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DTSTART;TZID=UTC:20240409T180000
DTEND;TZID=UTC:20240611T180000
DTSTAMP:20260509T214733
CREATED:20240325T123037Z
LAST-MODIFIED:20240602T180737Z
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SUMMARY:Antoni Tàpies and Universitat de Barcelona
DESCRIPTION:  \nCombined visit to the Fundació Antoni Tàpies and the University’s Historic Building \nOn the occasion of the Tàpies’ Year we are organising\, together with the Universitat de Barcelona (UB)\, a combined visit to the former home of Editorial Montaner y Simón\, now the headquarters of the Fundació Antoni Tàpies\, designed by Lluís Domènech i Montaner\, and the university’s Historic Building\, designed by Elies Rogent. Both buildings were built in the second half of the 19th century and are examples of an architecture shifting towards modernity\, within a historicist style in the case of the university and early Art Nouveau in the case of Montaner y Simón. The visit is a chance to find out about the history of the two buildings\, but also about the artist’s links with the university. \nAntoni Tàpies’ relationship with the Universitat de Barcelona began in 1944\, when he began his studies in the Law faculty. There he made friends with poets\, writers and key figures in Catalan letters and communication\, including Carlos Barral\, Alfonso Costafreda\, Jaime Gil de Biedma\, Alberto Oliart\, Joan Reventós\, Josep Maria Castellet\, Manuel Sacristán and Josep Maria Ainaud\, among others. \nThough he never finished these studies\, his link to the university was reinforced by the events known as La Caputxinada\, in 1966. Tàpies was invited as a well-known Catalan artist to take part in this clandestine meeting at the Capuchin monastery in the Sarrià neighbourhood of Barcelona\, where students and intellectuals discussed setting up the first democratic student union at the university since the end of the Spanish Civil War. After several days under siege\, he was arrested by the police\, together with the other participants\, and subsequently fined (the Supreme Court confirmed the fine imposed on the artist in 1971). As he recalled in his autobiography Memòria personal [Personal Memories]\, which he began writing that same year\, “Entering the packed meeting room to great acclaim from the students was moving. It was the first time I had played a prominent part in a large event\, and all this affected me a lot.” \n  \nAntoni Tàpies’ civic and political commitment \nAntoni Tàpies was a committed artist in relation to the political and social events of contemporary history. While this positioning is to be found at the beginning of his career\, it was from the second half of the 1960s that his commitment to the struggle against the Franco dictatorship and for democracy became clearer. Following the dictator’s death\, Tàpies often sided with civil and political initiatives aimed at self-government for Catalonia and an amnesty for political prisoners\, and showed his support for other oppressed peoples around the world\, environmentalism and anti-militarism. \nFrom the 1980’s onwards\, demand for his posters from institutions and other bodies rose. Highlights in this context include the posters he created for initiatives set up by the university together with other institutions\, such as for example Catalan Week in New York (1983)\, published by the UB\, the Barcelona city council\, the savings bank Caixa d’Estalvis de Catalunya and New York University\, and the poster for the production of Goethe’s Urfaust in the university’s Paranimf auditorium (1983). \n  \nPreliminary work and the creation of Tàpies’ monument to Picasso \nUnder this title\, in 1983 the Paranimf auditorium in the University of Barcelona’s Historic Building hosted an exhibition devoted to the artistic process in which Antoni Tàpies created his Homenatge a Picasso [Homage to Picasso] (1983)\, commissioned two years before by Barcelona city council. Homenatge a Picasso (1983) was installed in 1983 on the Passeig Picasso\, near one of the gates to the Ciutadella park. When the monument was restored by Pere Casanovas in 2006\, the Fundació Antoni Tàpies organised another exhibition in which his preliminary sketches were displayed. \nTàpies conceived the monument as an assemblage of art nouveau artefacts—specifically\, a piece of furniture that combines the functions of a sofa\, mirror and cupboard all at once\, from the time when the painter from Malaga lived in Barcelona—with some steel bars running through them. While the piece of furniture is a symbol of comfort in a specific time and social setting\, the bars—which suggest the industrial Barcelona of the day—represent the discomfort of revolt. The piece is completed by a pile of chairs tied with ropes and some white sheets spread out with phrases written on the bottom