Presentation of the book "Tàpies i jo. Una exegesi recíproca", by Rita Segato
2025-11-19 18:00 - 19:00 (Europe/Madrid) | Museu Tàpies
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.
The 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.
The 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.
Published 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.

[Artwork: Antoni Tàpies, Self Portrait, 1992 © Comissió Tàpies / VEGAP, 2025 ]

Mireia Calafell. FE-RI-DES (WOUNDS)
2025-11-27 19:00 - 19:30
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?

The 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.
This 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.

Mireia 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.
Clara 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.

A collaboration with the Maria Canals International Piano Competition
Antoni 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.
As 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.
In 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.
In 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.

[Photography by Àlex Espuny]

International Symposium "Primitive Images, Modern Dreams: Tàpies and Post-War Visual Culture"
2025-12-03 - 2025-12-04
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.
The 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.
On 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.
The 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.

Programme of the symposium

Wednesday, 3 December 2025
· 6 pm. Welcome and presentation by the Museu Tàpies
· 6.10 pm. Talk: ‘The Material Imagination’, by Emmanuel Alloa
· 6.50 pm. Talk: ‘A Visionary Context: Spiritualism, Clairvoyance and the Unconscious’, by Andrea Graus Ferrer
· 7.30 pm. Break
· 7.40 pm. Talk: ‘The Origin and Context of primitivism in Antoni Tàpies’, by Estela Ocampo
· 8.20 pm. Round table and debate moderated by the Museu Tàpies
· 9 pm. Closing

Thursday, 4 December 2025
· 6 pm. Welcome and presentation by the Museu Tàpies
· 6.10 pm. Talk: ‘Imagination, imagined, imaginary’, by Chiara Boticci (online)
· 6.50 pm. Talk: ‘Club 49, a Window on the World’, by Muriel Gómez
· 7.30 pm Break
· 7.40 pm Talk: ‘Swing and Modernity: Jazz in postwar Barcelona’ by Jordi Pujol Baulenas
· 8.20 pm. Round table and debate moderated by the Museu Tàpies
· 9 pm. Close with ‘Echoes of Club 49’, by the Carlos Falanga Trio

Speakers

Emmanuel 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).
Alloa 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.

Chiara 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.
She 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.

Carlos 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.
Since 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.

Muriel 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.

Andrea 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).

Estela 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.
She 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).

Jordi 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.

[Imagen: Antoni Tàpies, Gossos (Dogs), 1948. Col·lecció particular, Barcelona © Comissió Tàpies / VEGAP, 2025]

Artistic mediations at the André du Colombier: A Lyrical Point of View exhibition, with Estel Boada
2025-12-05 17:30 - 18:30
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.
What 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.

Estel 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.

Mami Sugar. Search no. 3: Rewriting
2025-12-13 13:00 - 14:30
A sock: an everyday object, minimal, almost insignificant. When I look at it, I make an immediate association:
sock → foot → shoe
And this journey leads me to think about hundreds, thousands of people who walk:

who cross deserts, coasts, cities and frontiers;
who reach Europe or try to get to Catalonia;
who disappear from our view as soon as they get to the city;
who cannot go into museums, but sustain everyday life.

I 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:

the people in the fields in Lleida province,
those who work in recycling with the same materials that Tàpies used to create his work.

Those 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.
And 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?
What is its gold? Whose is the blood behind the four red bars?
But I am Catalan. This flag is also mine. We need to appropriate the symbols, transform them, play with them, create new narratives.
This is another foundational story for the 21st-century Catalan flag, made from the socks of Afro-descendent people who walk over fictitious blood.
This 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.
In 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.
Because the black presence in Catalonia does not begin with recent migration: it is ancient, it is in the land and in time.
In 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.
I 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.
Socks 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.
My 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.

Silvia Albert Sopale

Silvia 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.
She 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).
She 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).
Her 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.

The programming and curating of the second edition of the Following the Sun cycle has been carried out by Gabriel Virgilio Luciani.

Unspeakable Magic
2025-12-16 18:00 - 19:00
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.
On 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.
This 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.
“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.

