Museu Tàpies

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 (Europe/Madrid) | 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.

Montaner y Simón, a publishing house with history. Itinerary 2026
2026-03-28 11:00 - 13:30
Guided itinerary that aims to introduce the history of the former Montaner y Simón publishing house through a visit to the Museu Tàpies, the former headquarters of the publishing house and the work of the catalan modernist architect Lluís Domènech i Montaner, and to two buildings by the same architect in Barcelona that are closely linked to it: the Palau Montaner, now the headquarters of the Spanish government delegation in Catalonia, and the Casa Thomas, which today houses the Cubiñá design furniture store.
This activity is organized as part of the programme of the Ajuntament de Barcelona: “The World Capital of Architecture 2026”.

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“.

Approaches. Guided tour 2026
2026-03-29 12:30 - 14:00
Introduction to the history of the Tàpies Museum building and guided tour of the current exhibitions:

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

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.
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

"Against the Wall" series
2026-04-14 18:00 - 19:00
The Against the Wall series of encounters is part of the exhibition project Antoni Tàpies: The Perpetual Movement of the Wall, extending its question marks to the present. Setting out from an analysis of the contexts and forms of exhibition of Tàpies’ work in the 1950s, the programme sets out to activate the wall not just as a formal or architectural feature, but also as a sensitive, cultural and political device that structures the relationship between artwork, body and space.
In those years, the wall became more than just a pictorial medium for Tàpies: it was an active surface on which gestures, memories and tensions are inscribed, but also a point of contact with modern architecture, graphic design, industry and the changing cityscape. The different setup solutions explored by the artist in his individual exhibitions in the fifties show just how far exhibition conditions form part of the very meaning of the artwork, and how the work dialogues with specific ways of living, of producing culture and of seeing the world.
Taking this as its starting point, the series —moderated by arts journalist Clàudia Rius— offers a series of contemporary dialogues between artists and agents in the art system working today with related concerns: matter and its symbolic baggage, the relation between art and architecture, the presence of the body, the affective dimension of the exhibition space and the ability of the wall to work as frontier, medium, skin and place for resistance. Far from a closed historiographic reading, the encounters activate Tàpies’ work as a resonant field through which to think about current practices to produce, exhibit and mediate art.
Each encounter deals with the wall from a specific point of view —material fragility, the skin of the artwork, the body and affect— but all of them share the intention of questioning the limits between object and venue, between intimacy and the public sphere, between institutionalisation and sensitive experience. In this respect, the series sees the wall as a place of friction and shared imagination, able to condense conflicts, desires and ways of relating that run through both Tàpies’ work and contemporary artistic practices.
At a time when the role of the exhibition space is once again subject to revision —in terms of its material, symbolic and political conditions—, Against the Wall sets out to build bridges between past and present, between the debates that marked a key period in artistic modernity and the questions that today face artists, institutions and audiences. Far from being a fixed boundary, the wall is thus presented as a place in perpetual movement.

Programme:

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

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

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

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

Laura Llaneli. Mute Murmur
2026-04-18 12:00 - 16:00 | 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).

[Image: Àngel Jové. Metafísica III (1976). Morera Collection. Museu d’Art Modern i Contemporani de Lleida.]

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. Sense títol (2023). Private collection, Girona.

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.

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

The complete programme will be published shortly.

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

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