part\, including one that translates as\, “A painting is not to decorate a lounge\, but is a weapon of attack and defence against the enemy.” The piece therefore sets out to stress the social function of art. \nThe exhibition was open from 7th April to 18th May 1983. It was organised by the faculty of fine art\, which devoted a special issue of its newsletter to the exhibition. This included a plan of the pieces in the exhibition\, accompanied by the preliminary sketches and several texts reflecting on the monument\, illustrated by an extensive photo report by Francesc Català-Roca. \nThe opening of the exhibition was a major institutional event\, attended by leading figures in the worlds of politics and culture at the time\, including Jordi Pujol\, then head of the Catalan government; Max Cahner\, Catalan minister of culture; Pasqual Maragall\, mayor of Barcelona; Joan Guitart i Agell\, Catalan minister of education; Josep Maria Cullell\, Catalan minister of regional policy and public works; José María Maravall\, Spanish minister of education and science\, and Tomás de la Quadra-Salcedo\, Spanish minister of regional administration\, among others. The university organised a series of lectures in connection with the exhibition\, including one by Alfonso Pérez Sánchez\, director of the Museo del Prado in Madrid\, under the title Monument and Painting. \n  \nDoctor Honoris Causa \nOn 22nd June 1988\, at the request of the faculty of geography and history of the Universitat de Barcelona\, Antoni Tàpies was awarded an honorary doctorate\, sponsored by Dr. Immaculada Julián. In her speech\, the latter reviewed his career as an artist from its beginnings in the forties\, mentioning his different stages and concluding by describing him as “an artist who\, without being a teacher there\, has been a master for many generations at the faculty of fine art\, because of the value\, substance and conceptuality of his work”. \nOne of the high points of the ceremony was an emotional speech about art and spirituality given from the pulpit in the Paranimf\, dealing with several topics: the social function of art as a path for knowledge and a means of changing awareness and behaviour\, the validity of certain spiritual and contemplative experiences and their adaptation to current needs\, and the importance of the artist’s work as a contribution to the struggle against commercialism and banalisation. His speech\, entitled Art and Spirituality\, concluded with these words: \nThe point is\, as has often been discussed\, one thing is good spiritual or moral intentions and another is also to possess the set of qualities\, or artistic gifts\, that characterise certain personalities; in the end\, everything that makes art truly Art\, with all the enigmatic mechanisms\, complexities and adventures that belong to it\, but of which the “spiritual” world\, as we have seen\, never ceases to be the essential\, inseparable foundation. \n  \nBookings: visitesguiades@ub.edu \nComments: Comfortable footwear is recommended. The parts visited in the Historic Building of the Universitat de Barcelona are not accessible to people with reduced mobility.
URL:https://museutapies.org/en/event/antoni-tapies-and-the-university-of-barcelona-combined-visit-to-the-fundacio-antoni-tapies-and-the-universitys-historic-building/
LOCATION:Museu Tàpies
CATEGORIES:Visites i diàlegs
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2024/03/ub.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240504T110000
DTEND;TZID=UTC:20240504T123000
DTSTAMP:20260509T214733
CREATED:20240325T112551Z
LAST-MODIFIED:20240327T083128Z
UID:10000366-1714820400-1714825800@museutapies.org
SUMMARY:Thread and memory: family workshop of memories and stories
DESCRIPTION:Tickets\n  \n \n  \nParticipative workshop through which we will connect personal stories\, and to transform a space of the Fundació based on memories and emotions. \nBy 3ART (Dimas Fàbregas\, Marco Fragoso and Toni Vila). \n 
URL:https://museutapies.org/en/event/thread-and-memory-family-workshop-of-memories-and-stories/
LOCATION:Museu Tàpies
CATEGORIES:Family
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2024/03/fat240319_039b.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240508T180000
DTEND;TZID=UTC:20240508T203000
DTSTAMP:20260509T214733
CREATED:20240319T153842Z
LAST-MODIFIED:20240419T094753Z
UID:10000345-1715191200-1715200200@museutapies.org
SUMMARY:Seminar "Memory and Trauma"
