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DTSTART;VALUE=DATE:20251203
DTEND;VALUE=DATE:20251205
DTSTAMP:20260408T220934
CREATED:20251118T113649Z
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SUMMARY:International Symposium "Primitive Images\, Modern Dreams: Tàpies and Post-War Visual Culture"
DESCRIPTION:As part of the exhibition Antoni Tàpies: The Imagination of the World\, the Museu Tàpies is organising an international symposium to explore the study of the image on the basis of its collection. This initiative is part of the museum’s ongoing line of research and aims to rethink the visual narratives that shape our collective imagination\, paying special attention to the symbolic\, aesthetic world view surrounding Antoni Tàpies’ work. \nThe symposium sets out from the body of work on exhibition\, made up of works by Tàpies from the forties and fifties\, prior to his material period; pieces belonging to the artist’s private collection from non-Western cultures or by other artists in his context\, and archive material—both belonging to the museum and acquired by it specifically to prepare this exhibition—related to the popular imagination of the day. \nOn the basis of these materials\, the symposium concentrates on three subject areas that can be followed throughout the exhibition: primitivism\, psychoanalysis and popular culture. These areas allow us to place Tàpies’ artistic output in the context of a post-war Barcelona deeply marked by social\, political and cultural changes\, and to connect it with international avant-garde movements. At the same time\, this encounter sets out to explore other aspects\, such as the way Tàpies approached vernacular traditions and ancestral practices\, the impact of psychoanalytic thought on his work as a tool for addressing psychological concerns typical of an era\, and the dialogue between academic art and popular knowledge as forms of resistance and radical expression. \nThe symposium stands out for its interdisciplinary approach\, incorporating philosophy and psychoanalysis to address images not only as aesthetic forms but also as instruments of thought and symbolic construction. Its ultimate goal is to offer an updated\, critical reading of Tàpies’ work\, opening up spaces for discussion of the image\, the historical narrative and cultural memory. \n  \nProgramme of the symposium \n  \nWednesday\, 3 December 2025 \n· 6 pm. Welcome and presentation by the Museu Tàpies \n· 6.10 pm. Talk: ‘The Material Imagination’\, by Emmanuel Alloa \n· 6.50 pm. Talk: ‘A Visionary Context: Spiritualism\, Clairvoyance and the Unconscious’\, by Andrea Graus Ferrer \n· 7.30 pm. Break \n· 7.40 pm. Talk: ‘The Origin and Context of primitivism in Antoni Tàpies’\, by Estela Ocampo \n· 8.20 pm. Round table and debate moderated by the Museu Tàpies \n· 9 pm. Closing \n  \nThursday\, 4 December 2025 \n· 6 pm. Welcome and presentation by the Museu Tàpies \n· 6.10 pm. Talk: ‘Imagination\, imagined\, imaginary’\, by Chiara Boticci (online) \n· 6.50 pm. Talk: ‘Club 49\, a Window on the World’\, by Muriel Gómez \n· 7.30 pm Break \n· 7.40 pm Talk: ‘Swing and Modernity: Jazz in postwar Barcelona’ by Jordi Pujol Baulenas  \n· 8.20 pm. Round table and debate moderated by the Museu Tàpies \n· 9 pm. Close with ‘Echoes of Club 49’\, by the Carlos Falanga Trio \n  \nSpeakers \n  \nEmmanuel Alloa. Professor of Aesthetics and Philosophy at the University of Freiburg (Switzerland). A researcher at NCCR eikones\, he has lectured at Paris 8 University and been a guest lecturer at the universities of Weimar (Germany)\, Morelia (Mexico)\, Belo Horizonte (Brazil)\, Shanghai (China) and Berkeley\, Columbia and Yale (United States). \nAlloa has published a dozen books on contemporary philosophy\, phenomenology and the relations between aesthetics and politics. His work has been translated into English\, German\, French\, Spanish\, Portuguese and Chinese. Highlights among his publications in Spanish include: La resistencia de lo sensible (2009)\, ¿Cómo (no) leer las imágenes? (2019)\, La imagen diáfana (2021)\, Pensar la imagen I & II (2020 and 2022) and Repartos de la perspectiva (2024). His research work has won several awards\, including the Latsis Award in 2016 and the Aby Warburg Award in 2019. \n  \nChiara Bottici. An Italian philosopher and writer\, she lives and works in New York. She holds a chair in Philosophy in the Philosophy department of the New School for Social Research\, where she lectures\, among other things\, on the thought of Hannah Arendt and Ágnes Heller. As well as lecturing in political philosophy and aesthetics\, at the same institution she has founded and run the Gender and Sexualities Studies Institute. \nShe has written\, among other things\, Filosofía del mito político (Bollati Boringhieri\, 2012)\, The Myth of the Clash of Civilizations (2010\, with Benoît Challand)\, Imagining Europe: Myth\, Memory and Identity (2013\, with Benoît Challand)\, Manifest anarcafeminista (Laterza\, 2022)\, Cap submissió: El feminisme com a crítica de l’ordre social (2023)\, Mitologia feminista (Castelvecchi\, 2022) and La política de la imaginació (Castelvecchi\, 2023). Her work has been translated into a dozen foreign languages. \n  \nCarlos Falanga. Born in Buenos Aires (Argentina)\, at a very early age he started learning drums with Roberto Cesari Jr. At the age of 22 he decided to move to Barcelona\, where he continued his study of harmony and the piano at the Taller de Músics\, and of the drums with the great Aldo Caviglia. He subsequently graduated from the Barcelona