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DTSTART;VALUE=DATE:20260527
DTEND;VALUE=DATE:20260530
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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 is conceptually related to Antoni Tàpies: The Perpetual Movement of the Wall\, an exhibition currently being shown at Museu Tàpies\, curated by Imma Prieto and Pablo Allepuz\, and exploring the artist’s work through his contexts and exhibition modes. It focuses on four solo shows from the 1950s\, which were characterised by groups of work and highly diverse display solutions\, making it possible to situate Tàpies’ production in relation to broader debates on modern architecture\, design\, industry\, urban space and ways of life in the period. \nDrawing from this conceptual framework\, the international symposium The Wall and the City: Visual Devices of Modernity proposes a critical reading of modernity through the material and visual devices that made it possible: walls\, facades\, pavements\, shop windows\, posters\, exhibition structures and domestic spaces. These apparently functional features become active agents of mediation between art\, design\, architecture and perceptive experience\, given that matter\, light\, visual display and the arrangement of objects influence in aesthetic perception and define new ways of seeing\, inhabiting and understanding the city. \nIn the context of European reconstruction after the Second World War\, and during the postwar and cultural isolation of Francoism in Spain\, the exhibition space and urban landscapes worked as laboratories for modernity. Museums\, pavilions\, shop windows and housing became experimental spaces where architecture\, design and display gave rise to specific forms of perception\, setting apart the visual and urban sensibility of the postwar. \nIn Barcelona\, figures like Antoni Tàpies\, Josep Antoni Coderch\, Antoni de Moragas Gallissà\, Oriol Bohigas\, Ricard Giralt Miracle and America Sanchez would come to postulate a common syntax: a contained\, artisanal modernity\, with material density and manual gesture\, articulating architecture\, design and visual display. Their practice would not only define visual culture\, but also a model of display that conditioned the aesthetic perception of space and the object. \nThis symposium analyses these mechanisms as active practices of discourse and perception shaping imagined models of community\, memory and the relationship between body and architecture. It looks back at exhibition\, architectural and graphic languages of the 1950s and 1960s\, querying their currency: what remains nowadays of that way of conceiving walls\, homes or the city itself as spaces for thought\, resistance and perception? What are the continuities or ruptures between the visual devices of modernity and current practices in museography and urban design? \nIn this symposium\, Barcelona is set into dialogue with other centres of modernity—Milan\, Paris\, Brussels\, Zurich and London—tracing out a comparative cartography of possible modernities\, examining how material and visual discourses built a European idea of modernity. This revision makes it possible to think of the contemporary museum and city as spaces for critique\, experimentation and aesthetic experience\, where the memory of modern display continues to be a strategy of thought and perception. \nResearchers\, artists\, architects\, designers and curatorial professionals were 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  \nPROGRAMME \nWednesday 27 May 2026 \n\n6 pm. Welcome and presentation\, Museu Tàpies\n6.10 pm. Lecture ‘The Wall We Are: Tàpies\, Space and Work’\, by Federico Ferrari\n6.50 pm. Lecture ‘Surroundings and Their Influence’\, by Xavi Ceerre\n7.20 pm. Pause\n7.30 pm. Lecture ‘Beyond the Wall’\, by Carlos Bunga\n8.10 pm. Discussion and debate\n8.30 pm. Closing\n\n  \nThursday 28 May 2026 \n\n6 pm. Welcome and presentation\, Museu Tàpies\n6.10 pm. Lecture ‘Extramural: of the Silhouette of the Shadow of the Reflection of the Image’\, by Juan José Lahuerta\n6.50 pm. Lecture ‘From Being to Nothingness: Object\, Body and Space in Contemporary Performance Art’\, by Lyu Wen\n7.20 pm. Pausa\n7.30 pm. Lecture ‘The Miró Model: Ephemeral Exhibition as Artistic Practice’\, by Jordana Mendelson\n8.10 pm. Discussion and debate\n8.30 pm. Closing\n\n  \nFriday 29 May 2026 \n\n6 pm. Welcome and presentation\, Museu Tàpies\n6.10 pm. Lecture ‘The Scars of War’\, by Beatriz Colomina\n6.50 pm. Lecture ‘Tàpies and Art Criticism’\, by Victoria Combalía\n7.30 pm. Pause\n7.40 pm. Discussion and debate\n8 pm. Closing sound action\, ‘Active Void. Reflections on Nothingness’\, by Rasheed Jalloul\n8.30 pm. Final\n\n  \nSPEAKERS \n  \nCarlos Bunga \nCarlos Bunga creates work oriented towards process—installations\, performance\, video\, drawing\, sculpture\, painting—referring to his immediate architectural surroundings\, intervening in them. While using ordinary\, non-descript materials\, his work implies conceptual complexity\, as derived from the interrelation between doing and undoing\, between undoing and starting over\, between research and experimentation. \nBunga first attracted international attention with his work for the contemporary art biennial Manifesta 5 in San Sebastian (2004). Since then\, he has had individual exhibitions at CAM Fundação Gulbenkian\, Lisbon (2025); MNCARS\, Madrid (2022); Secession\, Vienna (2021); Whitechapel\, London (2020); MAAT\, Lisbon (2019); Haus Konstruktiv Museum\, Zurich (2015); MACBA\, Barcelona (2015); Hammer Museum\, Los Angeles (2011); and the Pinacoteca