DESCRIPTION:Sold Out \n  \n \n  \nWith the Fundación Rādika \nSession dedicated to exploring memory\, beyond neural connections and the brain\, as a dynamic structure connected to breathing\, and trauma as an undigested and inherited experience. This seminar will feature the participation of Nazareth Castellanos\, neuroscience researcher\, Mario Salvador\, psychologist and psychotherapist\, and Maria Macaya\, founder and president of Rādika\, dedicated to giving voice to mental and emotional health issues. \n  \nPROGRAMME \n6 p.m. Presentation of the seminar by Imma Prieto and Maria Macaya \n6:15 p.m. Conference “The knots of memory” by Nazareth Castellanos \nMemory is based on the neural threads or connections of brain structures such as the hippocampus. However\, far from being a memory storage process\, is dynamic and presents certain knots and creates false memories that are forgotten as a result of mental agitation. Beyond the brain\, memory also depends on breathing. \n18:45 Break \n7 p.m. Conference “The transgenerational inheritance of trauma” \nTrauma is a silenced scream and unmetabolized pain. The experience that could not be digested by our ancestors is transmitted to subsequent generations\, both through epigenetic inheritance and later in relationships. We have a personal history and a prehistory that precedes us\, our identity does not begin in our life but rather we are a continuation of the history of our lineage. \nMario Salvador \n7:30 p.m. Discussion and open question session \n20.15 h. Final \n  \nPARTICIPANTS \nNazareth Castellanos \nShe has been researching and teaching in the field of neuroscience for more than twenty years. Graduate in Theoretical Physics and Doctor of Medicine from the Autonomous University of Madrid (UAM). Master in Mathematics applied to biology and Master in Neurosciences from the Faculty of Medicine of the UAM. \nShe has worked as a researcher and teacher in the Cognitive and Computational Neuroscience laboratory at the CTB (Complutense and Polytechnic University of Madrid)\, at the Max Planck brain research institute in Frankfurt and at Kings College in London. Currently\, she directs research at the Nirakara – Lab and the UAM chair\, Mindfulness and Cognitive Sciences. She has published more than fifty articles on international scientific journals and collaborated on university books. She also teaches classes at Spanish\, German\, English and American universities. \nMore than ten years ago she began teaching neuroscience courses for the general public. Learning to disseminate this technical knowledge has been one of the great learnings of her career since it involves thinking about the impact of what she does in the laboratory. She wonders if we could know ourselves from the study of the brain. \n  \nMario Salvador \nPsychologist and specialist in clinical psychology\, he is co-director of ALECE\, Institute of Integrative Psychotherapy of Trauma and of Brainspotting Spain. With forty years of experience in the practice of psychotherapy\, is an International Trainer in Trauma Integration and Reprocessing Psychotherapy\, Aleceia Model\, Transactional Analyst (EATA-ITAA)\, Trainer and Supervisor in Brainspotting by BTI\, Co-creator\, trainer and supervisor in Aleceia Model of Trauma Reprocessing. \nCurrently\, he is president of the Spanish Brainspotting Association and Treasurer of the Ibero-American Psychotrauma Association (AIBAPT). He co-directs and is one of the main teachers of the Aleceia Model Trauma Reprocessing Psychotherapy program at the Aleces Institute and an international teacher in Brazil\, Italy\, Slovenia\, Ecuador\, Romania\, Russia and Austria. He is also the author of the books Beyond the self. Finding our essence in healing trauma and Who I am? From Dissociation to Integration\, co-author of the book The power of Brainspotting and author of several articles in the area of ​​psychological trauma. \n  \nMaria Macaya \nWith a degree in Art History and International Relations from Tufts University and in Creative Writing from Stanford University\, a master’s degree in Art Criticism from Columbia University\, she founded Rādika in 2016 with the intention of giving a voice to mental and emotional health and provide knowledge and tools for well-being. Through the Rādika platform\, she offers courses and training and interviews with professionals dedicated to relieving emotional and mental distress. \nMacaya specializes in trauma and trauma-sensitive yoga. She is certified in Gabor Maté’s Compassionate Inquiry professional program\, has a 300-hour certification from the Center for Trauma and Embodiment in Brookline\, Massachusetts\, in the TCTSY methodology and in the advanced programme from the Center for Yoga and Trauma Recovery in San Francisco. She is also certified in addictions and recovery with Stanford University and has studied neuroscience with King’s College. She is also a Jivamukti 800 hour advanced yoga teacher and trains teachers at this school. \nCurrently\, she is undergoing training in contemplative accompaniment in death. \n 
URL:https://museutapies.org/en/event/seminar-memory-and-trauma/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2024/03/Neurociencia-de-la-memoria.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240510T190000
