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DTSTART;TZID=UTC:20240409T180000
DTEND;TZID=UTC:20240611T180000
DTSTAMP:20260509T224729
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
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BEGIN:VEVENT
DTSTART;TZID=UTC:20240602T110000
DTEND;TZID=UTC:20240602T123000
DTSTAMP:20260509T224729
CREATED:20240229T152149Z
LAST-MODIFIED:20240229T152213Z
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SUMMARY:The foldable museum. Activities for families 2024
DESCRIPTION:Tickets\n \nThe Fundació Antoni Tàpies invites you to the presentation and activation of a fold-out model that will allow us to explore the architecture of the museum. Through a series of games and reflections\, we will discover the peculiarities of a building that was created for a publishing house and years later became a contemporary art museum. \nFold-out model and activity by El globus vermell. Each family will receive a free model. \n  \nEl globus vermell is a cultural association founded in 2009 with the aim of forming critical and discerning citizens\, involved in their urban context and taking an active role in the transformation of their cities into healthier\, more sustainable environments. \nAs a collective they operate on three levels: cultural (guided visits\, itineraries\, workshops\, publications\, exhibitions\, etc.); social (public participation\, events\, etc.); and planning (design\, new construction and rehabilitation under the parameters of bio-architecture). They are part of the Educational Project of the City of Barcelona and the Pedagogical Innovation Council (CIP)\, under the Municipal Institute of Education. Its members are signatories of the Civic Commitment to Sustainability. In 2012\, they were awarded the COAC Medal in recognition of their work\, and in 2017\, the CIP’s Quality Seal. The founders of the collective are architects who\, besides collaborating with El globus vermell\, combine their work as planners with research\, university lecturing\, cultural administration and information on architecture and the city.
URL:https://museutapies.org/en/event/the-foldable-museum-activities-for-families-2024/
LOCATION:Museu Tàpies
CATEGORIES:Family
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20240611T180000
DTEND;TZID=Europe/Madrid:20240611T190000
DTSTAMP:20260509T224729
CREATED:20240506T103230Z
LAST-MODIFIED:20240530T081233Z
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SUMMARY:Trauma-Sensitive Yoga
DESCRIPTION:Tickets\n  \n \n  \nOur bodies store and gather our lived experiences. Everything that we have learnt since we were young—how to interpret the world\, how relationships work\, our self-esteem\, how to react in challenging moments—is saved as if on a hard disk\, regulating our way of understanding the world and functioning in it. It is through the body\, furthermore\, that we are able to incorporate new ways of perceiving and acting in the world. Through the body we can recognise how we are\, identify our needs\, respond to them and adopt new strategies for interacting with ourselves and with others. Our jobs\, families\, social contexts and the activities we carry out are where we put into practice what we have learnt. How we treat others\, how we deal with demanding situations\, how we are or are not able to connect with others in both pleasant and hard circumstances—all these questions are all dictated by this integrated learning process. \nTrauma-sensitive yoga offers a space for recognising and educating our internal systems as they perceive and function in the world. In this workshop led by María Macaya\, organised on the occasion of the exhibition Chiharu Shiota: Everyone\, a Universe\, a practical session is offered including a chair and mat (you can bring your own\, or use one of those provided). This is followed by a debate on various aspects of the methodology and how they can be applied\, not only in a yoga session\, but also in an array of life contexts\, creating safety and connection in relation to work\, family\, social life and personal space as well. \n  \nMaría Macaya has a BA in Art History and International Relations from Tufts University\, a Creative Writing certificate from Stanford University\, and an MA in Art Criticism from Columbia University. She founded Rādika in 2016\, with the aim of giving voice to mental and emotional health issues\, providing knowledge and tools to support wellness. Through the Rādika platform\, she offers courses and training sessions\, as well as doing professional interviews aimed at reducing emotional and mental distress. \nMacaya is specialised in trauma and trauma-sensitive yoga. She is certified by Gabor Maté’s professional programme in Compassionate Inquiry\, and has 300 certification hours from the Center for Trauma and Embodiment in Brookline\, Massachusetts\, as well as training in the TCTSY method and in the advanced programme at the Center for Yoga and Trauma Recovery in San Francisco. She is also certified in addictions and recovery by Stanford University and has studied neuroscience at King’s College London. She is an advanced professor of Jivamukti Yoga\, with an 800-hour certification\, training other teachers in the school. \nMacaya is currently training in contemplative care of dying. \n  \n  \nWe recommend attending with comfortable clothing for the exercise (it is not necessary to wear sport clothing\, as long as you can move easily and comfortably).  No previous experience doing yoga is required to sign up for the session. The session will be held in Spanish language (castellano). \n  \n 
URL:https://museutapies.org/en/event/trauma-sensitive-yoga/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
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DTSTART;TZID=UTC:20240614T190000
DTEND;TZID=UTC:20240614T193000
DTSTAMP:20260509T224729
CREATED:20240423T141114Z
LAST-MODIFIED:20240521T123018Z
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SUMMARY:The Chairs of Tàpies: Bartolomé Ferrando