[Image: detail of one of the showcases of the exhibition Antoni Tàpies. The imagination of the World.]

Thinking ‘After’: I can’t breathe
2025-12-20 11:00 - 13:00
As part of the ‘Euphoric Criticism’ series, organised by the Grup Obert d’Art Polític (GOAP) in collaboration with Museu Tàpies, we have asked Franco ‘Bifo’ Berardi to talk about the notion of ‘after’, which seems to have permeated our lives in recent years: pandemics, polarisation, wars and genocides, as well as runaway technology, have reinforced the feeling that the world and its institutions have entered a new era.
Like poetry after Auschwitz according to Adorno, like history after the end of history according to Fukuyama, we find ourselves in a disaffected point in time in which we need to learn to think from other reference points: we live in a post-humanism after the rupture between nature and culture, and with a technology that is automating us for the benefit of a techno-fascist elite. Berardi’s latest book, Thinking Gaza, confirms this same disaffected and disoriented situation. We do not know where these space and time of the ‘after’ lie, nor through what body or what politics a humanised way out can materialise. ‘I can’t breathe’, we say, as victims of violent repression: let us breathe and share political intuitions.
Presentation by Xavier Bassas and Laura Llevadot, members of GOAP.
The act will conclude with a poetical reading by Mireia Calafell.

Franco Berardi, known as Bifo since youth, has been a leading figure in left-wing thought in recent decades. In May 1968, he took part in the student revolt at the University of Bologna. He also joined the extra-parliamentary group Potere Operaio, alongside figures such as Toni Negri. During those years of unrest, he founded the magazine A/traverse and participated in the pirate radio station Alice. In his works, Berardi abandons orthodox Marxism and draws on the teachings and concepts of psychoanalysis to articulate his critique of post-industrial capitalist society. His latest books are permeated by the idea of the future, of what comes after, of our emotional (in)ability to move beyond an automated and depressing era.
Some of his numerous books include Thinking Gaza: An Essay on Ferocity (English translation forthcoming: Semiotext(e), 2026) and Breathing: Chaos and Poetry (Semiotext(e), 2019).

Transformation. Activities for families
2025-12-28 11:00 - 12:00
Dynamic guided tour for families of the exhibitions Antoni Tàpies: The Imagination of the World and André du Colombier. A Lyrical Point of View.
How does an egg transform into a butterfly? And how does this happen in art? Can things also transform? Antoni Tàpies and André du Colombier shared a deep interest in the objects and the magic of transformation. Would you like to know how they expressed it?
During this activity, we will discover that the work of both artists is full of references to the objects, and we will listen to what they are telling us. But we will have to keep our eyes wide open to let ourselves be carried away by their magic!

[Imatge: Antoni Tàpies. Dona-arbre (1944). Private Collection, Barcelona © Comissió Tàpies / VEGAP, 2025]

Where Is Political Art? Debate and presentation of the book Estética posfundacional
2026-01-10 11:00 - 13:00 | Museu Tàpies
The question of the political power of art runs through the 20th and 21st centuries. But where is political art today? What we are radically asking is “where” it is, in all respects. What practices is it present in? What theories is it defined in? In what situations is it useful to us?
The multi-author publication Estética posfundacional [Post-Foundational Aesthetics] (Dykinson, 2005) brings together a body of philosophical essays that seek to respond to these and other questions related to the notion of post-foundational aesthetics. In the wake of the ideas of Oliver Marchart, who will be present at the event, the contributing authors address issues such as anarchy, dissent, the curatorial function and artistic activism, in an effort to comprehend art’s revolutionary power. As we understand that the political foundations of our societies are historical and material, aesthetic reflection becomes essential in questioning the underlying violence of political systems, while imagining alternatives.
The book presentation will feature the presence of various of the participating authors.

Oliver Marchart is an Austrian political philosopher and sociologist who is internationally recognised for his research in social theory, post-Marxism, post-structuralism and social movements. His books have given rise to far-reaching debate in many fields, as in the case of Post-Foundational Political Thought (Edinburgh University Press, 2007) and Conflictual Aesthetics (Sternberg Press, 2019), translated into Spanish by FCE and Ned Ediciones, respectively.

