nI think of those who live on the edges\, about non-normative bodies that do not fit into the official narrative. I think of those\, still without papers\, who build and sustain the Catalan economy: \n\nthe people in the fields in Lleida province\,\nthose who work in recycling with the same materials that Tàpies used to create his work.\n\nThose invisible presences who are here; their ancestors felt the whip that helped to raise up this country with raw materials like cocoa\, coffee\, sugar and timber. \nAnd if I think of Tàpies\, I inevitably think of Catalonia. And if I think of Catalonia\, is see the senyera\, its flag. How would a Catalan flag be constructed today? \nWhat is its gold? Whose is the blood behind the four red bars? \nBut I am Catalan. This flag is also mine. We need to appropriate the symbols\, transform them\, play with them\, create new narratives. \nThis is another foundational story for the 21st-century Catalan flag\, made from the socks of Afro-descendent people who walk over fictitious blood. \nThis is why I propose a different senyera: a flag created from the sidelines\, from the bodies that are not expected in the street but are exhibited in the museum as a symbol of diversity and integration. \nIn this other flag\, the yellow is the gold of Abya Yala: the wealth extracted from Africa and Latin America\, today turned into coltan\, cocoa\, oil and extractive companies that sustain European well-being. The red is the blood of the transatlantic trade: a trail that lives on in the deaths in the Mediterranean\, on the frontiers where black bodies continue to bleed. \nBecause the black presence in Catalonia does not begin with recent migration: it is ancient\, it is in the land and in time. \nIn almost all regions of Africa there exists a figure that connects the worlds of the living and the dead. A presence that dresses in clothing made of dried leaves\, of fibres\, of cloths\, of materials that breathe memory. It is a mask that entertains children\, that dances\, that provokes\, but that also guides\, supports and helps to transcend. A figure that does not just appear: it intercedes. That does not just dance: it opens gateways. That does not just play: it protects. \nI want to take this ancestral figure and create one of our own; a being wearing socks\, with the socks of people who migrate to Catalonia\, and also the socks used to create this new flag. \nSocks get lost in the wash\, yes; but they are also the best place to keep secrets\, to protect small treasures\, to keep us from the cold in the world. This is why I ask the migrant community for these odd socks in order to create a suit to dialogue face to face with Tàpies’ giant sock; a suit to stir a dance of the marginalised\, a movement to bring together times and places\, to connect me to the thousands of people who walk\, who make the crossing over to Europe\, to Spain\, to Catalonia. Because when there are no shoes\, when all has been lost or left behind\, we will carry on walking in socks. \nMy body—black\, female\, nearly fifty years old\, fat\, queer\, excessive—is not the expected body. But it is this body that today constructs this new senyera. That claims its place in the narrative. That says: Catalonia is also written by us. That declares: we are here\, we have always been here and we are a fundamental part of what this territory is and what it may become. \n  \nSilvia Albert Sopale \n  \nSilvia Albert Sopale is an actress by vocation\, a director by obligation\, a dramatist by social responsibility and an activist out of love for blackness. Born in San Sebastián\, she is the daughter of a Boobe mother from Equatorial Guinea and an Igbo father from Nigeria. She currently lives in Barcelona. \nShe is founder of Periferia Cimarronas\, the first Black theatre company in Spain; she taught the 2025 spring chair at the King Juan Carlos I of Spain Center at the University of New York; she is a member of the Academia de las Artes Escénicas de España; founder of Hibiscus\, the association of Afro-Spaniards and Afro-descendants; and director of the Festival Black Barcelona. She is also co-founder of Tinta Negra\, a collective promoting racial diversity in the performing arts\, and member of t.i.c.t.a.c. (Taller de Intervenciones Críticas Transfeministas Antirracistas Combativas). \nShe is joint creator of No es país para negras (2014)\, Blackface y otras vergüenzas (2019)\, Parad de pararme (2021)\, La Moreneta (2021)\, Cuentos desde la Periferia (2023)\, Mahmud y no solo Mahmud (2023) and Lotö\, un ritual de emancipación corporal (2024). \nHer work is studied in universities in Spain and the United States\, and she has staged productions in New York\, Chicago\, Colombia and several European countries. \n  \nThe programming and curating of the second edition of the Following the Sun cycle has been carried out by Gabriel Virgilio Luciani.
URL:https://museutapies.org/en/event/mami-sugar-search-no-3-rewriting/
CATEGORIES:Public Programme
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DTSTART;TZID=Europe/Madrid:20251216T180000
DTEND;TZID=Europe/Madrid:20251216T190000
DTSTAMP:20260409T015200
CREATED:20251209T103932Z
LAST-MODIFIED:20251210T095132Z
UID:10001143-1765908000-1765911600@museutapies.org
SUMMARY:Unspeakable Magic
DESCRIPTION:The third edition of the series A Hatch in the Void\, conceived by the writer Marc Caellas for the exhibition Antoni Tàpies: The Imagination of the World\, features the participation of Esteban Feune de Colombi and Félix Denuit. \nOn this occasion\, Caellas will install a number of oracles to serve viewers\, who will be invited to participate in brief personalised sessions. Instead of working like a predictive artifice\, each oracle works as a poetic\, sensitive device\, a tool to reveal what has remained hidden—in our perception\, in aesthetic experience or in the act of looking. The activity proposes an opening up exercise\, allowing intuition\, ancestral wisdom and latent energies to find a place to express themselves. \nThis play of interpretations\, combining performativity\, presence and imagination\, comes into direct dialogue with the ideas of Tàpies. Like the magician\, the artist was well aware that almost everything is a trick\, yet he also knew that authentic magic is not based on trickery but on what gets activated between the creator and the observer. For Tàpies\, over and above the final result what mattered was the process\, along with shared mystery and the affective relationship forged through objects and gestures. \n“Unspeakable Magic” calls on us to explore this terrain between the visible and invisible\, between art and ritual\, experiencing the work and thought of Tàpies up close\, in an intimate\, unforeseen manner. \n  \n[Image: detail of one of the showcases of the exhibition Antoni Tàpies. The imagination of the World.]
URL:https://museutapies.org/en/event/unspeakable-magic/
CATEGORIES:Public Programme
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