Conservatory (ESMUC)\, where he studied with Jo Krause and David Xirgu. \nSince 2002 he has played an active part in the Catalan music scene\, performing in clubs and festivals all over Europe\, Asia and the Americas\, with a range of Spanish musicians and artists including Jorge Rossy\, Marco Mezquida\, Amparo Sanchez\, Carme Canela\, Horacio Fumero\, Bill McHenry\, Fredrik Carlquist\, Guillermo Klein and the Orquestra Simfònica del Liceu\, among others. He has released two albums under his own name: Gran Coral (Underpool) and Quasar (Fresh Sound New Talent)\, and with his experimental project IHHH he has made several recordings and performed at many festivals\, including Sónar Festival and Keroxen. \n  \nMuriel Gómez. She has a doctorate in the History of Art from the University of Zaragoza. She is currently an associate lecturer and vice-dean for Alliances\, Community and Culture in Art and Humanities Studies at the Universitat Oberta de Catalunya (UOC). A member of the SEC (Society\, State and Culture) history research group\, her research focuses on the analysis of processes of rupture and continuity in Catalan artistic modernity between the pre-war and post-war periods. Her main areas of study include the links between ADLAN and Club 49\, and the figures of Joan Miró and the sculptor Eudald Serra. \n  \nAndrea Graus Ferrer. Ramón y Cajal researcher at the Institució Milà i Fontanals d’Investigació en Humanitats at the CSIC. With a doctorate in the History of Science from the UAB\, she worked at the Centre Alexandre Koyré at the CNRS in Paris and at the University of Anvers (Belgium) for six years. The author of Ciència i espiritisme a Espanya (1880-1930) (Comares\, 2019)\, she has published work on the history of psychic research with mediums\, hypnosis and mystical phenomena in the 19th and early 20th centuries. Her current line of research focuses on the history of gifted children and child talent in contemporary Europe\, the subject of her next book. She curated the exhibition Gifted Children: Fame\, Science and Politics (Biblioteca de Catalunya\, 2024). \n  \nEstela Ocampo. She was a tenured lecturer at the University of Barcelona from 1987 and at the Pompeu Fabra University in Barcelona from 1987 until her retirement in September 2021. Academic secretary at the Pompeu Fabra University’s Institut de Cultura (2000–2008). Director of the Pompeu Fabra University’s Institut Universitari de Cultura (2008–2014)\, She is currently director and lead researcher at CIAP\, the Research Centre for Primitive Art and Primitivism at the Pompeu Fabra University. She has carried out research projects funded by the Spanish ministry of education and science into primitive art between 1997 and 2003\, and into primitivism and modern art between 2007 and 2016. \nShe has published numerous articles in Spanish and international journals. Her most recent books are: El Fetitxe en el Museu\, (Madrid\, 2011)\, Primitivisme a Europa i Amèrica\, (Barcelona\, 2017) and Traços. Pintura aborigen australiana: tradició i contemporaneïtat (Barcelona\, 2022)\, among others. She has given numerous lectures and seminars in Spain and abroad. She has curated several exhibitions\, the last being Strokes. Australian Aboriginal Painting: Tradition and Contemporaneity (Museu Etnològic i de les Cultures del Món\, December 2021 – June 2022). \n  \nJordi Pujol Baulenas. Born in Barcelona in 1953\, in 1983 he founded the music label Fresh Sound Records\, devoted to jazz\, after having worked as a textile designer in Lyon and Barcelona. In the course of his career\, he has recovered historic recordings like the concert by Louis Armstrong in Windsor (1955)\, and\, with the label Fresh Sound New Talent\, recorded the debut albums by artists like Brad Mehldau\, Robert Glasper\, Ambrose Akinmusire and Kurt Rosenwinkel\, as well as numerous local musicians. The winner of awards from the Académie du Jazz and the Académie Charles Cros\, he has featured in articles and interviews in media including Down Beat\, Jazz Magazine\, The New York Times and Los Angeles Times. He is the author of the book Jazz a Barcelona 1920-1965\, winner of the Ciutat de Barcelona Award in 2006. \n  \n[Imagen: Antoni Tàpies\, Gossos (Dogs)\, 1948. Col·lecció particular\, Barcelona © Comissió Tàpies / VEGAP\, 2025]
URL:https://museutapies.org/en/event/international-symposium-primitive-images-modern-dreams-tapies-and-post-war-visual-culture/
CATEGORIES:Public Programme
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251205T173000
DTEND;TZID=Europe/Madrid:20251205T183000
DTSTAMP:20260408T220934
CREATED:20251107T130509Z
LAST-MODIFIED:20251128T120638Z
UID:10001123-1764955800-1764959400@museutapies.org
SUMMARY:Artistic mediations at the André du Colombier: A Lyrical Point of View exhibition\, with Estel Boada