Laura Llevadot is a Professor in the Faculty of Philosophy of the University of Barcelona, and lead researcher in the research group Post-Foundational Contemporary Thought.

Juan Evaristo Valls Boix is a writer and Professor of the Philosophy of Culture at the Universidad Complutense de Madrid. He has a PhD in Contemporary Philosophy and Literary Theory, and is member of the research groups Post-Foundational Contemporary Thought and Estética Contemporánea. His research engages laziness and the rejection of work in late capitalism, with special attention to the politics of affects and contemporary French philosophy. His publications include the essays Giorgio Agamben. Política sin obra (Gedisa, 2020), Metafísica de la pereza (Ned Ediciones, 2022), Suely Rolnik. Descolonizar el inconsciente (Herder, 2024) and El derecho a las cosas bellas (Ariel, 2025).

Ester Jordana Lluch is Professor of Philosophy at the University of Zaragoza, with undergraduate degrees in Psychology (2001) and Philosophy (2008), and a PhD in Philosophy with a thesis on Michel Foucault (Être autrement. El ser como transformación en Michel Foucault, 2017). Her research is focused on the relations between politics, aesthetics and contemporary critical thought.

Xavier Bassas has a PhD in French Language and Philosophy from Paris-Sorbonne University and from the University of Barcelona, where he is a professor in French Studies. He is a translator and editor of various works in French theory (Marion, Derrida, Rancière, Malabou and others), and has recently written a monograph on Rancière (Ensayar la igualdad, Gedisa) as well as a dialogue with him on the politics of language (El litigio de las palabras, Ned Ediciones; in French, Les Mots et les Torts, La fabrique éditions). He is editor-in-chief of the book collection Pensamiento Atiempo for Casus Belli Ediciones.

Adrià Porta is a pre-doctoral researcher in the Faculty of Philosophy of the University of Barcelona. He is currently writing a thesis that compares the concept of the void in the work of four thinkers in post-foundational political philosophy: Lefort, Laclau, Badiou and Rancière.

Virginia Trueba is Full Professor in the Faculty of Philology and Communication of the University of Barcelona (UB), where she teaches in the Hispanic Philology and Literary Studies degree programmes, and in the master in Literary Theory and Comparative Literature. In recent years she has focused her research on the relationship between poetry and the arts in contemporary thought. She is co-editor of the journal Aurora, dedicated to the ideas of María Zambrano, and is member of the GLiCiArt (UB) research group on literature, cinema and other artistic languages.

Poetics of Irruption. Visits in Dialogue
2026-01-14 18:00 - 19:00
The Museu Tàpies presents a series of visits in dialogue to explore the unique world of André du Colombier, one of the most enigmatic and fascinating artists of his generation. The exhibition André du Colombier: A Lyrical Point of View, curated by Adam Szymczyk, unfolds an artistic practice where language is put into tension to the point of becoming visual material, and words and signs take on their own, almost physical properties.
Du Colombier (Barcelona, 1952 – Paris, 2003) explored the frontiers of language with radical freedom. His artwork plays with repetition, the contrast between capital and small letters, the identity of commas and accents, and the possibility for words to refer solely to themselves. The result is a body of work that questions linguistic structures and puts the very meaning of communication into crisis, thus opening up space for the absurd, silence, music and poetry.
With this series, the Museu Tàpies aims to relate the world of du Colombier to the perspectives of contemporary creators and thinkers. Each session brings together two invitees—from the visual arts, literature and poetry—to share their subjective reading of du Colombier’s work and engage in dialogue with the public. These are not conventional guided visits, but rather encounters where words and the gaze are activated in a shared and lively manner, turning the exhibition into a collective and possibly transformative experience.