de São Paulo (2010)\, among others. \nXavi Ceerre \nCeerre’s pictorial practice has a processual character\, exploring the physicality of gesture\, error and material\, with a special interest registering collective subconscious in public space\, and in the tensions between urban planning and subversive forms. \nHe graduated in Graphic Design from Escola Llotja and has an MA in Painting from UPV/EHU\, as well as an MA in Teacher Training (UB). He further broadened his education at the School of Visual Arts\, New York\, and Gerrit Rietveld Academie\, Amsterdam. \nCeerre has regularly shown at Galeria Carles Taché since 2021\, participating in art fairs like Art-o-rama\, Estampa and CAN. He has done residencies at BilbaoArte\, Fabra i Coats and Piramidón\, among others. His work is found in various public and private collections. \nBeatriz Colomina \nHoward Crosby Butler Professor of the History of Architecture at Princeton University\, Colomina is head of the doctoral programme at the School of Architecture and founding director of the university’s interdisciplinary programme Media and Modernity. \nRecent book publications include Sick Architecture (MIT Press\, 2025) and We the Bacteria: Notes Toward Biotic Architecture (Lars Müller\, 2025). With Mark Wigley she recently co-curated the exhibition We the Bacteria: Notes Toward Biotic Architecture at Triennale Milano (2025) and The Other Side of the Hill at the Venice Biennale (2025). \nVictoria Combalía \nCombalía has a doctorate from the University of Barcelona\, where she has been Professor of Art History since 1974. She was guest researcher at The Institute of Fine Arts\, New York\, from 1979 to 1981. She has organised more than sixty exhibitions\, including Joan Brossa\, 1941-1991 (1991)\, Veure Miró. La irradiació de Miró en l’art espanyol (1993)\, Com ens veiem. Imatges i arquetips femenins (1996)\, Kandinsky. Obres procedents del Centre Pompidou (1996)\, Sean Scully (2005)\, Dora Maar\, malgrat Picasso (2014) and Dones surrealistes (2017). She is a specialist in Joan Miró and the biographer of Dora Maar. \nCombalía has published Estudios sobre Picasso (1981)\, Antoni Tàpies (1984)\, Picasso-Miró\, mirades creuades (1998)\, Amazonas con pincel (2006)\, Dora Maar\, més enllà de Picasso (2013)\, Musas\, mecenas y amantes (2016) and Ver para vivir. Memorias (2024)\, among others. She was the director of Centre Cultural Tecla Sala and was artistic consultant to the Madrid Region. In 2003 she was named Chevalier des Arts et des Lettres\, and is current president of the Dora Maar Committee. \nFederico Ferrari \nAn Italian philosopher and aesthetician\, Ferrari is Professor of Aesthetics at the Accademia di Belle Arti di Brera. In 2020 he founded Antinomie with Andrea Cortellessa and Riccardo Venturi\, a website dedicated to the relationship between images and words. In 2025 he was a driving force behind the creation of the Centro di storia e teoria dell’arte (CeSTA)\, based at the Accademia di Brera. He has published various books in Italy and internationally\, centring on communitarian questions within disaffected social structures in postmodern civilization\, as well as on artistic experience\, in its ambiguous tension between the aspiration for a different world and its reduction into a luxury commodity in a speculative market. \nHis book publications include La comunità errante (1997)\, Nudità (1999)\, Lo spazio critico (2004)\, Costellazioni (2006)\, Sub specie aeternitatis (2008)\, Il re è nudo (2011)\, Arte essenziale (2011)\, L’insieme vuoto (2013)\, L’anarca (2014; 2nd ed. 2023)\, Visioni (2016)\, Oscillazioni (2016)\, Il silenzio dell’arte (2021)\, L’antinomia critica (2023)\, Ritratti (2025) and\, with Jean-Luc Nancy\, La pelle delle immagini (2003)\, Iconografia dell’autore (2006)\, La fin des fins (2015) and Estasi (2022). \nRasheed Jalloul \nJalloul is a Lebanese architect\, artist\, composer and researcher based in Barcelona. His practice moves between architecture\, sound and language\, understanding them as interdependent systems through which space is articulated. His methodology works like a political Casimir effect\, where voids produced by calamity reorganise perceptive and mnemonic conditions. Through this notion of an active void\, Jalloul addresses absence as a conditioning field\, from which form emerges through processes of subtraction and fluctuation\, challenging colonial epistemologies of body and space. \nCurrently Jalloul is a resident at Centre d’Arts Santa Mònica\, where he is researching spatial mediation. His work has been presented at MACBA\, Kampnagel\, Festival Sâlmon\, RCR Arquitectes and the Fundació Enric Miralles\, among others. \nJuan José Lahuerta \nLahuerta has been Professor of Art History at ETSAB – Barcelona School of Architecture\, and has taught at Università Iuav di Venezia and New York University\, among others. He was conservator of the Picasso Museum Barcelona and head of collections at the Museu Nacional d’Art de Catalunya. Recent publications include Religious Painting: Picasso and Max Von Moos (2015)\, Marginalia: Aby Warburg\, Carl Einstein (2015)\, Photography or Life: Popular Mies (2015)\, On Loos\, Ornament\, and Crime (2015)\, Antoni Gaudí: Ornament\, Fire\, and Ashes (2016) and Arte en la época del infierno (2022). \nHe has curated exhibitions such as Picasso. Romànic (MNAC\, Barcelona\, with the collaboration of Musée Picasso\, Paris\, 2015)\, Gaudí (MNAC\, Barcelona and Musée d’Orsay\, Paris\, 2022) and Julio González. Ser Artista (IVAM\, Valencia\, 2023)\, and is the author of their respective catalogue essays. Lahuerta is member of