Opening of the exhibition “Antoni Tàpies. The Perpetual Movement of the Wall”
2026-02-13 19:00 - 21:00 (Europe/Madrid)
NEW DATA
The Museu Tàpies will officially open the new exhibition, Antoni Tàpies. The Perpetual Movement of the Wall, on Friday, February 13, 2026, at 7:00 p.m. The opening event is free and open to the public; no prior reservation is required. The exhibition will run until September 6, 2026, offering the public the opportunity to explore a pivotal moment in the work of Antoni Tàpies.
The monographic project will consist of an exploration of the artist’s work on the basis of his exhibition contexts and forms. The project takes as its object of study four exhibitions staged by Antoni Tàpies in the decade, each with very different sets of his work, and also set up in different ways. The divergence between these approaches, as well as the particular vicissitudes of the organisation of each of them, will make it possible to relate Tàpies’ output in each case with wider debates about modern architecture, industry, graphic design and editorial composition, urban space and certain ways of life at the time.
The exhibition is curated by Imma Prieto, director of the Museu Tàpies, and Pablo Allepuz, head of collection at the museum.
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[Image: Antoni Tàpies, El foc encantat de Farefa, 1949. Private Collection, Barcelona. © Comissió Tàpies / VEGAP, 2026.]

Tarte Tatin
2026-02-21 18:00 - 19:00
When the Museu Tàpies began to give shape to the first solo exhibition dedicated to André du Colombier, the curator Anka Ptaszkowska, a close friend of the artist, opened the doors of her Paris flat to representatives of the museum. It was a space suspended in time, a dense, chaotic world where many unknown works were uncovered: documents, everyday objects and the remains of an intensely-lived life. Many of those pieces are now part of the exhibition André du Colombier: A Lyrical Point of View.
That rich disorder, brimming with remnants from life, also featured a few loose sheets of paper that seemed to belong to a theatrical piece written by du Colombier. It was Tarte Tatin, a virtually unheard-of piece that has only been performed once, and which ironically reflects on the passing of time, friendship and the absurdity of humans’ inability to communicate.
For the closure of this exhibition, the Museu Tàpies has commissioned playwright and theatre director Berta Prieto to prepare a performance of the theatrical text in the form of a dramatized reading. The proposal was to create a dialogue with the exhibition’s visual content, so that the artist’s words might fill the exhibition space with new layers of meaning, activating concerns that continue to resonate with uncommon force.

Berta Prieto (1998) is a playwright, actress, director and screenwriter. She studied in various acting schools and has a degree in Humanities (Universitat Oberta de Catalunya). Her professional debut was with El Chinabum (2018), written together with Lola Rosales and directed by Paula Ribó. That piece went to many festivals and theatres, and gave rise to the collective Las Chatis de Montalbán.
Afterwards, she co-wrote and directed FUCK YOU MODERN FAMILY (2019) and Derecho a pataleta (2020), both of which premiered and had runs at the Sala Beckett. Her most recent work as a playwright and director is Del fandom al troleig, una sàtira del bla bla bla, premiered and performed at the Sala Beckett, Barcelona, and at Teatro de la Abadía, in Madrid.
She is likewise co-creator of the series AUTODEFENSA (2022), produced by FILMIN and Boogaloo Films, which was selected for festivals such as the Sevilla European Cinema Festival, l’Alternativa and Series Mania. It was also nominated for various awards, including the Feroz Awards and the ALMA Awards. Prieto currently is working on new theatrical and audiovisual projects, exploring the limits of playwrighting and contemporary creation.

Team Credits
· Playwright and Director: Berta Prieto
· Cast: Belén Barenys, Laura Roig and Berta Prieto
· Scenography: Cecília Ruíz Baena
· Art Director: Cecília Ruíz Baena
. Art and wardrobe assistant: Patrícia Feliu Juárez
. Graphic Design: Eduard Sales
. Sound Design: Belén Barenys
. Pianist: Roger Cassola

Enric Casasses: The Bean and the Chickpea. Up on the Chair
2026-03-12 18:00 - 18:30 | Museu Tàpies
Enric Casasses opens the new edition of the series The Chairs of Tàpies with a talk-lecture-action-recital-event on how the chair, however small it might be, FILLS the stage. Casasses recurs to the vision of how a poem transforms itself over the rift of time (months, years, decades). The first version of the poem is from the 1980s; the second, from the first decade of the 21st century; and the third will appear, if it does at all, during this session. Meanwhile, we will see how the chair appears and disappears in different moments in the 20th century. We still know nothing about the 21st century: we are watching it live.
The poem in question is called “The Bean and the Chickpea”, which in its earliest version was included in an unpublished volume featuring early Casasses poems, entitled Ànsia vella [Old Craving].
Enric Casasses. Born in Barcelona with roots in the coastal town of L’Escala, he has lived a relatively nomadic life and won various awards. Casasses has written verse (small poems, big poems, songs and also poetic essays), prose (poetic and philosophical, especially works of philosophical fiction) and a few plays. He is the author of Calç, Uh, Do’m, El nus la flor, la policia irà de bòlit and other works.