The visits in dialogue will be guided by:
· Alicia Kopf i Raquel Santanera (4/11/25)
· Míriam Cano i Oriol Vilanova (11/12/25)
· Ignasi Aballí i Eduard Escoffet (14/01/26)

Imagined World: Audio Description as a View
2026-01-17 17:00 - 18:00
Imagined World is an inclusive experience to bring Antoni Tàpies’ work to people with visual disability through live, expressive audio description. The activity invites you to connect with art immersively, entering into a profound dialogue with the works in the exhibition Antoni Tàpies: The Imagination of the World.
The audio describer guides visitors with visual disability, first by situating them in the art venue and then with an introduction to the artist and the exhibition. After this, they explore some of the highlights, finishing with a brief chat between the audio describer and the visitors. An evocative, detailed and empathetic description enriches the experience of the art, exploring new ways to perceive and interpret it.
The activity is led by Aleix Castany Jaen, a person with impaired vision, a graduate in History of Art and Film Studies, art audio describer and actor.
Activity devised by Aleix Castany Jaen and Marina Saura Olivella.
Activity aimed at people with visual disability and those accompanying them.

Drawing Visit: "Antoni Tàpies: The Imagination of the World" with Oriol Vilapuig
2026-01-21 18:00 - 20:00 | Museu Tàpies
With what specificities does drawing operate in the formation of an image? What happens if we shift the focus of attention from the drawing to the one who draws, from the object to the action that produces it? Can we also interpret an image with our body?
We propose a visit in which drawing and, by extension, our body will lead us as a form of knowledge and connection. We will explore the work of Antoni Tàpies through the language of drawing, as an original and specific gesture. An action that produces an image through a filter, the body, which is extremely complex, fragile and sensitive. We will think of drawing as based on the bodily movements that produce friction between the support and the materials, in specific temporal and spatial conditions that generate an image as a result. This image, however specific and symbolic it may be, also describes a body that generates friction. Thus, drawing could be understood as a map, a cartography of gestures and behaviours, a sensory record shared between two bodies: that of an author who creates and activates it and that of a receiver who collects it with their own body, seeing as they also recognise themselves in the gestures that produced it.
We invite you to take part in a drawing activity where we will think through activating the frictions that are inherent in the gestation of an image through the work of Antoni Tàpies, based on material approaches such as gesture, speed, friction and matter, yet understanding them as a state linked to its emotional, political and spiritual conditions. A hands-on activity that invites us to explore the work of Antoni Tàpies through the language of drawing and its performative potential.

Oriol Vilapuig Morera (Sabadell, 1964)
Visual artist who mainly works with the language of drawing, his practice involves an essayistic approach. The question of images, their possibilities and rules, as well as their ways of appearing, are a constant in his work. His work also expands into the field of teaching through the performative possibilities of drawing and its modes of use. He teaches workshops as a lecturer in the Fine Arts degree at BAU – Centre Universitari d’Arts i Disseny de Barcelona and at Illa – Escola d’Art i Disseny de Sabadell. He has exhibited in a number of solo and group exhibitions. His work is part of several collections and has received critical acclaim.

Dry Stone Library
2026-01-22 18:00 - 20:30 | Museu Tàpies
The library of the poet and art critic Vicenç Altaió is a boundless accumulation of experiences, where the book is the place for the settlement of words. Communication with them is never-ending; if you listen closely, you can hear the authors’ voices, holding out for the passage of history, patiently waiting to be reread by younger generations. A few of them go beyond the limits of the “closed-book syndrome”, reviving performatively in space and time.
The Museu Tàpies presents the most recent film by Joan Vall Karsunke, known for his work in documentary and experimental cinema, with a focus on cultural memory, philosophical reflection and the poetics of imagery. In this work, the filmmaker explores the library of the poet and essayist Vicenç Altaió, capturing the essence of the person through profound conversations and a carefully-crafted aesthetic. The film defines itself as a road-book movie, featuring the intervention of 23 figures from the world of art, music and literature.
After the screening, a conversation will take place between the director, Joan Vall Karsunke; the film’s editor, Ginebra Vall; and the writer Vicenç Altaió.

Credits:
Biblioteca de pedra seca [Dry Stone Library]
Joan Vall Karsunke, 2025, Catalonia, Catalan version, 98 min, DCP.
With the participation of Perejaume, Josep M. Sala-Valldaura, Valentina Valentini, Alfredo Pirri, Mario Gas, Biel Mesquida, Albert Serra, Stella Rahola, Frederic Amat, Pere Noguera, Blanca Llum Vidal, Jordi Cuixart, Hannah Collins, Alfredo Jaar, Miquel Barceló, Fina Miralles and Laia Estruch.
Music: Nicolas Jaar, Carles Santos, Llorenç Balsach, Marina Herlop and Pascal Comelade.