the editorial board of Casabella (Milan) and founder and director of the publisher Mudito & Co (Barcelona\, New York\, Venice). \nJordana Mendelson \nJordana Mendelson is Associate Professor in the Department of Spanish and Portuguese at New York University\, where from 2020 to 2026 she has directed Espacio de Culturas\, a centre focused on developing events and programmes related to Spain\, the Iberian Peninsula and America. Her research centres on visual\, exhibited and printed culture in Spain during the 1930s. \nShe is the author of Documenting Spain: Artists\, Exhibition Culture and the Modern Nation\, 1929-1939 (Penn State UP\, 2005)\, co-editor of Postcards: Ephemeral Histories of Modernity (Penn State UP\, 2010) and curator of the exhibitions Revistas y Guerra 1936-1939 (Madrid\, Museo Reina Sofía\, 2007) and Encounters with the 1930s (Madrid\, Museo Reina Sofía\, 2013). She is also co-editor of the Journal of Spanish Cultural Studies. Mendelson is currently working on a publication with the provisional title Paper Routes: The Power of Design in 20th-Century Spain. \nLyu Wen \nAn interdisciplinary artist and researcher\, Lyu Wen is doing a PhD in the Department of Humanities at Pompeu Fabra University. Her work explores the intersection between performance art\, digital media and the philosophy of the Kyoto School. \nWorking in performance\, video\, installation and painting\, she develops an approach based on a practice that feeds her research. Her current projects explore the ways everyday actions\, such as walking and sitting\, might be transformed into corporeal practices of sustained attention and awareness. \n  \nWith the collaboration and participation of the Antoni Tàpies – UPF Chair of Contemporary Art and Thought. \nWithin the framework of Barcelona 2026\, International Capital of Architecture. \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
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260530T110000
DTEND;TZID=Europe/Madrid:20260530T133000
DTSTAMP:20260617T003852
CREATED:20250205T124154Z
LAST-MODIFIED:20260518T155945Z
UID:10000907-1780138800-1780147800@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 Barcelona 2026\, World Capital of Architecture. \n 
URL:https://museutapies.org/en/event/montaner-y-simon-a-publishing-house-with-history-itinerary-2026/
CATEGORIES:Education
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260604T180000
DTEND;TZID=Europe/Madrid:20260604T184000
DTSTAMP:20260617T003852
CREATED:20260522T113306Z
LAST-MODIFIED:20260530T124658Z
UID:10001290-1780596000-1780598400@museutapies.org
SUMMARY:Vibe. The Weight of Sand
DESCRIPTION:Vibe: The Weight of Sand is a performance inspired by the cosmogony of Black Africa\, where objects\, gestures and words are part of the same relational system. In this domain\, functionality and symbolism coexist without hierarchies: the everyday can become a ritual\, and the simplest of gestures might reveal a profound\, ancestral side of things. \nThis piece takes shape as an act of divination occurring in a contemporary urban context. Instead of percussion\, we use sand and electronic devices to create frequences able to move it. We then draw over top of this living surface\, evoking ephemeral forms\, enabling them to appear\, as if matter were trying to speak. \nSand represents vibration\, latent energy and movement. \nThe stool represents weight\, a centre and stability. \nAt the heart of the action we have the nkoh\, a stool from ethnic Bamileke culture. I sit on it covered by a large piece of cloth that transforms the body into an almost pyramidal figure. The stool is a seat\, drum\, throne and memory itself: the hidden chair; the grandfather’s throne; the chair at the door\, waiting without expecting anyone; the presence the body resonates from. \nTwo cameras film the drawing tables and project the images on the wall. In this way\, the hands working the sand become a kind of digital divination: shaky traces\, hesitant gestures\, ongoing appearances and disappearances. \nThe performance also explores other ways of holding up and moving the body. Carrying someone on your back\, like a child; improvising seating with sacks or unstable structures; moving an elderly person between two poles from one village to another. Here the chair is not just a functional object\, but an extension of the body\, an instrument of survival\, care and transmission. \nA visible chair. \nAnother that is invisible. \nThe chair of life. \n  \nXumo Nunjo. An independent artist\, musician and producer from Cameroon\, based in Barcelona. His grandparents initiated him in traditional Bamileke performing arts\, which would have a powerful impact on his artistic sensibility and creative path. His interests include architecture\, art history\, anthropology\, theatre and the visual arts\, all of which contribute to his original\, cross-disciplinary work. In his career he has participated in the creation and production of stage shows\, recordings\, performance art\, street art projects and advertising campaigns. He has performed in throughout Europe\, the United States\, Asia and Africa\, presenting original work that reflects on his abundant artistic universe. \n  \nAngel Ihosvanny. A multidisciplinary artist living and working between Barcelona and Luanda. His practice encompasses painting\, installation\, video and music\, addressing themes in contemporary urban planning\, consumerism and the transformation of the environment. He has exhibited in international events like the Luanda Triennale and the Venice Biennale. \n  \nSeries “The Chairs of Tàpies” are curated by Judith Barnés.