Opening of the exhibition “Àngel Jové. De intactu”
2026-03-19 19:00 - 21:00 | Museu Tàpies
Next Thursday, March 19, 2026, at 7:00 p.m., will take place the general inauguration of the new exhibition of the Museu Tàpies entitled “Àngel Jové. De intactu”. The event will be public and free, and no prior reservation is required. The exhibition will be available until September 27, 2026, allowing the public the opportunity to delve deeper into the work of the Catalan artist.
The exhibition “Àngel Jové. De intactu”, curated by art historian Maria Josep Balsach, is the first major retrospective on Àngel Jové (Lleida, 1940 – Girona, 2023), this displays a significant part of his work in order to provide a more intimate space around his figure, revealing an artist who avoided the conventional institutional frameworks of museums. Considered one of the most enigmatic artists of the seventies, Jové shifted between arte povera, informalism and conceptualism.

[Image: Àngel Jové, Untitled. Sèrie Metafísica, 1975. © Rafael Bartolozzi Collection, 2025.]

blanca arias: At the Edge of a Forest, a Girl
2026-03-21 12:00 - 14:00 | Museu Tàpies
‘At the edge of a forest, a girl.’ There is a promise, from teller to listener, concealed in that opening, like a note tucked into a pocket, a hint that something is about to happen. Anyone in the vicinity would turn their head and prick their ears, their mind already forming a picture of the girl, perhaps picking her way through trees or standing beside the green wall of a forest.
Excerpt from Hamnet, by Maggie O’Farrell

It is with this horizon of expectation that At the Edge of a Forest, a Girl unfolds. Taking the apparent voids in Antoni Tàpies’ work Mitjó [Sock] as her starting point, the artist blanca arias invites us to inhabit the hole as an ambiguous space: absence and openness, vulnerability and possibility. That which decorum usually casts aside — excess, the abject, deviation from the norm — becomes here a place for rethinking the perception of bodies and what our gaze says about us.
In this context, body and matter are presented as surfaces for writing, conveying what words cannot express. As an act of methodological care, arias ‘pulls the thread’, symbolically linking textile practices, oral memory and discreet genealogies that are often left out of the official narrative.
From a feminist perspective, intuition and listening to the soft areas of the body are claimed here as forms of knowledge. Poetry, conceived as a fold in language, opens up spaces where other meanings emerge and allows us to question what we expect from the artistic experience today.
Activity held as part of the third edition of the “Following the Sun” series, entitled “Uncovering the Gaze”, curated by Carolina Ciuti.

blanca arias (she/they) is an artist-researcher, educator and curator. She holds a degree in Art History from the University of Barcelona and a master’s degree in Comparative Studies from the Universitat Pompeu Fabra. She develops her practice in the field of image, from where she fabulates about possible lesbian feminist gestures and materialities. Blandito blandito. ¿Qué le hacemos las feministas al arte? (Cielo Santo, 2025) is her first book.
She is currently a member of the Public and Social Programming Department at the Fundació Miró, as well as an educator at MACBA and a volunteer at the Ca la Dona archive. She has curated exhibitions at the CCCB (2026), Fundació Miró (2025), Sala d’Art Jove (2024) and La Panera (2024), and has also carried out art mediation activities at Matadero, MNAC, La Capella, MACBA, Monestir de Pedralbes and the Centre LGBTI, among others. As an artist, her work has been recognised with grants from Barcelona Crea (2024) and Sala d’Art Jove (2023), and has been exhibited in spaces such as the EACC (Espai d’Art Contemporani de Castelló), Loop Festival and Tabakalera.

Walls, Dividers or Partitions. Family activity
2026-03-29 11:00 - 12:30
Over the course of his career, Antoni Tàpies explored new possibilities for painting, experimenting with extra-pictorial materials such as marble dust to give varied textures to his works. As he himself would say, while working with such practices the canvas would surprise him, turning into a wall.
Have you ever paid attention to the walls at your home? What do they tell us? How do they do it? During this activity we will listen to walls, dividers and partitions. While doing so, we will get to know the creative process behind the wall-works of Antoni Tàpies, with his communicative capacity and fascination for walls. Then, as we go for a walk, we will focus on the marks on the walls found around the museum to reveal the stories they have to tell us.
Activity in the context of the exhibition “Antoni Tàpies. The Perpetual Movement of the Wall“.

Carles Congost. Grey Has Declinations
2026-04-09 18:00 - 19:30 | Museu Tàpies
Carles Congost presents Grey Has Declinations, a performative intervention that gives precedence to the role of text and sound. The imposing influence of the writings of Antoni Tàpies is expressed through various musical and sound tracks, created previously by the artist.
Congost adopts the role of a DJ, turning a clubbing session into a hybrid, reflexive performance. This hybridisation responds to various ways of intervening on the tracks, and is also expressed in the various creative processes undertaken.
In some cases, Congost improvises over preexisting instrumental bases, introducing new effects and voices created by artificial intelligence, so as to organise the messages within the particular economy of the song format. In other circumstances, he recreates ambience landscapes where the text appears in a more abstract, suggestive manner.
Despite clear formal differences between Congost’s work and that of Tàpies, this performance seeks to highlight the essential ideas they share as related to the creative act, which here deserve to be united and celebrated. The Tàpies texts utilised work as foundational material for this study, bringing to the fore the free association of ideas as a valid way of working. Congost ravels up and reworks the original texts, which never appear in literal fashion, with the aim of emphasising the transversality, pertinence and universality of the ideas of the painter Antoni Tàpies. With Andrés Papas Pérez collaboration.
Activity carried out within the framework of the third edition of the cycle “The Chairs of Tàpies“, curated by Judith Barnés.