DTEND;TZID=UTC:20240510T193000
DTSTAMP:20260509T214733
CREATED:20240423T085644Z
LAST-MODIFIED:20240426T104633Z
UID:10000725-1715367600-1715369400@museutapies.org
SUMMARY:Tàpies’ Chairs: Joana Gomila
DESCRIPTION:Tickets\n  \n \n  \nTàpies’ Chairs is a series of multidisciplinary sound actions organised in the context of the Tàpies Centenary Year\, with the collaboration of Pompeu Fabra University. The proposal focuses on the voice and words to create a sound accompaniment to oral memory. In this way\, each of the thirteen sessions will feature a creator whose starting point will be the chair\, taken as a performative object\, linking back to the creative universe of Tàpies through the expressive languages and settings of the present day. \nThe action of the sixth chair of Tàpies is We Hear I\, by Joana Gomila. In recent months\, Gomila has travelled with a homemade microphone (placed on a cork)\, a small guitar\, a chair and the Ursula K. Le Guin version of the Tao Te Ching. Over the course of her journey\, she has sought out places to stay\, which at first were churches and chapels. During the process\, she has found shelter in gardens\, coves\, caves and farmers’ fields. The goal of her travels was to read a poem from the Tao\, then do a vocal improvisation-meditation that would make her at one with herself for ten minutes at each place of refuge. From the material arising from this\, Gomila has made a selection comprising the basis for this living installation\, conceived to be shown at the Fundació Antoni Tàpìes. Oïm (We Hear) means paying attention to what we sense with our ears. Oïm means to listen actively\, willingly\, involving ourselves in our surroundings. \n  \nJoana Gomila is a musician\, singer and composer\, and is co-director of the Suralita centre for creation. In her album projects Folk Souvenir\, Paradís and Així Deçà (the latter two with Laia Vallès)\, she has been inspired by the sensitive material of tradition\, along with improvisation\, experimentation and thought\, conceived as a living\, musical approach to things. Gomila won the 2020 Altaveu Award\, the Ciutat de Palma Award in 2017 (for Folk Souvenir) and 2020 (for Paradís)\, the Enderrock Critics’ Award in 2020 (for Paradís) and the Bartomeu Rosselló-Pòrcel Award of the OCB in 2018. \nSince 2012\, Gomila has created the music and soundscapes of many shows documentaries. She has worked with Lali Ayguadé\, Andrés Lima\, Els Escarlata\, Hotel iocandi\, Mariantònia Oliver and Cesc Mulet\, amongst others. She has also collaborated with numerous musicians\, including Joan Miquel Oliver\, James Acaster\, Miquel Serra\, Iago Aguado\, Marcel·lí Bayer\, Toni Vaquer\, Celeste Alías and Anna Subirana. \n“I am an unsettled person\, a musician\, and my experimental urges connect with my love for popular music and sound archives\, which I have been fortunate to be able to locate and research through my duo with Laia Vallès. I also have ties to and great love for the performing arts\, and often compose music for dance\, the circus\, cinema and other unclassifiable expressive languages. I need to be able to dream and imagine futures with the people close to me\, surrounded by a human flux able to constantly enliven my spirit.” \n 
URL:https://museutapies.org/en/event/tapies-chairs-joana-gomila/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2024/01/Joana-Gomila-b.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240515T170000
DTEND;TZID=UTC:20240515T190000
DTSTAMP:20260509T214733
CREATED:20240118T120009Z
LAST-MODIFIED:20240304T100858Z
UID:10000137-1715792400-1715799600@museutapies.org
SUMMARY:Presence and Space
DESCRIPTION:Tickets\n  \n \nThis workshop\, conducted by Roger Sans from MUOM and conceptually linked to the exhibition Tàpies: The Zen Imprint\, will be organised in two parts.  \nThe first part will be dedicated to spontaneous singing as an expression of presence and to the connection between presence\, movement\, gesture and spontaneous singing.  \nThe second part of the workshop will conceive space as interdependence and harmony using collective singing\, leading to listening in a group and the harmonisation of the group and the circle of voices.  \nMUOM is an overtone singing vocal ensemble based in Barcelona\, with wide experience in singing education and a range of activities so that anyone who wishes can acquire useful tools\, regardless of their level\, from people with no previous experience to professional musicians and choirs. \nThe admission price for the workshop includes entry to the Museum and the exhibitions. \nIt is necessary to bring a mat\, comfortable clothing\, a blanket\, and water for the workshop. \n[Photography: Rodrigo Vazquez]
URL:https://museutapies.org/en/event/presencia-i-espai/
LOCATION:Auditori de la Fundació Antoni Tàpies
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240518T110000