URL:https://museutapies.org/en/event/vibe-the-weight-of-sand/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2026/05/img-cadires-juny26.jpeg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260609T170000
DTEND;TZID=Europe/Madrid:20260609T190000
DTSTAMP:20260617T003852
CREATED:20260602T104352Z
LAST-MODIFIED:20260602T105249Z
UID:10001291-1781024400-1781031600@museutapies.org
SUMMARY:Meeting Point
DESCRIPTION:  \nIn the context of the exhibition Antoni Tàpies: The Perpetual Movement of the Wall\, the Museu Tàpies presents a public enlivening of the research process developed by Mauricio Sierra through conversations with various individuals who either work in the museum or visit it. \nOpening up this process represents an invitation to place the body inside the exhibition space and experience varied manners of perception. The format combines mechanisms for artistic mediation and performance\, and will be open to the participation of any person visiting the museum during designated opening times. \nThe proposal is founded on the idea that encounter activates movement\, arouses murmurs\, activates other rhythms and makes pauses possible\, along with necessary relief and rest periods. In this regard\, Sierra proposes to work on the basis of the collective gestures that bodies produce within museum spaces\, understanding the museum as a site of relation and conversation. Through these gestures of approximation\, the research project delves into the appearance of subtle gestures and forms of shared presence\, rehearsing the museum as a meeting point influenced by everyday relationships\, where many actors coincide\, and where spaces for listening and exchange might be created. In this way\, the proposal pursues an existing line of work focused on experiencing ways of being together and collectively inhabiting spaces. \n  \nMauricio Sierra is a researcher\, performer\, collaborative playwright and director\, assistant director and mediator. His practice addresses the collective body as ongoing support and object of study\, as well as a possibility for destabilisation and basis of research. He has worked on projects in theatre\, dance\, performance\, cinema and museography in Colombia\, Spain and England. He develops processes with professional and academic groups in the performing arts where\, through contemporary forms of communication\, and with particular attention to non-conventional spaces\, he explores the possibilities of design\, reception and participation in artistic experiences. \n  \nFour people observe Marró i ocre  [Brown and ochre] (1959)\, by Antoni Tàpies\, at Sala Gaspar\, 1960. Personal Archive of Antoni Tàpies.
URL:https://museutapies.org/en/event/meeting-point/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260610T180000
DTEND;TZID=Europe/Madrid:20260610T190000
DTSTAMP:20260617T003852
CREATED:20260529T131329Z
LAST-MODIFIED:20260529T131356Z
UID:10001292-1781114400-1781118000@museutapies.org
SUMMARY:Mur mur i zo
DESCRIPTION:  \nMur mur i zo* is a kinetic and poetic exploration of the exhibition Antoni Tàpies: The Perpetual Movement of the Wall\, held at the Museu Tàpies. This collaborative research project on movement and stasis has been developed between two artists from different disciplines\, dance (Georgia Vardarou) and the visual arts and poetry (Nathalie Karagiannis). The project is grounded on three core concepts: the repetition of the wall motif in the work of Tàpies and its implications\, the relationship between body and memory (memory as a dead archive or creative vitality) and interaction between these two creators. \nPresented at the Museu Tàpies\, this exploration is the result of the first edition of the research residency Archival Body\, a collaborative project between the Museu Tàpies and Graner – Centre de creació de dansa i arts vives. \n* The title of the project is the transliteration into Latin characters of a Greek verb meaning ‘murmur’. Placed in this format\, it repeats the Catalan word mur\, meaning ‘wall’\, as well as zo\, the Greek word for ‘live’. \n  \nGeorgia Vardarou graduated from the National School of Dance (Κ.Σ.Ο.Τ.) in Greece and then from P.A.R.T.S.\, in Belgium. As a professional dancer she has worked with Salva Sanchis\, Marc Vanrunxt and Anne Teresa De Keersmaeker / Rosas\, among others. As a choreographer she is interested in personal movement\, the content it carries and intersubjectivity between the observer and the dancer in perception of the dance. Her most recent pieces have been seen at STUK (Leuven)\, Mercat de les Flors (Barcelona)\, KC NONA (Antwerp)\, Corso-Berchem (Belgium)\, Spider Festival (Slovenia) and December Dance (Bruges). Vardarou is a member of the teaching staff at Centre Superior d’Art Dramàtic Eòlia. Her work is produced by kunst/werk. \nNathalie Karagiannis works in writing\, drawing and installation. She has degrees in Public Law (Paris I) and Political Science (Sciences Po Paris)\, and did a doctorate in Social and Political Theory from EUI in Florence. Her most recent exhibitions are Three Breaths of Fresh Air (Islahane Museum\, 2025)\, Vent (La Pahissa del Marquet\, 2025) and Dago (Hadjmihali Museum\, 2025). She is the curator of Art and Crisis at the CCCB (2013)\, the Festival SUD de Poesia at the Reial Cercle Artístic deBarcelona (2015)\, Der Blinde Fleck at Warburg Haus (2019) and Elogio del riesgo and Vallas at La Fusteria (2023). She has published seven books\, is the editor of three volumes of writing\, and has written articles on democracy\, debt\, solidarity and other questions related to social and political theory.