Carles Congost employs various visual and sound procedures, including video, photography, drawing and installation, to create narratives that ironically and sensually reflect on the forging of identity, consumer habits and artistic creation itself. In his work he analyses the codes of popular culture as vehicles for differentiating constructions, and as hegemonic forms of subjectivity.
Congost has participated in numerous national and international exhibitions, including Music as a Foreign Language, Museu Es Baluard, Palma, 2023; What are Songs Good For? , La Casa Encendida, Madrid, 2020; A Sense of Wonder, Centre d’Art Contemporani Fabra i Coats, Barcelona, 2018; X Nicaragua Biennial, 2016; Manifesta 11, Zurich, 2016; The Real Royal Trip, PS1/MOMA, New York, 2003; Popcorn Love, Espacio Uno – Museo Nacional Centro de Arte Reina Sofía, 2001; and Country Girls, Espai 13 – Fundació Miró, Barcelona, 2000.

Image: Montseny with violence

Laura Llaneli. Mute Murmur
2026-04-18 12:00 - 14:00 | Museu Tàpies
In Mute Murmur, Laura Llaneli places sound in a space of unexpected possibility. Through this minimal yet sustained action, she shifts listening towards the world of imagination and invites us to consider the extent to which a sound can exist without actually sounding. In a cultural context dominated by the visual, this imagined listening project seeks to reshape, albeit temporarily, the perceptual frenzy that characterises contemporary life.
This performance is the result of ongoing research into sound perception and transmission and takes the form of a score without sounds, open to each member of the audience’s individual and collective resonance. By evoking the sounds that frame the museum’s everyday institutional life, the sounds of the urban fabric and the sounds of the natural surroundings, it gives rise to frictions and expectations often lost in the background but which decisively shape our sensory experience.
In this way, the museum terrace becomes especially permeable to these tensions. Situated simultaneously both inside and outside the institution, in a seemingly sheltered place that is also exposed to the shifting sounds of the city that filter in, it is reconfigured as a privileged setting for attentive listening to the (mute) murmurs that often go unnoticed yet which softly and subtly shape our collective perception.
Activity held as part of the third edition of the “Following the Sun” series, entitled “Uncovering the Gaze”, curated by Carolina Ciuti.

The work of Laura Llaneli (Granada, 1986) explores the relationship between sound production and experience, language and contemporary visual arts practices. Her projects focus on the impact of variations on patterns and stable structures in certain cultural products, while also testing the resilience of language as a code and of sound as a social icon.
She is represented by ADN Galeria and is the winner of the 2019 Art for Change Prize, the 2018 Miquel Casablancas Visual Arts Prize and the 2017 Embarrat Prize, among others. She has held solo exhibitions in venues across Spain and abroad, including the Centre de les Arts Lliures de la Fundació Joan Brossa, Barcelona; La Capella, Barcelona; Casal Solleric, Palma; ADN Galeria, Barcelona; Fundació Joan Miró, Barcelona; Casaplan, Valparaíso, Chile; Swinton & Grant, Madrid; and art3, Valence, France. She has also taken part in group shows at Lo Pati, Amposta; The Clemente, NYC; Palacio de los Condes de Gabia, Granada; Centro de Arte Rafael Botí, Córdoba; Tecla Sala, L’Hospitalet de Llobregat; and Casa de Velázquez, Madrid, among others. She has performed at festivals such as Asistir 2022, Mexico; Signal Reload, Sardinia; Intermediale, Poland; Mixtur, Barcelona; POESIA i +, Caldes d’Estrac; CAAMsonora, Gran Canaria; LEM, Barcelona; Tsonami IX, Chile; and Eufònic, Terres de l’Ebre.
She currently lives and works in Barcelona. She studied music before completing a diploma in Graphic Design. She holds a BA in Fine Arts from the University of Barcelona, where she went on to do an MA in Sound Art and an MA in Teacher Training.

Drawing visit. "Àngel Jové. De intactu" with Bea Ortiz
2026-04-22 18:00 - 20:00
Drawing has a significant presence in the multifaceted work of the artist Àngel Jové: infinite landscapes that are part of series; fragmentary or partial drawings; recurring motifs; drawing strokes over press images; drawings as if they were archival documents. We invite you to explore these materials through a drawn visit to the exhibition Àngel Jové. De intactu; that is, a tour of the exhibition that takes drawing as a means of dialogue with his works.
During the session, Bea Ortiz will propose various practices focused on exploring drawing as an intermediary between the work of Àngel Jové and our interpretation of it. Based on the perception of some of his works, participants will be invited to observe and experiment with different representation strategies. Through small formal approaches, emphasis will be placed on the process and the ability of drawing to generate research: trying ways of looking, translating forms, rhythms, or relationships present in Jové’s pieces. Through awareness of gesture, stroke, texture, supports, and tools, drawing becomes a testimony of what the artwork conveys. Rather than representing it faithfully, the aim is to translate an atmosphere, a state, or a feeling, and see how the language of drawing can shape these impressions.

Bea Ortiz holds a degree in Fine Arts, specialising in painting. She has participated in solo and group exhibitions in cities such as Barcelona, Madrid, and Paris. She later completed the Higher Level Training Cycle in Illustration at the Escola Massana. She has illustrated three albums published by Editorial Andorra, as well as for magazines such as Cavall Fort and Tretzevents. Over time, she realised she preferred to share her passion for art with others in a practical and collaborative way. After several years working as an educator in various museums in Barcelona, she currently teaches at the Escola d’Art i Disseny de Sant Cugat (EAD).

