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X-WR-CALDESC:Events for Museu Tàpies
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DTSTART:20250330T010000
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DTSTART;TZID=Europe/Madrid:20250301T120000
DTEND;TZID=Europe/Madrid:20250614T120000
DTSTAMP:20260505T082647
CREATED:20250204T120416Z
LAST-MODIFIED:20250619T151931Z
UID:10000889-1740830400-1749902400@museutapies.org
SUMMARY:Approximations. Museu Tàpies Guided Tour 2025
DESCRIPTION:Guided tour of the Museu Tàpies’ current exhibitions\, with an introduction to the history of the building. \n  \nCurrent exhibitions: \n  \n· Antoni Tàpies. The imagination of the world \n· Marta Palau. My Paths are Earthly \n· Anna Malagrida. Opacitas: Veiling Transparency \n· Noor Abed. A Night We Held Between \n 
URL:https://museutapies.org/en/event/approximations-guided-tour-2025/
LOCATION:Museu Tàpies
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/02/i-k74b6sw-XL-1.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250304
DTEND;VALUE=DATE:20250521
DTSTAMP:20260505T082647
CREATED:20250227T123448Z
LAST-MODIFIED:20250516T082027Z
UID:10000916-1741046400-1747785599@museutapies.org
SUMMARY:The (In)visible Exiles
DESCRIPTION:Archivo General de la Nación de México \n  \nExile is a reality that is very difficult to make visible\, since it is\, above all\, an experience of internal uprooting. Nevertheless\, women artists\, among them the filmmakers who went into exile\, tried time and again to stage and represent their woundedness. \nFilm producer and director Tània Balló and filmmaker\, theorist and film promoter Luis E. Parés programme a film series linked to the exhibition Marta Palau: My Paths are Earthly\, with the aim of presenting three different approaches to this wound and the way it is incarnated. Thus\, through screenings\, talks and conferences\, we will generate a space for debate and reflection on these films and on other\, more contemporary ones\, which have allowed us to rediscover these works and their authors in the present day. \n  \nTània Balló Colell is a filmmaker\, writer\, cultural promoter and researcher. She is the creator and director of the project Las Sinsombrero (2014–present) and Las Anónimas. Obras sin relato en las colecciones de arte moderno de los museos españoles (Leonardo Grant for Researchers and Cultural Creators\, Fundación BBVA\, 2023). As a filmmaker\, her films El Museo Invisible (2023) and the documentary trilogy Las Sinsombrero (2015–2021) stand out. She is the author of the Las Sinsombrero trilogy (2016\, 2018\, 2022)\, of Querido Diario: hoy ha empezado la guerra (2017) and of Les Combatents. La història oblidada de les milicianes antifeixistes (2021). She is also curator of the exhibitions Jorge Semprún. El largo viaje (2024–2025)\, Las Sinsombrero (2022) and No Pasarán. 16 días Madrid 1936 (2018). \n  \nLuís E. Parés holds a PhD in Communication from the Pompeu Fabra University and is artistic director of Cineteca Matadero Madrid. He has worked as part of the programming department of the Filmoteca Española\, the editorial board of Caimán CDC and the programming committee of the Sevilla Film Festival\, and was coordinator of the RTVE programme Historia de nuestro cine. He has published the books Notes sur l’émigration-Espagne 1960. Apunts per a una pel·lícula invisible (2011) and Filmar el exilio desde Francia (2012). He has directed the short films Los conspiradores (2021) and El espectro político (2023)\, as well as the feature film La primera mirada (2023). \n  \nProgramme \n4.March 25 \n22 April 25 \n20 May 25 \n  \n \nMaría Luisa Elío in En el balcón vacío
URL:https://museutapies.org/en/event/the-invisible-exiles/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/02/novaimatgeciclecinemaexili.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250408T180000
DTEND;TZID=Europe/Madrid:20250408T190000
DTSTAMP:20260505T082647
CREATED:20250401T180051Z
LAST-MODIFIED:20250404T110527Z
UID:10000959-1744135200-1744138800@museutapies.org
SUMMARY:Art as a Facilitator of the Worlds to Come