DTEND;TZID=UTC:20240518T133000
DTSTAMP:20260509T214733
CREATED:20240112T150743Z
LAST-MODIFIED:20240214T155433Z
UID:10000122-1716030000-1716039000@museutapies.org
SUMMARY:Montaner y Simón: A Publishing House with History. Guided Tour
DESCRIPTION:Tickets\n  \n \nA guided tour that aims to explore the history of the former Montaner y Simón publishing house\, the work of the modernista architect Lluís Domènech i Montaner\, through a visit to the Fundació Antoni Tàpies\, the former main offices of the publishing house\, and two closely related buildings by the same architect: the Palau Montaner\, now headquarters of the Spanish government’s delegation in Catalonia\, and the Casa Thomas\, currently the Cubiñá designer furniture store.
URL:https://museutapies.org/en/event/la-montaner-y-simon-una-editorial-amb-historia-itinerari/2024-05-18/
LOCATION:Museu Tàpies
CATEGORIES:Visites i diàlegs
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2019/02/itinerari_montaner-simon_agenda.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20240518T120000
DTEND;TZID=Europe/Madrid:20240518T140000
DTSTAMP:20260509T214733
CREATED:20240415T125226Z
LAST-MODIFIED:20240503T095541Z
UID:10000723-1716033600-1716040800@museutapies.org
SUMMARY:Following the Sun: Candela Capitán
DESCRIPTION:  \n \n  \nThe roof of the Fundació Antoni Tàpies is to become an experimental playground for Opimelissa\, a collective who cook\, sing\, dance and lots more. We’ll be following the sun with the gentle irony and humour of Júlia Barbany\, the architecture of the catchy electrosong of Petit Ibèric\, the philosophical canticles of Max Grosse about the life and lovesickness of an odd sock with a hole in it\, the egodilirium of the sharp-penned dramatist and writer Berta Prieto (if you don’t know who she is yet\, you’re living in a cave!)\, the rhythm of DJ\, performer and militant for self-governance Meritxell de Soto\, the overflowing energy of tender\, multi-faceted punkmother Belén Barenys\, the experimental Latin music of Deprerreo\, the contorted body of Candela Capitán\, who denounces the sexualisation of women through convulsive metrics. \nThird session of the programme Following the Sun\, an experimental series of sound and stage performances\, presenting nine new sessions by young creative talents. The programme\, curated and produced by Carolina Olivares Esturillo\, aims to promote the youthful\, inexhaustible energy of artists to light up and give new life to Tàpies’ solitary sock that presides over the Fundació’s roof terrace. \n  \nThird session: Candela Capitán \nControl tools in freedom\, cowbells and algorithms\, “slow living” and “screen hypnotism” are the basis of CELDA SONORA\, the new solo by Candela Capitán (Seville\, 1996) for the cycle “Following the sun”\, curated by Carolina Olivares Esturillo\, at the Fundació Antoni Tàpies\, which will be presented on May 18 to celebrate International Museum Day. \n  \nCELDA SONORA is a “dance” process that explores the body and movement to demystify the idea of ​​finding a deeper connection with oneself\, others and the environment through the New Age phenomenon. This piece fuses two instruments of free control as disparate as the cowbell and the algorithm\, and implements what Captain calls “Slow Living movement practice” in dance. The constrained body and a rudimentary soundtrack are the response to technological saturation\, the accelerated pace and search for instant gratification that characterize much of contemporary generations. \n  \nCandela Capitán is an action artist and choreographer. Her personal work explores the activation and deactivation of social links\, putting the body in relation to other bodies\, objects and images collective. New communication technologies\, relationships cross-border interactions between artistic disciplines or the intergenerational impact and its consequences are some of the subjects that his projects go through.These serve to create dream spaces and parallel realities in the form of choreographies\, installations or performances that invite audience to participate directly in their tensions\, joys and delusions. Mostly uses the language of performance to study the limits of dance\, thanks to an exhaustive knowledge of the body in movement and its presence on stage. Her works are developed in different media (live actions\,facilities or the audiovisual field) and vehicles (through platforms virtual or live)\, with the aim of finding different channels of interconnection with the public or questioning artistic disciplines and their possibilities. \n  \n\n\nProgramme curated and produced by Carolina Olivares Esturillo \nDesign: Ana Habash and Ignasi Ayats. Illustrated by: Eduard Sales \nTicket sales through the Fundació website and at the box office. Limited capacity \n\n\nLink to the full programme.