[Àngel Jové. Untitled, c. 1984. Private collection, Girona.]

Approaches. Guided tour 2026
2026-04-26 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

Screening of "Lo pedrís, viatge per terres de Ponent" (1989), by Carles Hac Mor, Àngel Jové and Benet Rossell
2026-04-30 - 2026-05-05 | Museu Tàpies
As an extension of the exhibition Àngel Jové. De intactu, the Museu Tàpies will present a screening of Lo pedrís, viatge per terres de Ponent (1989), created by Àngel Jové, Benet Rossell and Carles Hac Mor. The film is a feature-length piece resulting from extensive video recording. It documents a journey through the Franja de Ponent and takes shape as a hybrid artifact between film, performance, and writing. Far from any conventional narrative intention, the film unfolds a fragmented and experimental perspective on the landscape, understood as a space of friction between reality, memory, and language.
The work makes it possible to situate the intellectual and creative affinities between three key figures of the Catalan artistic and literary scene of the second half of the 20th century, all linked to avant-garde practices and to an expanded conception of art. In this sense, the project becomes a privileged point of entry for understanding how, in Jové’s work, the artistic gesture intertwines with poetic language and with a sustained attention to territory as a space of experience and thought. Within this context, the journey becomes not only a physical displacement, but also a poetic and conceptual device from which to rethink language, perception, and forms of representation.
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Video recording (camera take), colour, sound, 12:04:16. The recording is divided into ten videos numbered 001 to 010, never previously edited:

Fragment 001 — 00:21:49
Fragment 002 — 01:02:08
Fragment 003 — 01:32:38
Fragment 004 — 01:02:13
Fragment 005 — 01:03:15
Fragment 006 — 01:32:56
Fragment 007 — 01:32:56
Fragment 008 — 01:03:02
Fragment 009 — 01:27:00
Fragment 010 — 01:53:32

The film will be screened in the auditorium of the Museu Tàpies on the following dates and at the following times:

Thursday, April 30, from 3 to 7 p.m.
Friday, May 1, from 10 a.m. to 7 p.m.
Saturday, May 2, from 10 a.m. to 7 p.m.
Sunday, May 3, from 10 a.m. to 3 p.m.
Tuesday, May 5, from 3 to 5 p.m.

The film has been loaned by the Museu Morera of Lleida, courtesy of Cristina Giorgi, widow of Benet Rossell.
As a closing event, the activity Cartografía de un viaje: Jové, Rossel y Hac Mor, scheduled for May 5, 2026 at 6:00 p.m., will further explore the experimental film by Jové, Rossell and Hac Mor.

Àngel Jové. Polaroids (The Maialussa Country), 1989. © Maria Josep Balsach, 2026

Cartography of a Voyage: Jové, Rossell and Hac Mor
2026-05-05 18:00 - 20:00 | Museu Tàpies
‘Cartography of a Voyage: Jové, Rossell and Hac Mor’ is an activity programmed to coincide with the exhibition Àngel Jové. De intactu. Its purpose is to delve into one of the least-known but most revelatory facets of Jové’s practice: the relationship between artistic creation, writing and territorial experience. In this context, the voyage becomes something more than physical movement, working in turn as a poetic and conceptual instrument with which to rethink language, perception and forms of representation.
This proposal takes as its starting point the road movie entitled Sidamún, Alamús, Almatret. Viatge a la Franja de Ponent [Sidamún, Alamús, Almatret: Voyage to La Franja de Ponent] (1986), created by Àngel Jové, Benet Rossell and Carles Hac Mor. The film is a full-length document drawn from detailed video recordings of their travels in the Franja de Ponent region, conceived as a hybrid artefact between cinema, action and writing. Distancing itself from any sort of conventional narrative, the film reveals a fragmentary, experimental gaze in relation to the landscape, understanding it as a space of friction between reality, memory and language. The work makes it possible to situate the intellectual and creative complicities between three leading figures of the Catalan artistic and literary scene in the second half of the 20th century, with strong ties to avant-garde practices and an expanded conception of art. In this regard, the project emerges as a privileged entry point for understanding how artistic gesture in Jové’s work is woven together with the poetic word, with persistent attention to the territory as a space of experience and ideas.
The structure of this activity is expressed through three stages. First, there will be an opening lecture by Maria Josep Balsach, the exhibition’s curator, which will provide the contextual and critical framework for understanding this piece and its resonance with the overall body of Jové’s career: “The extreme lands of memory. The journey of Àngel Jové, Carles Hac Mor and Benet Rossell in the late 1980s: Photography, poetry and cinema”. This is followed by a screening of part of the film, on loan from the Museu Morera, courtesy of Cristina Giorgi, the widow of Benet Rossell. The session will end with a colloquium featuring Lluís Calvo, Joaquim Sala Sanahuja and Mariona Moncunill. Their conversation will seek to open up a shared space for reflection on the relationships between the three creators, and how this project lays out a unique cartography of territory, language and displacement. Quite beyond its condition as a document, the film is conceived as an open experience that encourages us to rethink disciplinary limits and reconsider ways of narrating (and inhabiting) the landscape.
As an extension of the exhibition Àngel Jové. De intactu, and as part of this activity, the Museu Tàpies has programmed screenings of the fragments -never edited- for the road movie Lo Pedrís, viatge per terres de Ponent (1986), by Carles Hac Mor, Àngel Jové and Benet Rossell, in total, 12 hours of recording, in the museum auditorium on the following days:

Thursday 30 April, from 3 pm to 7 pm
Friday 1 May, from 10 am to 7 pm
Saturday 2 May, from 10 am to 7 pm
Sunday 3 May, from 10 am to 3 pm
Tuesday 5 May, from 3 pm to 7 pm

Installation view. Àngel Jové. Sidamun, Alamús, Almatret. De Franja pur, 1989. © Maria Josep Balsach, 2026

Poem/me xx1. Listening session/Hybrid reading
2026-05-07 18:00 - 19:00
Ikram Bouloum is the third guest of the series of actions entitled “The Chairs of Tàpies. Invoking the crack”.
With Poem/me xx1, the artist reappropriates narrative space, presenting a listening session/hybrid reading in the form of a plurilingual narration, bringing together diverse memories, poems, songs and images. This body of work allows her, for one, to introduce the notion of fissure that runs through her album: the inherited wound. On the other hand, the context that goes along with this narrative movement moves from the intimate to the collective, tracing a path towards diaspora.

Ikram Bouloum is a Catalan-Amazigh artist, selector and curator. After various years working primarily as a musical programmer and artistic director, she is currently reviving and recentring her artistic and research practice, reconnecting with the voice, storytelling and music, with a multidisciplinary and anti-disciplinary approach.
In her music, which she mostly performs in her native Amazigh language from the Rif region, she explores subjects that the North African diaspora oftens finds difficult to address, reimagining legacies through an experimental vision that is both poetic and political.
Series “The Chairs of Tàpies” are curated by Judith Barnés.

[Photography: Lúa Oliver]

Visual Territories. Creative intervention workshop with images exploring landscapes in the work of Àngel Jové
2026-05-09 11:00 - 13:00
Àngel Jové. Italian Notebook (1976-1981). Mixed technique on paper.

Creative intervention workshop focused on landscapes in the work of Àngel Jové, using photographic narrative and shared practice, exploring images and materials within the poetics of Arte Povera. Led by Món Casas (CliCme·educació).
Món Casas is a photographer, educator, researcher, curator, and cultural mediator, who develops her educational and artistic mediation work through CliCme·educació, designing projects, exhibitions, and workshops for museums, archives, and other cultural institutions.
This activity is aimed at people interested in the arts and education. No prior experience is required.

"Against the Wall" series
2026-05-12 18:00 - 19:00
The Against the Wall series of encounters is part of the exhibition project Antoni Tàpies: The Perpetual Movement of the Wall, extending its question marks to the present. Setting out from an analysis of the contexts and forms of exhibition of Tàpies’ work in the 1950s, the programme sets out to activate the wall not just as a formal or architectural feature, but also as a sensitive, cultural and political device that structures the relationship between artwork, body and space.
In those years, the wall became more than just a pictorial medium for Tàpies: it was an active surface on which gestures, memories and tensions are inscribed, but also a point of contact with modern architecture, graphic design, industry and the changing cityscape. The different setup solutions explored by the artist in his individual exhibitions in the fifties show just how far exhibition conditions form part of the very meaning of the artwork, and how the work dialogues with specific ways of living, of producing culture and of seeing the world.
Taking this as its starting point, the series —moderated by arts journalist Clàudia Rius— offers a series of contemporary dialogues between artists and agents in the art system working today with related concerns: matter and its symbolic baggage, the relation between art and architecture, the presence of the body, the affective dimension of the exhibition space and the ability of the wall to work as frontier, medium, skin and place for resistance. Far from a closed historiographic reading, the encounters activate Tàpies’ work as a resonant field through which to think about current practices to produce, exhibit and mediate art.
Each encounter deals with the wall from a specific point of view —material fragility, the skin of the artwork, the body and affect— but all of them share the intention of questioning the limits between object and venue, between intimacy and the public sphere, between institutionalisation and sensitive experience. In this respect, the series sees the wall as a place of friction and shared imagination, able to condense conflicts, desires and ways of relating that run through both Tàpies’ work and contemporary artistic practices.
At a time when the role of the exhibition space is once again subject to revision —in terms of its material, symbolic and political conditions—, Against the Wall sets out to build bridges between past and present, between the debates that marked a key period in artistic modernity and the questions that today face artists, institutions and audiences. Far from being a fixed boundary, the wall is thus presented as a place in perpetual movement.

Programme:

· Encounter 3. With Eva Fàbregas and Joana Roda (Bombon Projects)
Date: Tuesday, 12 May 2026, 6 p.m.

Previous sessions

· Encounter 1. With Lucía C. Pino and Patricia de Muga (Prats Nogueras Blanchard)
Date: Tuesday, 10 March 2026, 6 p.m.

· Encounter 2. With Marria Pratts and Jordi Mayoral (Galeria Mayoral)
Date: Tuesday, 14 April 2026, 6 p.m.

[Image: Antoni Tàpies. El crit. Groc i violeta (1953) Museu Tàpies, Barcelona. © Comissió Tàpies / VEGAP, 2026.]

Discover an Art Nouveau gem: the Museu Tàpies’ Library
2026-05-13
As part of the 19th edition of the Night of the Museums and the International Museum Day, we invite you to visit the Museu Tàpies’ Library.
This activity is part of the project promoted by the Museum Libraries across Catalonia and, in our case, also coincides with “Barcelona 2026, World Capital of Architecture”, where we invite you to discover a modernist gem from the inside.
The library, specialized in modern and contemporary art, is located in the former Montaner y Simón publishing house, designed in 1879 by the modernist (Art Nouveau) architect Lluís Domènech i Montaner a heritage site of great historical value.
During the visit, we will offer a brief introduction to the building, explain the uniqueness of its architecture, and show you our special collections.