URL:https://museutapies.org/en/event/mur-mur-i-zo/
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260611T190000
DTEND;TZID=Europe/Madrid:20260611T210000
DTSTAMP:20260617T003852
CREATED:20260508T121500Z
LAST-MODIFIED:20260608T081339Z
UID:10001273-1781204400-1781211600@museutapies.org
SUMMARY:Àngel Jové: Bite the Image. Film series
DESCRIPTION:  \nThe Museu Tàpies\, in collaboration with Espai Texas\, presents the film series Àngel Jové: Bite the Image\, which explores the cinematographic side of one of the most unique creators in the contemporary Catalan scene\, an artist who was radical\, experimental and interdisciplinary. \nAlongside his artistic career\, Jové developed a body of work of a potent experimental character the field of cinema.  After (1968)\, a part of a performative action\, to the creation of Primera muerte (1969) with the El Maduixer conceptual group — considered the first piece of video art in Spain) — his audiovisual work became a terrain for radical research on the image. This line of work culminated in later projects like Lo pedrís\, viatge per les terres de Ponent (Lo pedrís\, voyage to western lands\, 1989)\, made with Benet Rossell and Carles Hac Mor. \nStarting in the late 1960s\, Jové would take on regular roles in the films of Bigas Luna\, becoming an actor with a cult reputation in films like Bilbao (1978)\, Caniche (1979) and Angustia (1987)\, as well as in other productions of Catalan and Spanish film in the 1980s and 1990s. His artistic career has likewise been the subject of film\, as seen in the documentaries Gonzalo Herralde made about him over various decades. \nThe series Àngel Jové: Bite the Image thus proposes an approximation to the audiovisual side of Jové\, with three sessions combining screenings and contextual contributions from respective experts\, with the aim of polyhedrally placing Jové within this form of register. \n  \nProgramme \n  \nSession 3 — Experimental cinema: conceptual artistic practice at Primera muerte \nScreening of Primera muerte (1969) and Eco de Primera muerte (2017) \nThe final session will begin with a presentation by Daniel Pérez Pàmies\, Professor of Film History (UdG) and member of the research group GROC\, and will close with a presentation by Imma Prieto\, director of the Museu Tàpies\, who will focus on Jové’s role in the early years of video art. \nDate: Thursday 11 June\, 7 pm \n  \nPast: \nSession 1 —The cinema of transgression: Àngel Jové and Bigas Luna as a paradigm of the 70s \nScreening of Bilbao (1978)\, by Bigas Luna \nThis session features an introduction by Jordi Balló\, who will address how this film represented an aesthetic and thematic rupture. \nDate: Wednesday 20 May\, 7 pm \nSession 2 — The view of Gonzalo Herralde: documentaries on the work and thought of Àngel Jové \nScreening of Capiscar la fior de la mà morta (1991) and Altra volta mossego un tros de pa. Cristòfol-Pavese (2007). \nA dialogue between Gonzalo Herralde and Maria Josep Balsach\, curator of the exhibition Àngel Jové. De intactu\, at the Museu Tàpies. \nDate: Wednesday 3 June\, 7 pm \n  \nImage: Àngel Jové. Eco de Primera muerte\, 2017
URL:https://museutapies.org/en/event/angel-jove-bite-the-image-film-series/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260616T180000
DTEND;TZID=Europe/Madrid:20260616T193000
DTSTAMP:20260617T003852
CREATED:20260609T111043Z
LAST-MODIFIED:20260610T131555Z
UID:10001293-1781632800-1781638200@museutapies.org
SUMMARY:Lliurament de premis de la tercera edició del concurs Teresa Barba d’escriptura crítica
DESCRIPTION:  \n  \n  \n  \n 
URL:https://museutapies.org/en/event/lliurament-de-premis-de-la-tercera-edicio-del-concurs-teresa-barba-descriptura-critica/
CATEGORIES:Education
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260619T190000
DTEND;TZID=Europe/Madrid:20260619T210000
DTSTAMP:20260617T003852
CREATED:20260522T075902Z
LAST-MODIFIED:20260602T103602Z
UID:10001289-1781895600-1781902800@museutapies.org
SUMMARY:Raquel G. Ibáñez. Sienten las piedras [The Stones Feel]
DESCRIPTION:  \nIf we were to plunge into the hole of Antoni Tàpies’ Mitjó [Sock]\, perhaps we would see the sky. Or the bowels of the earth. Or that familiar corner we had never truly noticed before. The hole would then appear as an opening\, a threshold from which to gaze upon a terrace exposed to the sun and the elements—a space where contemplation of the everyday becomes strangely mysterious. As if perception\, by straying just slightly from its usual course\, had opened up a small fissure\, an interstice that\, following Tim Ingold’s reflections\, would not enclose a fixed meaning but would remain between the lines. “An aerial knot.” \nPerhaps\, then\, it would be enough to pull the thread and listen. To listen to the wind\, the flowing water\, the melting snow or the distant crack of a falling tree. To listen also to what vibrates between bodies and objects. From this sustained attention\, a small-scale ritual would unfold. If we were to plunge into the hole. \n  \nWith this invitation in mind\, Raquel G. Ibáñez has designed