URL:https://museutapies.org/en/event/following-the-sun-candela-capitan/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2024/04/Candela-Capitan-Celda-Sonora.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240518T210000
DTEND;TZID=UTC:20240518T220000
DTSTAMP:20260509T214733
CREATED:20240320T162439Z
LAST-MODIFIED:20240503T122502Z
UID:10000353-1716066000-1716069600@museutapies.org
SUMMARY:Barcelona Poetry Festival. With Miquel Desclot and Horacio Curti
DESCRIPTION:  \nWithin the framework of the Night of the Museums and within the programming of the Barcelona Poetry festival\, the poet Miquel Desclot will recite a selection of the poems that are included in the poetic anthology On a pillow of grass which includes an extensive selection of classical Japanese lyrics\, from the 4th century to the present\, with haikus and tanks chosen and covered by Desclot. \nThe poetic recital will consist of three parts and between each part there will be a musical interlude performed by the shakuhashi flutist\, Horacio Curti. \n  \nPARTICIPANTS \nMiquel Desclot \nHe published the first book of poetry\, with the Lullian title of Ira it’s sad passion\, as winner of the Amadeu Oller prize for unpublished works\, in the spring of 1971. During the half century that has passed since then\, he has continued publishing his own verses\, such as Songs of the moon in the hat (1978)\, Aucas and scarecrows (1987)\, As if always (1994)\, Fantasies\, variations and escape (2006)\, and poetic versions\, such as Lambeth prophetic books\, de William Blake (1987-89)\, I have herbs everywhere. From Japanese lyric (1995)\, Song book by Francesco Petrarca (2016)\, I have punished life by living it\, de Vincenzo Cardarelli (2020) or The beautiful lady without mercy. Poetic interpretations of English (2021)\, as well as compilations by Jacques Prévert\, William Wordsworth\, Umberto Saba\, Michelangelo Buonarroti\, Robert Frost and Wilhelm Müller. In 2020 he won the Carles Riba poetry prize with the book Wake me up when I’m not sleeping. \nIn the field of theater\, he has translated several works by William Shakespeare for different companies\, collected in the volume Choice of works (2017)\, and seven comedies by Molière\, collected in Seven comedies and one ballet (2022)\, and works by Carlo Goldoni and Guillaume Apollinaire. \nHe has also published poetry for children\, collected under the title The word tamer (2012)\, and books about music\, The golden age of music (2003 and 2022). \n  \nHoracio Curti \nDoctor in Ethnomusicology\, he is a professor at the Escuela Superior de Música de Cataluña (ESMUC) and a collaborating researcher of INET at the Universidad de Aveiro from where he researches sound aesthetics of Japanese music and artistic research. \nHe learned about the shakuhachi flute in the Himalayan region and traveled to Japan to study it under the guidance of Kaoru Kakizakai within the Kokusai Shakuhachi Kenshukan. He has played and taught in Asia\, several countries in Europe and North and South America\, developing an artistic activity that includes work within traditional Japanese classical music\, as well as free improvisation and contemporary Western classical music. \nHe has performed as a soloist with orchestras such as the National Orchestra of Spain and the Royal Philharmonic Orchestra of Liège (Belgium)\, and regularly collaborates with dance\, poetry and theater. Beyond ephemeral creations\, he has published two solo albums (It is and Home is now)\, the book-CD Zen Stories: Little stories to wake up (together with Marta Millà) and edited the book Eolssigu! The Sounds of Korea.