Programme

Wednesday, March 13, at 12pm., at the Museu Tàpies’ Library. Prior booking is required
Wednesday, March 13, at 18pm., at the Museu Tàpies’ Library. Prior booking is required

Guided tours of the exhibitions, led by the curators
2026-05-14 18:00
A series of guided tours led by the curators of the current exhibitions at the Museu Tàpies. A unique opportunity to visit the exhibits with the experts.

Program
· On Wednesday, April 15, 2026, at 6 p.m., the guided tour of the exhibition “Antoni Tàpies. The Perpetual Movement of the Wall” will take place, led by Pablo Allepuz, head of the Tàpies Museum Collection and co-curator of the exhibition.
· On Thursday, May 14, 2026, at 6 p.m., the guided tour of the exhibition “Àngel Jové. De Intactu“, led by Maria Josep Balsach, curator of the exhibition.

Blanca Tolsà and Albert Tarrats. microdesfase
2026-05-16 12:00 - 14:00
With microdesfase [micro-gap], Blanca Tolsà and Albert Tarrats transform the access stairway to the terrace of the Museu Tàpies into a sonorous, choreographic organism. Through movement, voice and live modulation, they activate a dialogue with the reverberating acoustics of the space, creating a kaleidoscopic landscape where the body, sound and technology mutually alter each other.
The piece begins with a marginally unstable tone, insisting on it until it gives way to tiny shifts and harmonic tensions: tonalities that emerge like an organic relief, an auditory mirage that defies perceptions, encouraging a certain kind of hallucination.
The sound injected into the space returns transformed: the architecture breathes, responding in an unexpected way, enlivening its own memory. It is no longer an inert container, but converts itself into a shared, porous body. The activation of the surroundings—seeking to refer to the practice of Antoni Tàpies himself, reviving the everyday as a potentially magical dimension—emphasises subtle gestures, miniscule shifts and the echoes that persist when the main sound fades.
Just like Tàpies, who gazed intently at a wall to achieve some degree of illumination inspired in Zen practice, microdesfase proposes a contemplative experience where careful listening reveals the concealed bounty of what apparently seem insignificant.
Located in a transition space, on the way to the Tàpies’ Mitjó [Sock] sculpture, the performance calls on the public to inhabit a space of auditory illusion and sensorial alteration. In this case, vision is blurred and listening becomes the focal point of an experience that is at once collective and intimate, where sound seems to arise both out of the body and out of the air surrounding it, erasing the boundaries between emission, echo and reflex.

Blanca Tolsà (Ontinyent, 1991) is a dancer and choreographer based in Barcelona. Her artistic research explores the relationship between voice, movement and sound, emphasising their a-synchronicities. Through her pieces, she posits spaces that play with perception, leading to illusions, displacement and dissonance.
Tolsà has been a resident artist in creative production centres like La Caldera, Graner, Fabra i Coats, Roca Umbert and CC Barceloneta. Her works include Ecoica (2022) and Parafonías (2025). She is currently expanding her practice into non-theatrical areas, researching architectures with acoustic reverberations. Her works have been presented at festivals such as Dansa Metropolitana and Dansa València, as well as in spaces like La Capella, La Caldera and Danza en Breve.
As a performer, she has been awarded the Premi Butaca 2020 for Wu Wei, by Raquel Klein, and the Premi de la Crítica 2024 for La Quijá, by Siberia Paloma Muñoz. She has worked with numerous choreographers in the Catalan dance scene, including Lipi Hernández, Ariadna Montfort, Raquel Klein, Roberto Zappalà (IT), Albert Quesada, La Fura dels Baus, Magdalena Garzón, Jacob Gómez, Anna Macau, Constanza Brncic, Núria Guiu, Siberia Paloma Muñoz, Georgia Vardarou and João Lima. Tolsà graduated from the Professional Dance Conservatory of the Institut del Teatre de Barcelona, and began her dancing career in the company for younger dancers IT Dansa, doing various international tours.

Albert Tarrats (Barcelona, 1988) works with sound and electronics. Through live actions and the construction of sound objects and devices, he explores alternative auditive formats and their relation to space, listening and others. His practice is essentially collaborative, in terms of creation and production, and includes support for other artists in developing their works. He currently researches under the name Comprimir Muntanyes and is a member of the Ràdio Web MACBA Working Group.

Activity programmed as part of the Museu Tàpies series Following the Sun, entitled Uncovering the Gaze, curated by Carolina Ciuti. With the support and collaboration of Graner – Centre de creació de dansa i arts vives.

Image credit: Margaret Watts Hughes, Impression Figure, date unknown. Pigment on glass. Courtesy of the museum and Cyfarthfa Castle Museum and Art Gallery. Photo: Louis Porter.

Agnès Pe. Scherzo no. 19 (for circuits, air and synthesis)
2026-05-16 22:00 - 23:40
a circuit deteriorating
a file that is corrupted
feedback that rises too much

Sound as a physical material: not a vehicle, but a presence. It doesn’t explain; it is. Its meaning does not come from an external interpretation, but from its qualities—texture, density, form—and how it directly affects the body. Relating to the work does not involve decoding, but immersion in a material regime that goes beyond language to work on the boundary between perception and experience. Listening is taken to the limit: a loop deteriorating, a file corrupted, feedback that rises too much. In a broken, disjointed way, the fragmentation prevents an unequivocal narrative. Matter makes sense through presence and interruption, opening up spaces of uncertainty. Thus, the work becomes a field of intensities: accumulation, fracture and residue in which sound, as a physical body, persists and is transformed.