Presentation of the catalogue "Marta Palau: My Paths are Earthly"
2026-01-28 18:00 - 19:30 | Museu Tàpies
The Museu Tàpies is pleased to present the catalogue for the exhibition Marta Palau: My Paths are Earthly. This publication is essential for exploring the work of a unique artistic voice, brought to the fore by the museum with her first major European retrospective. The exhibition of the work of Marta Palau (Albesa, Lleida, 1934 – Mexico City, 2022) was open to the public from 27 February to 17 August, 2025.
This publication, prepared in collaboration with the MUAC (Museo Universitario Arte Contemporáneo, UNAM), features texts by Imma Prieto, Amanda de la Garza, María Dolores Jiménez-Blanco, Maria Josep Balsach, Rita Eder, Natalia de la Rosa and Cuauhtémoc Medina, articulating the exhibition’s main conceptual themes: her relationship with the earth, exile, the body, memory and the ability to create life through art. The catalogue also presents drawings, paintings and large-scale textile installations, as well as previously-unseen material from Marta Palau’s personal archive. It thus presents a living dialogue between the artist’s biography and the historical context she lived in, giving rise to universal questions, tensions and conflicts that persist into our time. The book, published in Catalan, Spanish and English, features 248 pages, and contains 140 images illustrating Palau’s vast creative universe.
The catalogue will be presented by Imma Prieto, director of the Museu Tàpies and curator of the project Marta Palau: My Paths are Earthly; Nieves Berenguer, the book’s designer; and Bettina Moll, the publication’s editor. With the presence of Marta Gassol, the artist’s daughter.
This event is an invitation to learn more about the work of Marta Palau, and to discover how these multiple paths might lead us to consider each of our own paths, querying us about artistic legacies, historical memory and hegemonic narratives.

Technical information:
Marta Palau. Els meus camins són terrestres
Marta Palau. Mis caminos son terrestres
Marta Palau: My Paths are Earthly
Authors: Imma Prieto, Amanda de la Garza, María Dolores Jiménez-Blanco, Maria Josep Balsach, Rita Eder, Natalia de la Rosa and Cuauhtémoc Medina

Publishers: Museu Tàpies and MUAC
Languages: Catalan, Spanish and English (independent editions)
ISBN: 978-84-128816-6-0 (Catalan), 978-84-128816-0-8 (Spanish), 978-84-128816-1-5 (English)
Year: 2025
248 pages
18 x 26 cm
140 images
Hardcover
Price: 46.80 euros

fe sense obres morta és, by Albert Serra
2026-01-29
The Museu Tàpies has organised a series of screenings for the public presentation of fe sense obres morta és [faith without works is dead], the new film production by Albert Serra, which renders homage to the person and work of Antoni Tàpies. The initiative arose from the museum’s intent to expand understanding of the Tàpies’ legacy through “indisciplined” contemporary gazes, able to forge new narratives from his work. The proposal pertains to a line of programming that emphasises experimentation and dialogue between diverse artistic expressions.
In this context, Serra—an internationally recognised filmmaker, producer and screenwriter whose career is distinguished by formal freedom and conceptual radicality—has accepted the challenge of creating a personal, unrestrained and nontransferable approximation to the universe of Tàpies. The result is a film that does not seek to explain nor interpret, but rather to suggest, invoke and emotionally move us. It is a piece that is open and sensorial, opting for poetic evocation over direct representation.
In fe sense obres morta és, Serra delves into the most intimate and spiritual terrains of the production of Tàpies, exploring the material limits, symbolic charge and philosophical density of a unique gaze that is incorruptible and always provocative. The film sidesteps conventional narrative in constructing an immersive experience that dialogues with the artist’s thought and aesthetics, accentuating their present-day relevance, complexity and transformative verve. It is an audiovisual project that is much more than a portrait or exercise in interpretation: it is an autonomous artistic proposal that, with the world of Tàpies as its starting point, reveals hidden and unexpected aspects of it. It is also an invitation to approach Tàpies from new perspectives, through the language of film as a realm of reflection and interpretation.
With this screening series, the Museu Tàpies solidifies its commitment to contemporary creation and to the critical revision of Antoni Tàpies’ work, encouraging encounters between a diverse set of generations, disciplines and artistic sensibilities.