URL:https://museutapies.org/en/event/night-of-the-museums-2024-barcelona-poetry-festival-with-miquel-desclot-and-horacio-curti/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2024/03/3199px-Katsushika_Hokusai_-_Fine_Wind_Clear_Morning_Gaifu_kaisei_-_Google_Art_Project-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20240522T170000
DTEND;TZID=Europe/Madrid:20240522T210000
DTSTAMP:20260509T214733
CREATED:20240502T152018Z
LAST-MODIFIED:20240502T154314Z
UID:10000731-1716397200-1716411600@museutapies.org
SUMMARY:Conferences on art and spirituality in the artwork of Picasso\, Tàpies and Miró
DESCRIPTION:Online Tickets \n  \n \n  \nFrom 21 to 24 May 2024 \nPompeu Fabra University\, Antoni Tàpies Foundation\, Joan Miró Foundation and Picasso Museum \n  \nIn 2023\, what has been called the triple commemoration “Picasso 2023 / Tàpies 2024 / Miró 2025” begins in Barcelona and Catalonia. In 2023\, we celebrate the 50th. anniversary of Picasso’s death and the 60th. of the opening of the Museum that bears his name. The year 2024 is the centenary of the birth of Tàpies\, and 2025\, the 50th. anniversary of the inauguration of the Joan Miró Foundation. \nAs an important event within the programming of the Tàpies Year and the triple commemoration\, with the support of the Department of Culture of the Generalitat of Catalonia and with the collaboration of the Fundació Antoni Tàpies\, the Museu Picasso and the Fundació Joan Miró\, the Conferences on art and spirituality in the artwork of Picasso\, Tàpies and Miró encourage intellectual and artistic debate between outstanding scholars\, artists and thinkers\, with the epicenter in the Antoni Tàpies Meditation Room of the UPF. \nThe second day of conferences\, on Wednesday 22 May\, will concentrate the events at the Fundació Antoni Tàpies\, with the participation of the art scholar Martine Heredia\, the poet and essayist Alfonso Alegre and the artist Susy Gómez. There will also be a conversation between the artist Antoni Llena and the conference director\, Manuel Guerrero\, and the special issue of the magazine Engramma dedicated to Antoni Tàpies will be presented\, with Imma Prieto\, director of the Fundació Antoni Tàpies\, Monica Centanni\, director of Engramma\, and Victoria Cirlot and Ada Naval\, editors of this issue of the magazine. \n  \nDirectors of the conference: Victoria Cirlot\, professor in the Department of Humanities at Pompeu Fabra University\, and Manuel Guerrero\, critic and essayist. \n  \nProgramme \n  \nAntoni Tàpies. Mocador i vernís\, 1993. © Private Collection\, Barcelona / Vegap © Photography: Davide Camesasca\, 2024.