Agnès Pe pursues her artistic practice at the intersection between sound experimentation, digital artefacts and subversive pop culture. She works with sound as her raw material, exploring its ability to question conventions, cause dissonances and generate new narratives.
Her work centres on forgotten sound infrastructures, technological errors and obsolete devices, which she recovers and turns into creative tools. Using sound collage, plunderphonics, digital alteration and computer music, she sees creation as a playful, experimental process that does not seek closed answers, but spaces for friction and dialogue with the listener’s expectations. Her practice straddles sound experimentation, experimental radio and public space, always seeking alternative forms of dissemination and reception of sound.
Her work has been presented at Conde Duque, Matadero, Museo Nacional Centro de Arte Reina Sofía and CA2M (Madrid), at Tabakalera (San Sebastián), at Centro Botín (Santander), at MACBA (Barcelona), at Centre d’Art La Panera (Lleida), at Larraskito (Bilbao) and at the V2 Institute for the Unstable Media (Netherlands), as well as at festivals like BangFace (United Kingdom), Papiripar (Germany), Counterflows (Scotland) and Piksel (Norway). She has worked with RRS (Radio Museo Reina Sofía), RadioOn (Berlin) and Resonance Extra (United Kingdom).
She currently lives and works in Barcelona, where she combines teaching, radio production and sound experimentation.

An activity for the Museums Night 2026 at the Museu Tàpies

Don’t Wait for Us: The Poetry of Màrius Sampere. Barcelona Poesia 2026 at the Museu Tàpies
2026-05-19 18:00 - 19:00 | Museu Tàpies
The Museu Tàpies hosts the poetry recital Don’t Wait for Us: The Poetry of Màrius Sampere, as part of the Festival Barcelona Poesia.
The actor Lluís Marco (voice) and the pianist Sara Giusti perform the musical facet of the great poet Màrius Sampere, whose centenary is being celebrated this year. Marco and Giusti create a dialogue that sends us on a journey through the most spiritual poetry of the forty-year career of this poet from Santa Coloma de Gramenet. A poetic concert-recital that shifts between irony and the urge to transcend and comprehend the complexity of the world and the human condition. The public is enthralled by the spoken word that turns into the musical score, and by the score that becomes words.

Lluís Marco
Born in Badalona, Marco has had a broad career in theatre, television and film. He has close professional ties to the Teatre Lliure, performing in works such as Romeu i Julieta, Soldats de Salamina, Rock ’n’ Roll, Nixon-Frost and Copenhagen. In 2013 he performed in the Sala Petita of the Teatre Nacional de Catalunya in Fum, directed by Josep Maria Miró Coromina. In 2021 he was in the cast of L’oncle Vània, under Lithuanian director Oskaras Koršunovas. Marco has worked in television series such as Ventdelplà, Hospital Central, Hispania, la leyenda, Poblenou and Dinamita, among others. He has also worked in numerous films and has dubbed the voices of actors like Joe Pesci, Clint Eastwood, Ben Kingsley, Bob Hoskins and Danny DeVito.

Sara Giusti
From an early age Giusti won various music awards, both in her native Italy and abroad, including first prize in the Igor Stravinsky Competition (Italy, 2003). She has a Conservatory diploma in piano under pianist Benedetto Lupo, in Italy, and a Master in Music and Doctorate in Musical Arts, studying with pianist Christopher Taylor in the United States. She has performed in Italy, Switzerland, the United States and Spain in solo recitals, with orchestras and in chamber music groups. She has also taught piano to a diverse set of students, such as at the University of Wisconsin or to children in the Barcelona music school where she works. She has conceived and created theatrical plays and recitals, including a show dedicated to Italian composer Nino Rota. In 2020 she wrote her first book on musicology, centred on the music of Rota, released by Italian publisher Florestano. She currently collaborates as a pianist with the Liceu Conservatory (Barcelona) and with the mezzosoprano Guisela Zannerini (Teatre del Liceu).

Presentation of the book "Gozos mínimos. Comentario parcial al ‘Libro de amigo y amado’ de Ramon Llull"
2026-05-21 18:00 - 19:30
The Museu Tàpies hosts the presentation of the book Gozos mínimos. Comentario parcial al ‘Libro de amigo y amado’ de Ramon Llull [Minimal Pleasures: Partial Commentary on “The Book of the Lover and the Beloved” by Ramon Llull], by Amador Vega, with images by Frederic Amat, published in a bilingual Edition by Días Contados. The presentation will feature the presence of Amador Vega, Frederic Amat and Miquel Bassols.
What does it mean to love or desire a written text? The response of Amador Vega is to maintain this text in play and movement. The Book of the Lover and the Beloved, by Majorcan sage Ramon Llull (1275–1316), is a classic of European spiritual literature, a guide to a living drama that is never the same as itself. Gozos mínimos is a staging of this drama, documenting the tastes and tribulations of someone who has read the book for more than forty years. Together with the para-textual images of Frederic Amat, this lyrical commentary on “the philosopher’s enamoured soul” speculates and intones with Llull, offering personal life anecdotes and those of others, while addressing other authors with citations from more than 600 years of reading in favour and against mysticism.