a listening session in which recordings of atmospheric phenomena and natural environments enter into a distorted dialogue—like a thread in an expanded\, nonhierarchical weave\, intertwining the ancestral and the technological\, the intimate and the geological. In resonance with Mary Oliver’s poetic sensitivity to the wondrous dimensions of the everyday\, this piece subtly shifts perception to reveal—if only momentarily—other ways of relating to the environment. \n… \nFrom this invitation\, the artist proposes a listening session in which recordings of atmospheric phenomena and natural environments dialogue and distort. Like another thread in an expanded weave\, the ancestral and the technological\, the intimate and the geological\, intertwine without hierarchies. In resonance with Mary Oliver’s poetic sensitivity to the wondrous dimensions of the everyday\, the piece subtly shifts perception and opens—if only momentarily—other ways of relating to the environment. \n  \nRaquel G. Ibáñez’s artistic practice explores liminality and the boundaries between sound\, language and visual image\, using listening—both human and more-than-human—as a methodological tool rooted in acousmaticology. Her work focuses on the intangible and on the thresholds between the human\, the spiritual and the natural\, while also examining the tension between the ancestral and the future within a context of global crisis. Her processes highlight the fragility and interdependence of biological life\, materialised in various formats such as sound\, drawing\, performance\, installation and expanded publishing. \nShe has developed projects in institutions such as CA2M-Centro de Arte Dos de Mayo\, Fundación Cerezales Antonino y Cinia\, Tsonami Arte Sonoro\, CDAN\, Sonandes\, La Casa Encendida and MACBA. She has received a number of awards and grants\, including the 2024 Miquel Casablancas Prize\, the 2024 Circuitos Artes Plásticas Prize\, the Comunidad de Madrid’s Visual Arts Creation Grants and public grants from the Spanish Ministry of Culture for the creation\, research and production of artistic projects. \nHer career includes artistic residencies at spaces like AADK\, Jazz ao Centro and Bulegoa and she has participated in sound art and experimental music festivals such as Insonora 14\, Sur Aural\, Rota Music Festival and Soundtiago\, among others. Her involvement in the poetry and performance collective Una Fiesta Salvaje and the publication of her book Granate consolidate a practice that entwines creation\, research and writing. \nActivity programmed as part of the Museu Tàpies series Following the Sun\, entitled Uncovering the Gaze\, curated by Carolina Ciuti. \n  \nImage: Raquel G. Ibáñez. Photo: Juan Hoppe
URL:https://museutapies.org/en/event/raquel-g-ibanez-sienten-las-piedras/
CATEGORIES:Public Programme
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DTSTART;TZID=Europe/Madrid:20260704T190000
DTEND;TZID=Europe/Madrid:20260704T193000
DTSTAMP:20260617T003852
CREATED:20260423T133738Z
LAST-MODIFIED:20260612T120418Z
UID:10001260-1783191600-1783193400@museutapies.org
SUMMARY:Mari Lyn Diniz / Dora García. Corocuerpo (de feminidades disidentes o Mejor os calláis todos)
DESCRIPTION:A chorus of trans women raise their voices to engage in dialogue with one another and address the audience as if they were a Greek chorus. Resurrection as justice. \n. \n\n\n\n\nSylvia Rivera\, one of the pioneers in the fight for the rights of gay\, lesbian and trans people\, delivered a speech at the New York City Christopher Street Liberation Day Rally in 1973 that became known as “Y’all Better Quiet Down”. Mari Lyn Diniz and Dora García will take inspiration from this speech in a performance art piece in which they work with a group of trans women who\, like a Greek chorus\, will interact with the audience. \nThis corocuerpo\, or chorus/body\, offers a direct critique of the structural violence of cis-normative discourse\, both heterosexual and  homosexual\, and celebrates ways of life that have historically been excluded from the public sphere. The incorporation of excerpts from the song O Amor\, by Brazilian singer Gal Costa\, reinforces the idea of resurrection as justice: here\, resurrection means bringing visibility to silenced voices\, excluded bodies and dissident genealogies. \nThe concept of resurrection is also present in Dora García’s second creation in the Extramurs project\, El bicho. The Gal Costa song that is recited adapts a poem by Vladimir Mayakovsky (Amor 3)\, the same author who inspired El bicho. \nCorocuerpo (De feminidades disidentes o Mejor os calláis todos) andEl bichoform part of the Tàpies Museum project Extramurs\, which conceives the city as a space for action and outreach. With a multidisciplinary and inclusive approach\, it fosters dialogue between institutions\, with public spaces and with the environment. Developed in collaboration with Barcelona’s Eina University School of Art and Design and the Barcelona Grec Festival\, among others\, the Extramurs project proposes creations and activities that address