DESCRIPTION:How can art help us to think about\, criticise and dialogue with established economic and social structures? Starting out from the idea that the capitalist world we live in was built on colonial violence and displacement\, we realise that for many populations the world has already ended. At the same time\, resistance has kept alive the imagination of what could have been and could still be. Through art\, we can contemplate possibilities that escape the limits of social and scientific thought\, as the artist is not restricted by method\, but only by imagination\, the limits of which are porous and extendible. \nFrom this point of view\, art not only denounces consumerist culture\, the superficiality of an object-based economy or the dehumanisation of the system\, but also enables us to draw other futures\, to map out cracks in the dominant structure and make up new forms of existence. If the colonial/capitalist project has not completed its task\, this means it has not completely won either; therefore\, its defeat is still possible\, and with it the construction of other possible worlds. \nIn the context of the exhibition Anna Malagrida. Opacitas. Veiling Transparency\, we invite researcher Morena Hanbury Lemos to connect the exhibition with the global economic system and with public policies to promote economic sovereignty\, in order to construct new ways of inhabiting the city and the world in which it is our lot to live. \n  \nMorena Hanbury Lemos is a doctoral candidate in Ecological Economics at the Institut de Ciència i Tecnologia Ambientals (ICTA-UAB). She holds a master’s degree in Political Ecology\, Degrowth\, and Environmental Justice from UAB\, a master’s in Decolonial Thought and Humanities\, and a bachelor’s degree in Environmental Management from the University of São Paulo\, Brazil. Her research focuses on how colonial patterns are perpetuated in the global economy\, paying special attention to the analysis of unequal exchange between historically colonised and colonising countries. She studies public policies to foster economic sovereignty\, decolonisation and the reorganisation of resources and labour to sustainably meet the needs of the populations in the Global South.
URL:https://museutapies.org/en/event/art-as-a-facilitator-of-the-worlds-to-come/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/04/morenahandburyimatgeweb.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250409T180000
DTEND;TZID=Europe/Madrid:20250409T190000
DTSTAMP:20260505T082647
CREATED:20250401T085124Z
LAST-MODIFIED:20250402T105010Z
UID:10000955-1744221600-1744225200@museutapies.org
SUMMARY:Opening of the exhibition Noor Abed. A Night We Held Between
DESCRIPTION:  \nOn the occasion of the opening screening of the audiovisual work A Night We Held Between (2024) at the Museu Tàpies\, Noor Abed and the project curators\, LaOtra (María Amador and Patricia Sorroche)\, discuss the artist’s personal and creative universe on the basis of the book Stars at Midday\, presented for the first time in Barcelona and which will be available in the Museu Tàpies bookshop. \nStars at Midday –نجوم الضُهر is a personal diary where the artist sets down poetic and audiovisual notes on the production phase of the film A Night We Held Between\, shot in Palestine in 2023 with her family and friends. The film centres on Song for the Fighters\, found in the sound archive of the Popular Art Center Palestine. Through the layers of the song\, in a maze of sounds and places\, the film evokes history as a permanent present tense\, a collective act of imagination. \nLike the film\, but more intimately and profoundly\, the book weaves together narrative fragments\, songs and daily observations to create a fusion of sequences of natural\, prepared movements\, of documentary and fictional elements. \nThrough a choreography of bodies\, places\, stories and time frames\, Abed’s work encourages thought about the forms of social action and resistance in everyday life. \n  \nNoor Abed (Jerusalem\, 1988) is an interdisciplinary artist and film-maker who works in the intersection between performance\, media and film. Through a process of visual creation of images\, her work creates situations in which social possibilities are rehearsed and performed. \nAbed attended the Whitney Independent Study Program in New York (2015–2016) and the Home Workspace Program (HWP) of Ashkal Alwan in Beirut (2016–2017). She received her BA from the International Academy of Arts in Palestine and a MFA from the California Institute of the Arts\, Los Angeles. \nAbed’s work has been screened and exhibited at Anthology Film Archives\, New York; Gabes Cinema Fen Film Festival\, Tunisia; Ji.hlava International Documentary Film Festival (Jihlava); Leonard & Bina Gallery\, Montreal; Ikon Gallery\, Birmingham; Ujazdowski Centre for Contemporary Art\, Warsaw; The Mosaic Rooms\, London; and MAXXI Museo nazionale delle arti del XXI secolo\, Rome among others. In 2021–2022 she was assistant curator on the artistic staff of documenta 15 in Kassel\, Germany. Abed has been a resident at the Rijksakademie in Amsterdam (2022–2024). \n  \n  \nHan Nefkens Foundation – Museu Tàpies Video Art Production Grant 2022\, in collaboration with NTU CCA\, Singapore; WIELS\, Brussels; Museum of Contemporary Art and Design (MCAD)\, Manila; and Jameel Arts Centre\, Dubai.