Participants:
Amador Vega (Barcelona, 1958) is a philosopher and professor at Universitat Pompeu Fabra, where he directs the Centre for Aesthetics, Religion and Contemporary Culture. Recent publications include DIA-LOGOS: Ramon Llull’s Method of Thought and Artistic Practice (2019) and Tentativas sobre el vacío. Ensayos de estética y religión (2022). He is currently Visiting Fellow at the Warburg Institute, University of London.
Frederic Amat (Barcelona, 1952) is a painter and multidisciplinary artist whose work has been exhibited and published widely internationally. Amat’s work moves through the terrains of theatre, literature, dance, cinema and architecture.
Miquel Bassols is a psychoanalyst in Barcelona, member of the École de la Cause freudienne and of the Comunitat de Catalunya de l’Escola Lacaniana de Psicoanàlisi. Lecturer at the Institut del Camp Freudià. Doctorate by the Département de Psychanalyse of the Université Paris 8 with a tesis on «L’amor, la paraula i la lletra a Ramon Llull». Former president of the Association Mondiale de Psychanalyse (2014-2018). Translator into Catalan of Jacques Lacan’s writing, _Lituraterra_, with the comment “Lecturaterra”, published in Días Contados, Barcelona 2021.

International symposium 'The Wall and the City: Visual Devices of Modernity'
2026-05-27 - 2026-05-29 | Museu Tàpies
The international symposium The Wall and the City: Visual Devices of Modernity, a critical reading of modernity through its material and visual devices—walls, facades, pavements, shop windows, posters and display structures—understood as active agents in mediation between art, design, architecture and perceptive experience. The symposium analyses how matter, light, montage and the arrangement of objects shape ways of seeing, inhabiting and understanding the city.
In the context of European postwar reconstruction and the cultural isolation of Francoism, the exhibition space and urban landscape worked as laboratories of modernity. Museums, pavilions, display windows and housing became experimental sites where architecture, design and display gave rise to a new visual and urban sensibility. In Barcelona, figures like Antoni Tàpies, Josep Antoni Coderch, Oriol Bohigas and Ricard Giralt Miracle articulated a contained modernity rooted in craft, highly dense in material and gestural terms, thus defining a kind of visual culture and model for display.
This symposium reexplores these languages from the 1950s and 1960s in order to explore their present-day validity and set them into dialogue with other European focal points of modernity, like Milan, Paris and London, conceiving the contemporary museum and city as spaces for critique, experimentation and aesthetic experience.
The symposium will feature, among others, Jordana Mendelson, art historian and Professor at New York University; Juan José Lahuerta, Professor of the History of Art and Architecture at the Barcelona School of Architecture (UPC); and Beatriz Colomina, architect and Professor of the History and Theory of Architecture at the Princeton University School of Architecture.
Researchers, artists, architects, designers and curatorial professionals are invited to submit proposals that address these issues from critical, historical or contemporary perspectives, and with interdisciplinary approaches. The call for papers promoted by the Antoni Tàpies Chair – UPF of Contemporary Art and Thought broadens and deepens the curatorial proposal of the exhibition, inviting critical investigation of these material and symbolic infrastructures from diverse historical and theoretical perspectives, taking as a starting point the exhibition that can currently be visited at the Tàpies Museum. Beyond the exhibition narrative, the symposium opens a space for academic debate to analyze how these devices have shaped aesthetic perception and experience, as well as the social and political dynamics inscribed in the modern city.

The complete programme will be published shortly.

With the collaboration and participation of the Antoni Tàpies – UPF Chair of Contemporary Art and Thought.

[Image: Antoni Tàpies, Porta metàl·lica i violí, 1956. Museu Tàpies Collection, Barcelona. © Comissió Tàpies / VEGAP, 2026.]

Montaner y Simón, a publishing house with history. Itinerary 2026
2026-05-30 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 the Ajuntament de Barcelona: “The World Capital of Architecture 2026”.

Book-Wall. Reading club 2026
2026-06-02 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.]

Mari Lyn Diniz / Dora García. Corocuerpo (de feminidades disidentes o Mejor os calláis todos)
2026-07-04 19:00 - 19:30
Part of the Tàpies Museum project Extramurs 2026, curated by Imma Prieto, director of the Museu Tàpies, and Judith Barnés, head of public programmes at the Museu Tàpies.

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) and El bicho form part of the Tàpies Museum project Extramurs, which conceives the city as a space for action and outreach. With a multidisciplinary and inclusive approach, it fosters dialogue between institutions, with public spaces and with the environment. Developed in collaboration with Barcelona’s Eina University School of Art and Design and the Barcelona Grec Festival, among others, the Extramurs project proposes creations and activities that address contemporary needs and encourage new community narratives in urban spaces. It champions the idea of public walls as bearers of city residents’ voices, places where collective narratives take shape and shared experiences are re-signified, connecting directly with Tàpies’ thinking.
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.
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 | Ben 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

Dora García. El Bicho
2026-07-04 20:00 - 22:00
Part of the Tàpies Museum project Extramurs 2026, curated by Imma Prieto, director of the Tàpies Museum, and Judith Barnés, head of public programmes at the museum.

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.
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.
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 | Persis Bekkering | Michelangelo Miccolis | Adriano Wilfert Jensen | Castillo | Krõõt Juurak

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