DESCRIPTION:Mediation experience at the André du Colombier: A Lyrical Point of View exhibition\, led by artist Estel Boada\, aimed at the audiences visiting the museum on Friday afternoons. \nWhat connection do you think there is between a ceramic frog\, a collection of rubbers\, different-coloured party plates and shopping bags? These are some of the mundane objects which du Colombier gave a poetic setting and space. What would you choose from your bag or your pockets if you had to give an improvised gift? Don’t worry: if you haven’t got anything on you\, you can always give a play on words! In this immersion in du Colombier’s work we’ll be revealing new messages hidden behind the assemblages selected for the exhibition at the Museu Tàpies\, creating new plays on words and listening to music from the edges in a homage to du Colombier’s outside universe. \n  \nEstel Boada (Barcelona\, ​​1991)\, singer and multidisciplinary artist\, defines herself as a contextual juggler. With a background in Fine Arts\, she explores space\, community\, and voice through performance. Her work\, marked by humor and absurdity with touches of fantasy\, burlesquely reflects on her life as a “frustrated diva.” Interested in experimental education\, contextual art\, sound\, music\, and drawing\, she uses action and humor as tools of critique. She has participated in numerous interdisciplinary art interventions and curated self-organized contemporary art series. She is also a composer and vocalist for various musical projects.
URL:https://museutapies.org/en/event/artistic-mediations-at-the-andre-du-colombier-a-lyrical-point-of-view-exhibition-with-estel-boada/
CATEGORIES:Education
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251213T130000
DTEND;TZID=Europe/Madrid:20251213T143000
DTSTAMP:20260408T220934
CREATED:20251202T115507Z
LAST-MODIFIED:20251202T115507Z
UID:10001140-1765630800-1765636200@museutapies.org
SUMMARY:Mami Sugar. Search no. 3: Rewriting
DESCRIPTION:A sock: an everyday object\, minimal\, almost insignificant. When I look at it\, I make an immediate association: \nsock → foot → shoe \nAnd this journey leads me to think about hundreds\, thousands of people who walk: \n\nwho cross deserts\, coasts\, cities and frontiers;\nwho reach Europe or try to get to Catalonia;\nwho disappear from our view as soon as they get to the city;\nwho cannot go into museums\, but sustain everyday life.\n\nI think of those who live on the edges\, about non-normative bodies that do not fit into the official narrative. I think of those\, still without papers\, who build and sustain the Catalan economy: \n\nthe people in the fields in Lleida province\,\nthose who work in recycling with the same materials that Tàpies used to create his work.\n\nThose invisible presences who are here; their ancestors felt the whip that helped to raise up this country with raw materials like cocoa\, coffee\, sugar and timber. \nAnd if I think of Tàpies\, I inevitably think of Catalonia. And if I think of Catalonia\, is see the senyera\, its flag. How would a Catalan flag be constructed today? \nWhat is its gold? Whose is the blood behind the four red bars? \nBut I am Catalan. This flag is also mine. We need to appropriate the symbols\, transform them\, play with them\, create new narratives. \nThis is another foundational story for the 21st-century Catalan flag\, made from the socks of Afro-descendent people who walk over fictitious blood. \nThis is why I propose a different senyera: a flag created from the sidelines\, from the bodies that are not expected in the street but are exhibited in the museum as a symbol of diversity and integration. \nIn this other flag\, the yellow is the gold of Abya Yala: the wealth extracted from Africa and Latin America\, today turned into coltan\, cocoa\, oil and extractive companies that sustain European well-being. The red is the blood of the transatlantic trade: a trail that lives on in the deaths in the Mediterranean\, on the frontiers where black bodies continue to bleed. \nBecause the black presence in Catalonia does not begin with recent migration: it is ancient\, it is in the land and in time. \nIn almost all regions of Africa there exists a figure that connects the worlds of the living and the dead. A presence that dresses in clothing made of dried leaves\, of fibres\, of cloths\, of materials that breathe memory. It is a mask that entertains children\, that dances\, that provokes\, but that also guides\, supports and helps to transcend. A figure that does not just appear: it intercedes. That does not just dance: it opens gateways. That does not just play: it protects. \nI want to take this ancestral figure and create one of our own; a being wearing socks\, with the socks of people who migrate to Catalonia\, and also the socks used to create this new flag. \nSocks get lost in the wash\, yes; but they are also the best place to keep secrets\, to protect small treasures\, to keep us from the cold in the world. This is why I ask the migrant community for these odd socks in order to create a suit to dialogue face to face with Tàpies’ giant sock; a suit to stir a dance of the marginalised\, a movement to bring together times and places\, to connect me to the thousands of people who walk\, who make the crossing over to Europe\, to Spain\, to Catalonia. Because when there are no shoes\, when all has been lost or left behind\, we will carry on walking in socks. \nMy body—black\, female\, nearly fifty years old\, fat\, queer\, excessive—is not the expected body. But it is this body that today constructs this new senyera. That claims its place in the narrative. That says: Catalonia is also written by us. That declares: we are here\, we have always been here and we are a fundamental part of what this territory is and what it may become. \n  \nSilvia Albert Sopale \n  \nSilvia Albert Sopale is an actress by vocation\, a director by obligation\, a dramatist by social responsibility and an activist out of love for blackness. Born in San Sebastián\, she is the daughter of a Boobe mother from Equatorial Guinea and an Igbo father from Nigeria. She currently lives in Barcelona. \nShe is founder of Periferia Cimarronas\, the first Black theatre company in Spain; she taught the 2025 spring chair at the King Juan Carlos I of Spain Center at the University of