URL:https://museutapies.org/en/event/opening-of-the-exhibition-noor-abed-a-night-we-held-between/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/04/Noor-Abed_A-Night-We-Held-Between_CAPTION.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250412T130000
DTEND;TZID=Europe/Madrid:20250412T143000
DTSTAMP:20260505T082647
CREATED:20250403T134317Z
LAST-MODIFIED:20250404T114604Z
UID:10000962-1744462800-1744468200@museutapies.org
SUMMARY:Following the Sun. Agnes Essonti Luque
DESCRIPTION:  \nUnguent \nWater\, juniper\, palm oil\, honey\, coconut milk\, catfish\, popcorn… An offering to heal every wound. Actions that heal. That strip off layers of dead skin. Of atrophied limbs. Of poisoned ghosts. \nAgnes Essonti Luque will be entering into a ritualistic dialogue based on Ibori\, a Yoruba ritual that aims to satisfy your Ori (a consciousness of the hereafter) through offerings\, especially food. In front of Tàpies’ Mitjó [Sock]\, the Cameroonian–Spanish artist will use a series of unguents\, making her own body into the medium. With these actions\, the artist seeks to share with the audience ways of neutralising the frustrations of the past\, offering a possible solution through simple gestures that\, with repetition\, become sacred. She invites us to recognise that rituals are for everybody and to realise that they can help to connect to ancestral wisdom\, fonts of hidden powers\, reserves of vitality and arsenals of protection. \n  \nAgnes Essonti Luque is a Cameroonian–Spanish artist and curator\, whose work is inspired by black and post-colonial feminist thinkers and revolves around topics like ancestral connections\, memories of childhood and nostalgia. Her work spans a range of media\, including photography\, textiles\, installations and performances. In recent years she has explored the construction of Afro-diasporic identities and the tireless search for home\, focusing on processes of hybridisation and pidginisation. She sees her own work as a way of offering new readings of historical events and reimagining better futures. \n  \nHer work has featured in various national and international exhibitions and events\, among them Manifesta 15 (2024)\, Foodscapes\, the Spanish Pavilion at the 18th Venice Biennale of Architecture (2023) and 1384 Days Wide at Rencontres de Bamako (2015). Her performances have been presented at the Museo Nacional Thyssen-Bornemisza and at the Museo Nacional Centro de Arte Reina Sofía (MNCARS). Her work A Journey is part of the MNCARS collection. \n  \n  \nPhoto credit: Viatge\, sol\, eternitat. © Quique Curbelo\, 2025.
URL:https://museutapies.org/en/event/following-the-sun-agnes-essonti-luque/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/04/seguint-sol-agnes.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250424T190000
DTEND;TZID=Europe/Madrid:20250424T193000
DTSTAMP:20260505T082647
CREATED:20250324T161633Z
LAST-MODIFIED:20250325T142537Z
UID:10000950-1745521200-1745523000@museutapies.org
SUMMARY:Raw
DESCRIPTION:  \nRaw is a voice improvisation based on cuts and sprains\, exposing the space between the body of flesh and bones and the aerial\, spiritual body of the voice. It is an investigation in sound and movement based on the gesture of our breath in space\, starting from the idea that the voice does not belong to us\, that it is a body that travels and lives outside of our bodies for a determined period of time\, and is hard to remember. \n  \nLaia Estruch (Barcelona\, 1981) is the second creator invited to participate in the series The Chairs of Tàpies: Tattooed Memories. She has a degree in Fine Arts from the University of Barcelona (2010)\, and studied the final degree year at The Cooper Union for the Advancement of Science and Art\, New York). Her artistic practice is developed in the context of performance art and sculpture\, through which she researches the language of the body and the voice. She has presented projects at CCEMx. Centro Cultural de España en México (2020)\, MACBA. Museu d’Art Contemporani de Barcelona (2022)\, PUBLICS (Helsinki\, 2022)\, Hauser & Wirth Menorca (2023)\, the Bienal de Arte Paiz (Guatemala\, 2023)\, MNAC. Museu Nacional d’Art de Catalunya (2023)\, El Patio by Zona Maco (Baja California\, Mexico\, 2024)\, the Triennial Kortrijk (Belgium\, 2024) and the Museo Nacional Centro de Arte Reina Sofía (Madrid\, 2025). \n  \nA session of  the second edition of the series The Chairs of Tàpies
URL:https://museutapies.org/en/event/raw/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/03/Laia-Estruch-cadires-2025.jpg
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