URL:https://museutapies.org/en/event/conferences-on-art-and-spirituality-in-the-artwork-of-picasso-tapies-and-miro/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
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DTSTART;TZID=UTC:20240528T180000
DTEND;TZID=UTC:20240528T190000
DTSTAMP:20260509T214733
CREATED:20240320T155103Z
LAST-MODIFIED:20240408T073022Z
UID:10000350-1716919200-1716922800@museutapies.org
SUMMARY:Today is Tàpies. Ricard Bru - Nana Shimomura
DESCRIPTION:Tickets\n  \n  \nOrganised by the Fundació Antoni Tàpies as part of the Tàpies Centenary Year\, Today is Tàpies is a series of transgenerational and interdisciplinary conversations conducted and moderated by the cultural journalist Rita Roig (Terrassa\, 1997). The aim is to interpret Tàpies’ texts as a starting point for reflecting on current issues such as ecology\, the right to self-determination\, interculturality and political commitment in art. \nThe words and ideas of the artist will be revisited during a series of thirteen sessions\, with invited participants from different generations and diverse professional fields (culture\, education\, science\, politics\, environment\, health and human sciences) helping to construct a polyphonic story that will be collected in the form of a podcast. Thanks to the collaboration of Catalunya Ràdio\, the podcast will allow us to experience the generated knowledge in another format and in another context. \n  \nCHAPTER 6. RETURN TRIP: EAST AND WEST \nTàpies always saw in Eastern art a modernity akin to the essence of the avant-garde: a desire for change and rupture and an appreciation of process and imperfection were some of the aspects of Eastern culture that the artist was interested in following. The spirit of Eastern peoples coincided with Tàpies idea of art as something to stoke the viewer’s imagination\, free the mind and fight alienation. Ricard Bru and Nana Shimomura will take Tàpies’ ideas as their starting point for reflecting on the validity of the East in the Western world today: from the fetishising gaze to the fans of Korean Pop\, as well as the fascination with Japonisme in Catalan history. \n  \nPARTICIPANTS \nRicard Bru is a specialist in Japanese history and culture. He holds a PhD in Art History from the Universitat de Barcelona\, and specialises in the links between Japanese art and Japonisme in Catalonia\, Spain and Europe. He expanded his field of work with long research periods in Japan\, especially at the International Research Centre for Japanese Studies\, Kyoto. He has curated various exhibitions at the Museo del Prado\, Museu Picasso\, Monastery of Pedralbes and Caixaforum. He also curated the permanent exhibition of the Museum of World Cultures\, Barcelona. \nNana Shimomura is a multidisciplinary artist who deconstructs calligraphy by intertwining her work with contemporary media and associating it with art\, music\, dance\, poetry and architecture. Her calligraphic expression challenges traditional perceptions of art through the primordial\, creative impulse of mark-making\, or kaku\, which in Japanese means ‘writing’\, ‘drawing’ and ‘scratching’. Her artistic practice is based on the concept of constellations\, which she sees as celestial bodies that bring us close to our ancient ancestors\, who also valued them. She is currently resident at Hangar. \n  \nToday is Tàpies programme \nPodcasts Today is Tàpies\, by Catalunya Ràdio.
URL:https://museutapies.org/en/event/today-is-tapies-ricard-bru-nana-shimomura/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2024/01/Ricard-bru-2.jpg
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DTSTART;VALUE=DATE:20240531
DTEND;VALUE=DATE:20240601
DTSTAMP:20260509T214733
CREATED:20240529T105556Z
LAST-MODIFIED:20240529T105556Z
UID:10000746-1717113600-1717199999@museutapies.org
SUMMARY:Intensive workshop for students with Ghanaian artist Serge Clottey
DESCRIPTION:  \neinaidea invites students to join an intensive 3-week workshop with Ghanaian artist Serge Clottey in collaboration with the Fundació Antoni Tàpies\, Barcelona. The aim of the project is the collaborative construction of a large mural piece\, a modular object made of recycled plastic whose installation will also be accompanied by a performative action in the public space. Selected students will be part of a team working at Eina Bosc in collaboration with Clottey’s team and members of the Afro-descendant cooperative Periferia Cimarronas. \nThe project emerges from Serge Clottey’s practice around what the artist has named “Afrogallonism”. The abundance of yellow plastic gallons in the African continent visibilizes its geopolitical history as well as its neocolonial present. The reuse of scraps of this material—cut\, perforated\, and woven by hand—as well as its iteration and repurposing serves in Clottey’s work as a model of redistribution\, as well as a vehicle for reflection on the migratory and economic reality on the African continent. \nFollowing the construction and installation of the work Beyond the Skin on the front of Fundació Antoni Tàpies\, a performative action will take place on Tuesday 2 July\, conceived by Clottey together with all participants. \nThe workshop/ambush\, co-organized by einaidea and Fundació Antoni Tàpies\, will take place from Monday to Friday between 13-28 June\, from 3-9 pm at Eina Bosc. Each student will receive a remuneration of 250€ for their participation in the workshop. \nIf interested\, please send a short motivation note to caterina.miralles@ftapies.com before 31 May!
URL:https://museutapies.org/en/event/intensive-workshop-for-students-with-ghanaian-artist-serge-clottey/
LOCATION:Eina
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2023/11/Serge-Attukwei-Clottey-2.jpg
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