New York; she is a member of the Academia de las Artes Escénicas de España; founder of Hibiscus\, the association of Afro-Spaniards and Afro-descendants; and director of the Festival Black Barcelona. She is also co-founder of Tinta Negra\, a collective promoting racial diversity in the performing arts\, and member of t.i.c.t.a.c. (Taller de Intervenciones Críticas Transfeministas Antirracistas Combativas). \nShe is joint creator of No es país para negras (2014)\, Blackface y otras vergüenzas (2019)\, Parad de pararme (2021)\, La Moreneta (2021)\, Cuentos desde la Periferia (2023)\, Mahmud y no solo Mahmud (2023) and Lotö\, un ritual de emancipación corporal (2024). \nHer work is studied in universities in Spain and the United States\, and she has staged productions in New York\, Chicago\, Colombia and several European countries. \n  \nThe programming and curating of the second edition of the Following the Sun cycle has been carried out by Gabriel Virgilio Luciani.
URL:https://museutapies.org/en/event/mami-sugar-search-no-3-rewriting/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251216T180000
DTEND;TZID=Europe/Madrid:20251216T190000
DTSTAMP:20260408T220934
CREATED:20251209T103932Z
LAST-MODIFIED:20251210T095132Z
UID:10001143-1765908000-1765911600@museutapies.org
SUMMARY:Unspeakable Magic
DESCRIPTION:The third edition of the series A Hatch in the Void\, conceived by the writer Marc Caellas for the exhibition Antoni Tàpies: The Imagination of the World\, features the participation of Esteban Feune de Colombi and Félix Denuit. \nOn this occasion\, Caellas will install a number of oracles to serve viewers\, who will be invited to participate in brief personalised sessions. Instead of working like a predictive artifice\, each oracle works as a poetic\, sensitive device\, a tool to reveal what has remained hidden—in our perception\, in aesthetic experience or in the act of looking. The activity proposes an opening up exercise\, allowing intuition\, ancestral wisdom and latent energies to find a place to express themselves. \nThis play of interpretations\, combining performativity\, presence and imagination\, comes into direct dialogue with the ideas of Tàpies. Like the magician\, the artist was well aware that almost everything is a trick\, yet he also knew that authentic magic is not based on trickery but on what gets activated between the creator and the observer. For Tàpies\, over and above the final result what mattered was the process\, along with shared mystery and the affective relationship forged through objects and gestures. \n“Unspeakable Magic” calls on us to explore this terrain between the visible and invisible\, between art and ritual\, experiencing the work and thought of Tàpies up close\, in an intimate\, unforeseen manner. \n  \n[Image: detail of one of the showcases of the exhibition Antoni Tàpies. The imagination of the World.]
URL:https://museutapies.org/en/event/unspeakable-magic/
CATEGORIES:Public Programme
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251220T110000
DTEND;TZID=Europe/Madrid:20251220T130000
DTSTAMP:20260408T220934
CREATED:20251125T182323Z
LAST-MODIFIED:20260206T115026Z
UID:10001135-1766228400-1766235600@museutapies.org
SUMMARY:Thinking ‘After’: I can’t breathe
DESCRIPTION:  \nAs 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. \nLike 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. \nPresentation by Xavier Bassas and Laura Llevadot\, members of GOAP. \nThe act will conclude with a poetical reading by Mireia Calafell. \n  \nFranco 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. \nSome 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). \n 
URL:https://museutapies.org/en/event/thinking-after-i-cant-breathe/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251228T110000
DTEND;TZID=Europe/Madrid:20251228T120000
DTSTAMP:20260408T220934
CREATED:20250415T120041Z
LAST-MODIFIED:20260107T125218Z
UID:10000980-1766919600-1766923200@museutapies.org
SUMMARY:Transformation. Activities for families
DESCRIPTION:  \nDynamic guided tour for families of the exhibitions Antoni Tàpies: The Imagination of the World and André du Colombier. A Lyrical Point of View. \nHow 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? \nDuring 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! \n  \n[Imatge: Antoni Tàpies. Dona-arbre (1944). Private Collection\, Barcelona © Comissió Tàpies / VEGAP\, 2025] 
URL:https://museutapies.org/en/event/transformation-activities-for-families/
CATEGORIES:Education
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260110T110000
DTEND;TZID=Europe/Madrid:20260110T130000
DTSTAMP:20260408T220934
CREATED:20251219T112908Z
LAST-MODIFIED:20260108T115800Z
UID:10001149-1768042800-1768050000@museutapies.org
SUMMARY:Where Is Political Art? Debate and presentation of the book Estética posfundacional
DESCRIPTION:  \nThe 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? \nThe 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. \nThe book presentation will feature the presence of various of the participating authors. \n  \nOliver 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. \n  \nLaura 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. \n  \nJuan 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). \n  \nEster 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. \n  \nXavier 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. \n  \nAdrià 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. \n  \nVirginia 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. \n 