Fact sheet:
fe sense obres morta és
Albert Serra, Catalonia, 2025. DCP, Catalan, 52 min.

Albert Serra has a degree in Spanish Philology and Comparative Literature from the University of Barcelona. As a film director, he is considered one of the leading contemporary filmmakers internationally. His international debut was with Honor de cavalleria, which premiered at the Directors’ Fortnight of the 2006 Cannes Film Festival; it was considered one of the best films of the year by the prestigious French journal Cahiers du Cinéma. In 2009 he returned to Cannes with El cant dels ocells, which was chosen for and won awards at various international festivals. He has also directed projects for museums: Els noms de Crist, presented at the MACBA exhibition Are You Ready for TV? (2010); and El Senyor ha fet en mi meravelles, for the exhibition The Complete Letters at the CCCB. In 2013 he wrote and directed the film Història de la meva mort, winner of the Golden Leopard at the Locarno Film Festival, and considered one of the best films of the year by The New Yorker. These recognitions situated him on the stage of world cinema. In 2016 he premiered La mort de Lluís XIV, which won the Prix Jean Vigo and received seven nominations for the Gaudí Awards. In 2019 he returned to Cannes with Liberté, a film about the libertines expelled from the puritan court of Louis XVI, wining the Special Jury Prize. In 2022 he directed Pacifiction, a hypnotic thriller shot in French Polynesia. The film premiered at the Cannes Film Festival, competing for the Palme d’Or, and was chosen best film of 2022 by Cahiers du Cinéma; it also won the Louis Delluc Prize and received nine nominations for the César Awards.

The Rebellious Image: Germaine Dulac and the Feminine Imagination in Surrealism
2026-02-03 18:00 - 20:30 | Museu Tàpies
On the occasion of the exhibition dedicated to filmmaker Germaine Dulac, a pioneer in avant-garde film and a key figure in cinematographic surrealism, the Museu Tàpies has organised a debate centred on exploring the symbolic, aesthetic and political realm of the feminine imagination in surrealism.
From a critically rigorous and poetically attuned perspective, the event constitutes a space for reflection on the forms in which female artists and thinkers have intervened in, expanded or subverted the codes of surrealism, often conceived from a masculine perspective. Debate participants will consider questions such as the construction of the body and desire, feminine authorship within the avant-garde and the relationship between cinema, dreams and symbolic liberation.
“The Rebellious Image: Germaine Dulac and the Feminine Imagination in Surrealism” is an invitation to rethink avant-garde narratives on the basis of gesture, symbolism and rupture, while likewise paying attention to how an avant-garde movement that was able to transform the invisible into image and desire in language, might resonate in our day.

PROGRAMME

6 pm. Presentation of the session, by the Museu Tàpies
6.10 pm. Tami Williams, “Germaine Dulac and Long Impressionist Cinema”
6.40 pm. Julia Ramírez Blanco, “Poetics of the Anti-Fascist Body”
7.10 pm. Elena Castro Córdoba, “Dance, Images, Dance!”
7.40 pm. Debate with Tami Williams, Julia Ramírez Blanco and Elena Castro Córdoba, moderated by Bruna Lo Biundo
20.15 h. Closing

PARTICIPANTS

Tami Williams is Associate Professor of English and Film Studies at the University of Wisconsin-Milwaukee, and has been president for two mandates of Domitor – International Society for the Study of Early Cinema (2015–2023). She is the author and editor of various books on early cinema and modern cinema, including Germaine Dulac: A Cinema of Sensations (2014), Global Cinema Networks (2018), Germaine Dulac: What Is Cinema? (2019, awarded the CNC Film Book Prize in 2020), Provenance and Early Cinema (2021) and Crafts, Trades, and Techniques of Early Cinema (2024). A specialist in intermediality and intercultural exchange, she has organised international retrospectives in leading institutions, including La Cinémathèque française, Musée d’Orsay, Il Cinema Ritrovato, Le Giornate del Cinema Muto, the Library of Congress and the Lincoln Center for the Arts. She is a member of the committee of Women and Film History International.