contemporary needs and encourage new community narratives in urban spaces. It champions the idea of public walls as bearers of city residents’ voices\, places where collective narratives take shape and shared experiences are re-signified\, connecting directly with Tàpies’ thinking. \nEach annual edition of Extramurs moves from the Tàpies Museum into public spaces in collaboration with the Barcelona Grec Festival and other city institutions. The 2026 edition has invited the artist Dora García. Dora García works primarily in the visual arts and occasionally dance and theatre\, as well as engaging with social and political contexts. Her work spans literature\, film\, installation and performance art\, and focuses on stories she constructs and stages herself\, creating situations designed to engage visitors and create unique\, introspective experiences. \n\n\n\nPart of the Tàpies Museum project Extramurs 2026\, curated by Imma Prieto\, director of the Museu Tàpies\, and Judith Barnés\, head of public programmes at the Museu Tàpies. \n\n\nA production by the Museu Tàpies and the 2026 Barcelona Grec Festival. \n\n  \nPerformers: Mari Lyn Diniz (BR) | Amanda Araújo (BR) | Helen Bogado (AR) | Lola Callejas (CL) | Milah Lorsalles (AR) | Soltanaterra (BR) \nWith the collaboration of: \nDaniela Barriga | Isidora Cruz Berta Esteve | Bárbara Lara Leiva | Ben Muñoz | Mitzi Reyna\, students of the Master Universitario en Investigación en Arte y Diseño (MURAD)\, Eina \nLucas Camacho | Carla López  | Sara Mato\, students of the Desing Degree\, Eina \nRita Duelt | Mireia Solé\, students of the Humanities Degree\, Universitat Pompeu Fabra
URL:https://museutapies.org/en/event/mari-lyn-diniz-dora-garcia-corocuerpo-de-feminidades-disidentes-o-mejor-os-callais-todos/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260704T193000
DTEND;TZID=Europe/Madrid:20260704T220000
DTSTAMP:20260617T003852
CREATED:20260610T113839Z
LAST-MODIFIED:20260616T131805Z
UID:10001297-1783193400-1783202400@museutapies.org
SUMMARY:Extramural 2026. Opening program
DESCRIPTION:The project resucítame (Resurrect Me)—which includes performance\, public debate\, memory walks\, posters\, a programme of films and an art intervention on the façade of the museum—is unbounded yet firmly rooted in the intersection of borders\, between life and death and back to life\, through time and chronologies\, crossing genres and inserting languages. The best way to begin such a project is with a fleeing female voice\, a cappella\, uttering lines by Mayakovsky that might encapsulate this project: “Resurrect me / if only / because I am a poet / and I longed for the future.” \nThe programme of activities for the 2026 edition of Extramural kicks off on 4 July at 7.30 pm with a prologue by artist Erika Michi at the Foyer at the Gran Teatre del Liceu\, with performances of Corocuerpo (Chorus/Body) and El Bicho (The Bug)\, between 8 pm and 10 pm. \nA performance of the second chapter of El Bicho—described as “a timeline with a parasite\, an experimental seminar for the embodiment of a text”—will be held in the Foyer at the Liceu at the same time on the following day\, 5 July. \nOn July 6 the opening program will conclude with a dialogue between Frau Diamanda and Diego Marchante\, in collaboration with social producer Mescladís\, at 6.30 pm at the Foyer del Teatre Lliure de Montjuïc and the second performance of Corocuerpo at 8 pm at plaça Margarida Xirgu. \n  \nImage:  Introducing El Bicho at the Centro Cultural Condeduque\, Madrid\, 2022\, produced by El Amor. Photo by © Santiago Carrión   for Madrid Destino
URL:https://museutapies.org/en/event/extramural-2026-opening-program/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260704T200000
DTEND;TZID=Europe/Madrid:20260704T220000
DTSTAMP:20260617T003852
CREATED:20260423T135857Z
LAST-MODIFIED:20260609T164714Z
UID:10001263-1783195200-1783202400@museutapies.org
SUMMARY:Dora García. El Bicho
DESCRIPTION:  \nPart of the Tàpies Museum project Extramural 2026\, curated by Imma Prieto\, director of the Tàpies Museum\, and Judith Barnés\, head of public programmes at the museum. \n\n\n\nTaking the satirical comedy of a disillusioned poet as the starting point\, a leading figure in performance art invites us to break down the hierarchy between audience and performance artists in pursuit of the “bug” of our time. \n\n\n\n\nIn 1929\, the futurist poet Vladimir Mayakovsky wrote “The Bedbug” (published in Spanish as “La chinche”)\, a science-fiction story about a Soviet revolutionary who\, in 1929\, is accidentally frozen along with an insect that parasitises him. Fifty years later\, in 1979\, both the revolutionary and the insect come back to life. \nObsessed with this story\, Dora García creates a work of performance art involving seven performers and the audience\, imagining a collective author who asks what happens over a fifty-year period\, who or what tells what has happened\, and who decides which events have transformed the world over that time. \nThe piece (which varies in length depending on the space in which it is