URL:https://museutapies.org/en/event/where-is-political-art-debate-and-presentation-of-the-book-estetica-posfundacional/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260114T180000
DTEND;TZID=Europe/Madrid:20260114T190000
DTSTAMP:20260408T220934
CREATED:20251024T124321Z
LAST-MODIFIED:20260112T145643Z
UID:10001108-1768413600-1768417200@museutapies.org
SUMMARY:Poetics of Irruption. Visits in Dialogue
DESCRIPTION: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. \nDu 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. \nWith 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. \n  \nThe visits in dialogue will be guided by:  \n· Alicia Kopf i Raquel Santanera (4/11/25) \n· Míriam Cano i Oriol Vilanova (11/12/25) \n· Ignasi Aballí i Eduard Escoffet (14/01/26)
URL:https://museutapies.org/en/event/poetics-of-irruption-visits-in-dialogue/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2025/10/poetiques-de-la-irrupcio-museu-tapies.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260117T170000
DTEND;TZID=Europe/Madrid:20260117T180000
DTSTAMP:20260408T220934
CREATED:20250926T083308Z
LAST-MODIFIED:20260107T125317Z
UID:10001077-1768669200-1768672800@museutapies.org
SUMMARY:Imagined World: Audio Description as a View
DESCRIPTION: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. \nThe 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. \nThe 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. \nActivity devised by Aleix Castany Jaen and Marina Saura Olivella. \nActivity aimed at people with visual disability and those accompanying them.
URL:https://museutapies.org/en/event/imagined-world-audio-description-as-a-view/
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/09/i-PzgnLrk-X3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260121T180000
DTEND;TZID=Europe/Madrid:20260121T200000
DTSTAMP:20260408T220934
CREATED:20250317T131240Z
LAST-MODIFIED:20260107T130803Z
UID:10000947-1769018400-1769025600@museutapies.org
SUMMARY:Drawing Visit: "Antoni Tàpies: The Imagination of the World" with Oriol Vilapuig
DESCRIPTION: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? \nWe 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. \nWe 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. \n  \nOriol Vilapuig Morera (Sabadell\, 1964) \nVisual 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. \n 
URL:https://museutapies.org/en/event/drawing-visit-antoni-tapies-the-imagination-of-the-world-with-oriol-vilapuig/
LOCATION:Museu Tàpies
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/03/visita-dibuixada-oriol-vilapuig.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260122T180000
DTEND;TZID=Europe/Madrid:20260122T203000
DTSTAMP:20260408T220934
CREATED:20251216T120644Z
LAST-MODIFIED:20260119T101014Z
UID:10001146-1769104800-1769113800@museutapies.org
SUMMARY:Dry Stone Library
DESCRIPTION:  \nThe 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. \nThe 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. \nAfter the screening\, a conversation will take place between the director\, Joan Vall Karsunke; the film’s editor\, Ginebra Vall; and the writer Vicenç Altaió. \n  \nCredits: \nBiblioteca de pedra seca [Dry Stone Library] \nJoan Vall Karsunke\, 2025\, Catalonia\, Catalan version\, 98 min\, DCP. \nWith 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. \nMusic: Nicolas Jaar\, Carles Santos\, Llorenç Balsach\, Marina Herlop and Pascal Comelade. \n  \n 
URL:https://museutapies.org/en/event/dry-stone-library/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/12/altaio-film-jvall.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260128T180000
DTEND;TZID=Europe/Madrid:20260128T193000
DTSTAMP:20260408T220934
CREATED:20251219T125158Z
LAST-MODIFIED:20260206T115326Z
UID:10001152-1769623200-1769628600@museutapies.org
SUMMARY:Presentation of the catalogue "Marta Palau: My Paths are Earthly"
DESCRIPTION: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. \nThis 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. \nThe 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. \nThis 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. \n  \n  \nTechnical information: \nMarta Palau. Els meus camins són terrestres \nMarta Palau. Mis caminos son terrestres \nMarta Palau: My Paths are Earthly \nAuthors: Imma Prieto\, Amanda de la Garza\, María Dolores Jiménez-Blanco\, Maria Josep Balsach\, Rita Eder\, Natalia de la Rosa and Cuauhtémoc Medina \n  \nPublishers: Museu Tàpies and MUAC \nLanguages: Catalan\, Spanish and English (independent editions) \nISBN: 978-84-128816-6-0 (Catalan)\, 978-84-128816-0-8 (Spanish)\, 978-84-128816-1-5 (English) \nYear: 2025 \n248 pages \n18 x 26 cm \n140 images \nHardcover \nPrice: 46.80 euros \n 
URL:https://museutapies.org/en/event/presentation-of-the-catalogue-marta-palau-my-paths-are-earthly/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2025/12/MP-portada-20260115-eng.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260129
DTEND;VALUE=DATE:20260130
DTSTAMP:20260408T220934
CREATED:20250807T102918Z
LAST-MODIFIED:20251212T121909Z
UID:10001054-1769644800-1769731199@museutapies.org
SUMMARY:fe sense obres morta és\, by Albert Serra
DESCRIPTION: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. \nIn 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. \nIn 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. \nWith 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. \n  \nFact sheet:  \nfe sense obres morta és \nAlbert Serra\, Catalonia\, 2025. DCP\, Catalan\, 52 min. \n  \nAlbert 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.