Julia Ramírez Blanco is a Ramón y Cajal Researcher at the Universidad Complutense de Madrid. Her research connects art history, utopian studies and activist movements. She has published various monographs, including Artistic Utopias of Revolt (Palgrave, 2018), 15M. El tiempo de las plazas (Alianza, 2021), Amigos, disfraces y comunas. Las hermandades de artistas del siglo xix (Cátedra, 2022) and La ciudad del Sol. Le mouvement 15M entre formes et performances (Éditions Lorelei, 2023). She is also a book and journal issue editor, as with Los ismos del siglo xxi (Alianza, 2025), with A. M. Guasch. She has done research residencies in New York, Paris, Nantes, Amiens and Princeton. With Lise Lérichomme and Sally Bonn, she has co-directed the research project and exhibition Grande Révolution Domèstique-Guise, on feminist utopias at the Familistère de Guise, France. She was on the editorial board of The Society for Utopian Studies and is a member of the international research group Center for Artistic Activism (C4AA). Currently she is researching environmental utopias in the face of climate crisis.

Elena Castro Córdoba has a PhD in Feminist and Gender Studies from the Universidad Complutense de Madrid, a Master in Gender, Media & Culture from Goldsmiths University, London, and a BA in Philosophy from the Universidad Complutense de Madrid. She has been an FPU pre-doctoral researcher at the Universidad Complutense de Madrid, where she developed a thesis on queer and affective temporalities applied to the archive, and is co-founder of the artistic collective Ontologías Feministas, specialised in virtuality and practices with a feminist perspective. She is currently a lecturer at EINA and a teaching collaborator at Universitat Pompeu Fabra. She researches and writes on contemporary feminism, the archive, temporal politics and their interrelationship with contemporary aesthetics.

Bruna Lo Biundo is a researcher specialised in the representation of women in the period between the wars, with particular interest in surrealism and the feminist film pioneer Germaine Dulac. With a PhD in French Literature from the University of Palermo, she has worked as a curator and head researcher in institutions such as the Mémorial de la Shoah and La Contemporaine (Nanterre University), as well as projects on female immigrants and refugees in France in the 20th century. She is co-founder of the association Past/Not Past, and is currently preparing a documentary exhibition on Germaine Dulac. Since 2024, she has coordinated the Master in Audiovisual Heritage at the Institut National de l’Audiovisuel, where she also teaches on curating and participative practices.
Film still from La Coquille et le Clergyman (The Seashell and the Clergyman), 1928.

Playlist with the video conferences:

Objects and Other Things: Guided Carnival Visit
2026-02-07 11:00 - 14:00
A common feature of the artistic practices of Joan Brossa and André du Colombier is the key role played by poetry and objects. Du Colombier was born in 1952 in Barcelona, though rather by chance, as his father taught philosophy in French schools abroad. Even so, his family did not stay for very long, and there is no evidence he would have met Brossa, who was born in the same city in 1919. Their works share an interest in language, a sense of humour and a playful spirt, along with a common concern for everyday objects, an anti-establishment attitude and a political scope.
With this in mind, we visit the exhibition Digues, cosa. Joan Brossa i els poemes objecte at the Centre de les Arts Lliures de la Fundació Joan Brossa, followed by a visit to the exhibition André du Colombier: A Lyrical Point of Vie, at the Museu Tàpies. While on this walk from one institution to the other, artist Estel Boada will enliven a mediation proposal related to objects. The activity concludes with an aperitif on the Museu Tàpies terrace.
Participants can come dressed as objects or bring a personal object.

Guided by Estel Boada, Sílvia Galí and Maria Sellarès

Opening of the exhibition “Antoni Tàpies. The Perpetual Movement of the Wall”
2026-02-13 19:00 - 21:00
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.]

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.