DESCRIPTION:Tickets\n \n  \nThe Chairs of Tàpies 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 for this seventh chair of Tàpies is Brief Phonetic Actions\, a proposal by Bartolomé Ferrando. The project brings together short pieces based on the decomposition and re-composition of the voice and words\, with some dedicated to Antoni Tàpies. A few of the pieces are grounded in phonetic poetry\, situated part-way between speech and music\, derived from dadaism and related to Concrete Poetry and Lettrism. In most of these actions\, Ferrando addresses the improvised emission of language\, in the search for the traits of oral primitivism. \n  \nBartolomé Ferrando is Professor of Intermedia Art and Performance at the Polytechnic University of Valencia. As a performer\, he has participated in international festivals and encounters held in Europe\, the Americas and Asia. He has coordinated various international festivals at IVAM (Valencia) and MNCARS (Madrid). Ferrando has exhibited his visual poetry in various cities in Spain\, Italy and France\, and is a member of the groups SIC and dosentredos. Furthermore\, he has published the journal Texto poético and the books Hacia una poesía del hacer\, La mirada móvil\, El arte intermedia\, El arte de la performance\, elementos de creación\, and De la poesía visual al arte de acción\, amongst others. He has also produced various recordings on cassette tape\, vinyl and CD\, as well as videos and DVDs of performance work. \n  \n[Photography: Bartolomé Ferrando. Decadence Festival. València. 2015-1. Foto Imke Zeinstra. Homenatge. Poema sonor.] \n 
URL:https://museutapies.org/en/event/the-chairs-of-tapies-bartolome-ferrando/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
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DTSTART;TZID=Europe/Madrid:20240615T190000
DTEND;TZID=Europe/Madrid:20240615T210000
DTSTAMP:20260509T224729
CREATED:20240528T160640Z
LAST-MODIFIED:20240624T185913Z
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SUMMARY:Following the Sun: Belén Barenys
DESCRIPTION:Tickets\n  \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. \nFourth 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  \nFourth session: Belén Barenys \nOnce upon a time there was a nerdy teenager who wrote\, drew\, danced and composed songs. Now she is older and teaches the things she does\, but at that time there was only art for art’s sake\, poetry for poetry’s sake\, without any pretensions. Artistic creation was an intimate act with herself\, a continuity of the game of childhood. This performance is the opportunity for that teenage Belén to present her songs\, texts and reflections from that time. They’re immature things\, cringe-worthy things\, but they’re perhaps the most honest and genuine things she’s ever created. It is a tribute to the artistic gesture that is made after the mathematics homework of 2nd year of ESO. Everything that has been buried in notebooks for years will come to light in a performance that closes a circle and celebrates the first times that a teenager dared to be something similar to an artist.  Feismo mágico is an autobiographic experimental sound by Belén Barenys curated by Carolina Olivares Esturillo. \n  \nBelén Barenys (Barcelona\, 1999) expresses himself through writing\, interpretation\, dance\, cinema\, art and songs. While she has a career as an actress and backup singer for the singer Rigoberta Bandini\, MEMÉ is her musical project in loner which aims to be radically self-conscious\, original and unpredictable. With irony as her flag\, this artist wants to delve into topics such as the internet\, sex or the transition from childhood to adulthood from a personal and honest perspective \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. \n 
URL:https://museutapies.org/en/event/following-the-sun-belen-barenys/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2024/05/bb-foto.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20240625T180000
DTEND;TZID=UTC:20240625T190000
DTSTAMP:20260509T224729
CREATED:20240327T105052Z
LAST-MODIFIED:20240606T152033Z
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SUMMARY:Today is Tàpies: Eugènia Balcells - Pilar Bonet
DESCRIPTION:Tickets\n  \n \n  \n Today is Tàpies is a series of conversations across generations and disciplines\, led and moderated by arts journalist Rita Roig (Terrassa\, 1997) and organised by the Fundació Antoni Tàpies as part of the Tàpies Centenary Year. It sets out to interpret the artist’s texts as a starting point to discuss current issues such as environmentalism\, self-determination for peoples\, interculturality and the political commitment of art. \nThe series will encourage people to think about the artist’s words and thoughts though thirteen events at the Fundació Antoni Tàpies involving people from a range of professional backgrounds (arts\, education\, science\, politics\, the environment\, health and life sciences) and different generations. Altogether it will construct a polyphonic dialogue that will be recorded in podcast form thanks to cooperation with Catalunya Ràdio\, in order to recover and experience the knowledge generated in a different format and a different context. \n  \nChapter 7: Towards an emancipating spirituality \nIn his writing\, Antoni Tàpies often talked about spirituality. In the face of the idea that modernity might end up freeing us from faith and religious beliefs\, Tàpies argued that spiritual progress had to go hand in hand with the scientific\, technological and political advances of the day. Tàpies believed that artists had an important role to play in this progress. Taking up an idea of Paul Klee whereby the artist is “an intermediary\, a transmitter or nature”\, Tàpies argued that the job of artists was to pass on a spirituality suited to modern times. In this conversation\, Eugènia Balcells and Pilar Bonet will deal with the pairing of art and spirituality\, a relationship that has existed since the beginning of time\, leaving examples that show how creativity has been a way of passing on knowledge of the beyond\, of the intangible. \n  \nPARTICIPANTS \nEugènia Balcells is a pioneering Catalan audiovisual artist. She began her career in the 1970s between New York and Barcelona in the context of conceptual art\, and light has become the central theme of her work. Her videos\, films\, light installations\, performances and murals have been exhibited at festivals and museums worldwide. \n  \nPilar Bonet is a university lecturer\, art critic and curator. She explores feminism and emancipatory spiritualities\, in particular with regard to the contributions of visionary European writers born before 1950\, leading her to create a new critical space focusing on graphic\, textile and literary creativity by early women in the history of art from a feminist point of view\, among them Josefa Tolrà (1880–1959) and the Aragonese Julia Aguilar (1899–1979). She is president of the Associació Josefa Tolrà and director of the Visionary Women Art research group. \n  \nToday is Tàpies programme \n  \nPodcasts Today is Tàpies\, by Catalunya Ràdio.
URL:https://museutapies.org/en/event/today-is-tapies-eugenia-balcells-pilar-bonet/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
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