URL:https://museutapies.org/en/event/40729/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/04/Albert-Serra.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260203T180000
DTEND;TZID=Europe/Madrid:20260203T203000
DTSTAMP:20260408T220934
CREATED:20260109T143140Z
LAST-MODIFIED:20260217T171007Z
UID:10001157-1770141600-1770150600@museutapies.org
SUMMARY:The Rebellious Image: Germaine Dulac and the Feminine Imagination in Surrealism
DESCRIPTION: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. \nFrom 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. \n“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. \n  \nPROGRAMME \n  \n6 pm. Presentation of the session\, by the Museu Tàpies \n6.10 pm. Tami Williams\, “Germaine Dulac and Long Impressionist Cinema” \n6.40 pm. Julia Ramírez Blanco\, “Poetics of the Anti-Fascist Body” \n7.10 pm. Elena Castro Córdoba\, “Dance\, Images\, Dance!” \n7.40 pm. Debate with Tami Williams\, Julia Ramírez Blanco and Elena Castro Córdoba\, moderated by Bruna Lo Biundo \n20.15 h. Closing \n  \nPARTICIPANTS  \n  \nTami 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. \n  \nJulia 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. \n  \nElena 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. \n  \nBruna 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. \nFilm still from La Coquille et le Clergyman (The Seashell and the Clergyman)\, 1928. \n  \nPlaylist with the video conferences: \n \n 
URL:https://museutapies.org/en/event/the-rebellious-image-germaine-dulac-and-the-feminine-imagination-in-surrealism/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2026/01/Dulac-debat.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260207T110000
DTEND;TZID=Europe/Madrid:20260207T140000
DTSTAMP:20260408T220934
CREATED:20260112T154342Z
LAST-MODIFIED:20260123T142256Z
UID:10001160-1770462000-1770472800@museutapies.org
SUMMARY:Objects and Other Things: Guided Carnival Visit
DESCRIPTION: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. \nWith 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. \nParticipants can come dressed as objects or bring a personal object. \n  \nGuided by Estel Boada\, Sílvia Galí and Maria Sellarès
URL:https://museutapies.org/en/event/objects-and-other-things/
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2026/01/llapis1-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260213T190000
DTEND;TZID=Europe/Madrid:20260213T210000
DTSTAMP:20260408T220934
CREATED:20260129T173824Z
LAST-MODIFIED:20260212T093028Z
UID:10001164-1771009200-1771016400@museutapies.org
SUMMARY:Opening of the exhibition “Antoni Tàpies. The Perpetual Movement of the Wall”
DESCRIPTION:NEW DATA \nThe 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. \nThe 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. \nThe exhibition is curated by Imma Prieto\, director of the Museu Tàpies\, and Pablo Allepuz\, head of collection at the museum. \n: \n[Image: Antoni Tàpies\, El foc encantat de Farefa\, 1949. Private Collection\, Barcelona. © Comissió Tàpies / VEGAP\, 2026.]
URL:https://museutapies.org/en/event/opening-of-the-exhibition-antoni-tapies-the-perpetual-movement-of-the-wall/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2025/11/Antoni-Tapies-El-foc-encantat-de-Farefa-1949.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260221T180000
DTEND;TZID=Europe/Madrid:20260221T190000
DTSTAMP:20260408T220934
CREATED:20260203T154434Z
LAST-MODIFIED:20260218T160503Z
UID:10001167-1771696800-1771700400@museutapies.org
SUMMARY:Tarte Tatin
DESCRIPTION: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. \nThat 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. \nFor 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. \n  \nBerta 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. \nAfterwards\, 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.  \nShe 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. \n  \nTeam Credits \n· Playwright and Director: Berta Prieto \n· Cast: Belén Barenys\, Laura Roig and Berta Prieto \n· Scenography: Cecília Ruíz Baena \n· Art Director: Cecília Ruíz Baena \n. Art and wardrobe assistant: Patrícia Feliu Juárez \n. Graphic Design: Eduard Sales \n. Sound Design: Belén Barenys \n. Pianist: Roger Cassola
URL:https://museutapies.org/en/event/tatin-cake/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2026/02/Tarte-Tatin.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260312T180000
DTEND;TZID=Europe/Madrid:20260312T183000
DTSTAMP:20260408T220934
CREATED:20260302T152553Z
LAST-MODIFIED:20260311T115028Z
UID:10001193-1773338400-1773340200@museutapies.org
SUMMARY:Enric Casasses: The Bean and the Chickpea. Up on the Chair
DESCRIPTION: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. \nThe 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]. \nEnric 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.