presented) imagines a story repeated cyclically\, a kind of eternal return that\, however\, contains a flaw\, a parasite\, an insect\, a bug\, that prevents this repetition from unfolding without victims. Each presentation of the performance involves the audience in a different activity: sometimes it is a lecture\, sometimes a workshop\, or perhaps a dance class or a skating demonstration; and sometimes a play. Here\, hierarchies are subverted: between performer and viewer\, between those who speak and those who listen. \nThis performance unfolds in two consecutive parts\, one for each day of performance\, each part building upon the previous one. The audience is welcome to attend both days; or they may choose to witness only one part; this choice will affect the role of the spectator and the nature of the work. Each part lasts two hours. \n\nEl Bicho (like the Corocuerpo\, performance art piece\, also included in the Grec programme) forms part of the Tàpies Museum project Extramurs\, which conceives the city as a space for action and outreach. With a multidisciplinary and inclusive approach\, it fosters dialogue between institutions\, with public spaces and with the environment. Developed in collaboration with Barcelona’s EINA University School of Art and Design and the Barcelona Grec Festival\, among others\, the Extramurs project proposes creations and activities that address contemporary needs and encourage new community narratives in urban spaces. It champions the idea of public walls as bearers of city residents’ voices\, places where collective narratives take shape and shared experiences are re-signified\, connecting directly with Tàpies’ thinking. \nEach annual edition of Extramurs moves from the Tàpies Museum into public spaces in collaboration with the Barcelona Grec Festival and other city institutions. The 2026 edition has invited the artist Dora García. Dora García works primarily in the visual arts and occasionally dance and theatre\, as well as engaging with social and political contexts. Her work spans literature\, film\, installation and performance art\, and focuses on stories she constructs and stages herself\, creating situations designed to engage visitors and create unique\, introspective experiences. \nA production by the Tàpies Museum\, the Gran Teatre del Liceu and the 2026 Barcelona Grec Festival. \nSuitable for audiences of all ages. \n\n\n\nPerformers: \nDora García | Simón Asencio | Castillo | Persis Bekkering | Adriano Wilfert Jensen | Krõõt Juurak | Michelangelo Miccolis | With the collaboration of Ramón Bonvehí \n  \nThanks to: \nIUAV Venezia | KHiO Oslo | DeSingel & M KHA Amberes | and the students of the course THE BUG at the Oslo National Academy of Arts \n  \nImage: Presentation of El Bicho at the Centro Cultural Condeduque\, Madrid\, 2022\, produced by El Amor. Photography by © Santiago Carrión for Madrid Destino
URL:https://museutapies.org/en/event/dora-garcia-el-bicho/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260714T183000
DTEND;TZID=Europe/Madrid:20260714T193000
DTSTAMP:20260617T003852
CREATED:20250512T143148Z
LAST-MODIFIED:20260615T105419Z
UID:10001015-1784053800-1784057400@museutapies.org
SUMMARY:Book-Wall. Reading club 2026
DESCRIPTION:Within the framework of the exhibition Àngel Jové. De intactu\, we have organised a reading group in collaboration with the bookshops Finestres\, La Central and La Impossible. On this occasion\, the selection of books\, which as always will be the responsibility of the bookseller\, will be related to the list of books published by the Anagrama publishing house that will incorporate illustrations by Jové on their covers. \nLlibre-mur [Book-Wall] (1990) is a work by Antoni Tàpies that lends its name to the series of reading clubs we have organised in recent years in collaboration with bookshops in the neighbourhood concerning our current exhibitions. Tàpies’ interest in books\, both as objects and as sources of knowledge\, and the fact that the museum premises formerly housed a publishing company\, Montaner y Simón\, make dialogues like this about writing\, reading and art appropriate. \n  \nProgramme \n· Tuesday\, June 2\, 2026\, at 6:30 p.m.\, at the Library of the Museu Tàpies: “Bajo el signo de marte“\, by Fritz Zorn (Editorial Anagrama)\, with Cèlia Esteva\, from the La Central. bookstore. \n  \n· Tuesday\, July 14\, 2026\, at 6:30 p.m.\, at the Library of the Museu Tàpies: “El héroe de las mansardas de Mansard“\, by Alvaro Pombo (Editorial Anagrama)\, with Olga Federico and Mireia Perelló\, from the  La Impossible bookstore. \n  \n· Wednesday\, September 16\, 2026\, at 6:30 p.m.\, at the Library of the Museu Tàpies: “El sobrino de Wittgenstein“\, by Thomas Bernhard (Editorial Anagrama)\, with Noelia Nistal\, from the Finestres bookstore. \n  \n[Image: Exhibition “Àngel Jové. De intactu” by Museu Tàpies\, Barcelona. Photography: Pep Herrero\, 2026.] \n 
URL:https://museutapies.org/en/event/book-wall-reading-club-2/
LOCATION:Museu Tàpies
CATEGORIES:Education
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