URL:https://museutapies.org/en/event/the-bean-and-the-chickpea-up-on-the-chair/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2026/02/km-1915-Suprematisme.-Nou-realisme-pictoric.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260319T190000
DTEND;TZID=Europe/Madrid:20260319T210000
DTSTAMP:20260408T220934
CREATED:20260227T123700Z
LAST-MODIFIED:20260311T175318Z
UID:10001192-1773946800-1773954000@museutapies.org
SUMMARY:Opening of the exhibition “Àngel Jové. De intactu”
DESCRIPTION: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. \nThe 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. \n  \n[Image: Àngel Jové\, Untitled. Sèrie Metafísica\, 1975. © Rafael Bartolozzi Collection\, 2025.] \n  \n \n 
URL:https://museutapies.org/en/event/opening-of-the-exhibition-angel-jove-de-intactu/
LOCATION:Museu Tàpies
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/11/Angel-Jove-baixa.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260321T120000
DTEND;TZID=Europe/Madrid:20260321T140000
DTSTAMP:20260408T220934
CREATED:20260224T125850Z
LAST-MODIFIED:20260312T144331Z
UID:10001182-1774094400-1774101600@museutapies.org
SUMMARY:blanca arias: At the Edge of a Forest\, a Girl
DESCRIPTION:‘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. \nExcerpt from Hamnet\, by Maggie O’Farrell \n  \nIt 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. \nIn 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. \nFrom 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. \nActivity held as part of the third edition of the “Following the Sun” series\, entitled “Uncovering the Gaze”\, curated by Carolina Ciuti. \n  \nblanca 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. \nShe 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.
URL:https://museutapies.org/en/event/blanca-arias/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2026/02/blanca-arias-retrat-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260328T110000
DTEND;TZID=Europe/Madrid:20260328T133000
DTSTAMP:20260408T220934
CREATED:20250205T124154Z
LAST-MODIFIED:20260224T124618Z
UID:10000907-1774695600-1774704600@museutapies.org
SUMMARY:Montaner y Simón\, a publishing house with history. Itinerary 2026
DESCRIPTION: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. \nThis activity is organized as part of the programme of the Ajuntament de Barcelona: “The World Capital of Architecture 2026”.
URL:https://museutapies.org/en/event/montaner-y-simon-a-publishing-house-with-history-itinerary-2026/
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/02/edifici-museu-tapies.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260329T110000
DTEND;TZID=Europe/Madrid:20260329T123000
DTSTAMP:20260408T220934
CREATED:20260204T175318Z
LAST-MODIFIED:20260326T123716Z
UID:10001170-1774782000-1774787400@museutapies.org
SUMMARY:Walls\, Dividers or Partitions. Family activity
DESCRIPTION: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. \nHave 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. \nActivity in the context of the exhibition “Antoni Tàpies. The Perpetual Movement of the Wall“.
URL:https://museutapies.org/en/event/walls-dividers-or-partitions-dynamic-visit/
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/11/MTa2026_AntoniTapies_Nocturn.-1952-web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260329T123000
DTEND;TZID=Europe/Madrid:20260329T140000
DTSTAMP:20260408T220934
CREATED:20250721T192031Z
LAST-MODIFIED:20260303T102321Z
UID:10001044-1774787400-1774792800@museutapies.org
SUMMARY:Approaches. Guided tour 2026
DESCRIPTION:Introduction to the history of the Tàpies Museum building and guided tour of the current exhibitions: \n  \n· Antoni Tàpies. The Perpetual Movement of the Wall \n· Àngel Jové. De intactu
URL:https://museutapies.org/en/event/approaches-guided-tour-2026/
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/07/i-t4znZLb-X2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260409T180000
DTEND;TZID=Europe/Madrid:20260409T193000
DTSTAMP:20260408T220934
CREATED:20260226T162438Z
LAST-MODIFIED:20260407T083643Z
UID:10001188-1775757600-1775763000@museutapies.org
SUMMARY:Carles Congost. Grey Has Declinations
DESCRIPTION: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. \nCongost 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. \nIn 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. \nDespite 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. \nActivity carried out within the framework of the third edition of the cycle “The Chairs of Tàpies“\, curated by Judith Barnés. \n  \nCarles 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. \nCongost 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. \n  \nImage: Montseny with violence
URL:https://museutapies.org/en/event/carles-congost-grey-has-declinations/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2026/02/Montseny-amb-violencia_-Blanc-y-negre_2026-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260414T180000
DTEND;TZID=Europe/Madrid:20260414T190000
DTSTAMP:20260408T220934
CREATED:20260225T122646Z
LAST-MODIFIED:20260311T101619Z
UID:10001185-1776189600-1776193200@museutapies.org
SUMMARY:"Against the Wall" series
DESCRIPTION:  \nThe 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. \nIn 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. \nTaking 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. \nEach 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. \nAt 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. \n  \nProgramme: \n  \n· Encounter 2. With Marria Pratts and Jordi Mayoral (Galeria Mayoral) \nDate: Tuesday\, 14 April 2026\, 6 p.m. \n  \n· Encounter 3. With Eva Fàbregas and Joana Roda (Bombon Projects) \nDate: Tuesday\, 12 May 2026\, 6 p.m. \n  \nPrevious sessions \n· Encounter 1. With Lucía C. Pino and Patricia de Muga (Prats Nogueras Blanchard) \nDate: Tuesday\, 10 March 2026\, 6 p.m. \n  \n[Image: Antoni Tàpies. El crit. Groc i violeta (1953) Museu Tàpies\, Barcelona. © Comissió Tàpies / VEGAP\, 2026.]
URL:https://museutapies.org/en/event/against-the-wall-series/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2026/02/fat00072cw00000p000.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260418T120000
DTEND;TZID=Europe/Madrid:20260418T160000
DTSTAMP:20260408T220934
CREATED:20260303T122520Z
LAST-MODIFIED:20260303T122606Z
UID:10001197-1776513600-1776528000@museutapies.org
SUMMARY:Laura Llaneli. Mute Murmur
DESCRIPTION:  \nIn 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. \nThis 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. \nIn 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. \nActivity held as part of the third edition of the “Following the Sun” series\, entitled “Uncovering the Gaze”\, curated by Carolina Ciuti. \n  \nThe 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. \nShe 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. \nShe 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.
URL:https://museutapies.org/en/event/laura-llaneli-mute-murmur/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2026/03/Murmuri-mut_3-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260422T180000
DTEND;TZID=Europe/Madrid:20260422T200000
DTSTAMP:20260408T220934
CREATED:20260325T101208Z
LAST-MODIFIED:20260326T160134Z
UID:10001208-1776880800-1776888000@museutapies.org
SUMMARY:Drawing visit. "Àngel Jové. De intactu" with Bea Ortiz
DESCRIPTION: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. \nDuring 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. \n  \nBea 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). \n  \n[Image: Àngel Jové. Metafísica III (1976). Morera Collection. Museu d’Art Modern i Contemporani de Lleida.]
URL:https://museutapies.org/en/event/drawing-visit-angel-jove-de-intactu-with-bea-ortiz/
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2026/03/6-en-tamano-grande.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260507T180000
DTEND;TZID=Europe/Madrid:20260507T190000
DTSTAMP:20260408T220934
CREATED:20260325T155221Z
LAST-MODIFIED:20260325T165328Z
UID:10001215-1778176800-1778180400@museutapies.org
SUMMARY:Poem/me xx1. Listening session/Hybrid reading
DESCRIPTION:Ikram Bouloum is the third guest of the series of actions entitled “The Chairs of Tàpies. Invoking the crack”. \nWith 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. \n\nIkram 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. \nIn 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. \nSeries “The Chairs of Tàpies” are curated by Judith Barnés. \n  \n[Photography: Lúa Oliver]
URL:https://museutapies.org/en/event/poem-me-xx1-listening-session-hybrid-reading/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2026/03/Screenshot_1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260509T110000
DTEND;TZID=Europe/Madrid:20260509T130000
DTSTAMP:20260408T220934
CREATED:20260325T105447Z
LAST-MODIFIED:20260325T153041Z
UID:10001209-1778324400-1778331600@museutapies.org
SUMMARY:Visual Territories. Creative intervention workshop with images exploring landscapes in the work of Àngel Jové
DESCRIPTION:Àngel Jové. Sense títol (2023). Private collection\, Girona.\n  \nCreative 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). \nMón 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. \nThis activity is aimed at people interested in the arts and education. No prior experience is required.
URL:https://museutapies.org/en/event/territoris-visuals-taller/
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2026/03/11-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260527
DTEND;VALUE=DATE:20260530
DTSTAMP:20260408T220934
CREATED:20260220T123140Z
LAST-MODIFIED:20260220T124140Z
UID:10001175-1779840000-1780099199@museutapies.org
SUMMARY:International symposium 'The Wall and the City: Visual Devices of Modernity'
DESCRIPTION:  \nThe 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. \nIn 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. \nThis 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. \nThe 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. \nResearchers\, 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. \n  \nThe complete programme will be published shortly. \n  \nWith the collaboration and participation of the Antoni Tàpies – UPF Chair of Contemporary Art and Thought. \n  \n[Image: Antoni Tàpies\, Porta metàl·lica i violí\, 1956.  Museu Tàpies Collection\, Barcelona. © Comissió Tàpies / VEGAP\, 2026.]
URL:https://museutapies.org/en/event/international-symposium-the-wall-and-the-city-visual-devices-of-modernity/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2026/02/porta-metalica-i-violi.jpg
END:VEVENT
END:VCALENDAR