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DTSTART;VALUE=DATE:20250701
DTEND;VALUE=DATE:20250702
DTSTAMP:20260505T071421
CREATED:20250301T235035Z
LAST-MODIFIED:20250625T091635Z
UID:10000925-1751328000-1751414399@museutapies.org
SUMMARY:A Hatch in the Void
DESCRIPTION:  \n \nIf a work of art fails to harness the magic in things themselves\, if it uses objects only to make them mean something\, it has wasted one of its greatest possibilities. When we take an object and make it mean something\, what we are doing is confirming ourselves. We are confirming our own concepts of who we are and what the world is. But allowing things to be seen as what they are offers a more open and fertile ground. After all\, the unknown is pure adventure. \nAs part of the exhibition Antoni Tàpies: The Imagination of the World\, the Museu Tàpies has invited Marc Caellas to perform four activations of the exhibition room to give a new life and a new dimension to the materials presented in it\, with the aim of rethinking them. \n  \nActivations \n  \n25.03.2025 – The Background of Things.  \nMarc Caellas\, born in Barcelona\, is an artist who works with writing\, theatre\, performance and curation in hybrid projects that develop into books\, plays\, installations or public programmes and festivals. \nHis two most recently published books are Notas de suicidio (La Uña Rota\, 2022) and Dos hombres que caminan (Ediciones Menguantes\, 2022)\, the latter written in collaboration with Esteban Feune de Colombi. His previous works include Carcelona (Melusina\, 2011)\, Caracaos (Melusina\, 2015)\, Drogotá (Planeta\, 2017)\, Neuros Aires (Libros del Zorzal\, 2020) and Teatro del bueno (Teatron.Tinta\, 2015). \nHe has participated in numerous national and international literature and performing arts festivals\, including: Festival Iberoamericano de Teatro de Bogotá\, Festival de Palco e Rúa de Belo Horizonte (Brazil)\, Bienal do Livro de São Paulo\, FILBA (Buenos Aires)\, Festival Estival (San Martín de los Andes\, Argentina)\, FIT de Cádiz\, TNT Festival (Terrassa)\, IDEM Casa Encendida Festival (Madrid)\, Escenas do Cambio Festival (Santiago de Compostela)\, Kosmopolis Festival at CCCB (Barcelona)\, Festival de las Ideas (Madrid)\, Cuéntalo Festival (Logroño)\, Nus Festival (Barcelona)\, Open Heart Festival (Lanzarote)\, Meet You (Valladolid) and WIM (Frías\, Burgos)\, among others. \nHe was resident artist at the Centro de Cultura Contemporánea Condeduque (Madrid)\, Tokyo Arts and Space\, Nau Côclea (Saus\, Girona) and Can Timoner (Mallorca). \nHe has twice been awarded the Ministry of Culture’s grants for literary creation\, received Iberescena grants for theatrical co-production and was a finalist for the BBVA Award for the best play with Suicide Notes. \nHe has taught courses on creative writing\, theatre creation and new dramaturgy at the Museo Universitario del Chopo\, Centro de Cultura Contemporánea Condeduque\, University of Barcelona\, Universidad Central de Venezuela\, Universidad de los Andes and Universidad del Atlántico. \n  \n01.07.2025 – Offering to the Earth \nIn July the Earth is thirsty. It needs feeding. Offering to the Earth is a ritual of Andean origin based on reciprocity. The gods are thanked for the produce received and presented with an offering to satisfy their hunger and thirst. \nInvited by Marc Caellas\, conservationist and activist for Amazonia\, Magdalena Ruiz\, will conduct a ritual of gratitude. This event—the second in the series A Hatch in the Void\, conceived by Caellas as part of the exhibition Antoni Tàpies: The Imagination of the World—aims to question and broaden the traditional reading of the exhibition by creating spaces where the works are counterposed with contemporary thought and opened up to a range of interpretations.
URL:https://museutapies.org/en/event/a-hatch-in-the-void/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/03/IMG_3397-scaled.jpeg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250701T180000
DTEND;TZID=Europe/Madrid:20250701T190000
DTSTAMP:20260505T071421
CREATED:20250424T113309Z
LAST-MODIFIED:20250627T124729Z
UID:10000993-1751392800-1751396400@museutapies.org
SUMMARY:Offering to the Earth
DESCRIPTION:In July the Earth is thirsty. It needs feeding. Offering to the Earth is a ritual of Andean origin based on reciprocity. The gods are thanked for the produce received and presented with an offering to satisfy their hunger and thirst. \nInvited by Marc Caellas\, conservationist and activist for Amazonia\, Magdalena Ruiz\, will conduct a ritual of gratitude. This event—the second in the series A Hatch in the Void\, conceived by Caellas as part of the exhibition Antoni Tàpies: The Imagination of the World—aims to question and broaden the traditional reading of the exhibition by creating spaces where the works are counterposed with contemporary thought and opened up to a range of interpretations. \n 
URL:https://museutapies.org/en/event/offering-to-the-earth/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/04/pagament-a-la-terra-museu-tapies.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250703T190000
DTEND;TZID=Europe/Madrid:20250703T200000
DTSTAMP:20260505T071421
CREATED:20250410T152918Z
LAST-MODIFIED:20250701T110159Z
UID:10000977-1751569200-1751572800@museutapies.org
SUMMARY:Muérdago
DESCRIPTION:  \nThe Museu Tàpies has invited Adelaida to dialogue with the creative universe of Marta Palau\, in a concert conceived to show how the singer and artist share ritualistic aspects that connect the body with nature and ancestral memory. Through organic sonorities and all-encompassing atmospheres\, Muérdago [Mistletoe] evokes transitional\, transformational space\, similar to the symbolic territories that Palau creates with primal materials like wood\, earth or botanical fibres. The creations of both artists appeal to sensorial and mystical experience\, where matter and gesture become channels for a deep-set connection with both the sacred and the earthly. \nAdelaida lives and works on the full moon. A mermaid of heaven and hell\, she lifts her voice in an incantation. Born and raised in Barcelona\, she has a degree in Fine Arts from Central Saint Martins\, which enlivens the performative nature of her endeavour. Her classical voice training at the Orfeó Català is patent in her innovative\, personal compositional language\, with which she explores the limits of the voice and its expressive and ritualistic potential. On stage\, she transforms into the phoenix\, then from phoenix into songster\, from songster to sea nymph\, and so on. \nThis Catalan singer-songwriter and producer has recently released her second album\, Muérdago. The recording poses many questions and provides few answers. Infinite\, delicate mantras of sound distinguish this ASMR labyrinth\, bursting with lamentations and wounded desires. It features everything from choral ambiences to darker\, baroque electronics\, with her voice always front and centre. The album features the collaboration of Catalan producers MANS O and Pura Cadera\, and was mixed by Rashad Becker. The live presentation took place at Sonar 2024\, with a hypnotic\, moody performance\, and since then Adelaida has been touring in Europe and\, more recently\, in Mexico. \nAdelaida made her debut with Cántaro [Jug]\, an album of endless vocal layers done with LANAV\, and released in September 2022. It was featured in Primavera Sound in 2022 and 2023\, Eufònic 2022 at the Fundació Joan Miró\, the Festival BAM 2023 and She Makes Noise 2023\, amongst many other performances. \n  \n© Bo Bannink
URL:https://museutapies.org/en/event/muerdago/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/04/Adelaida.-Muerdago.jpg
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DTSTART;TZID=Europe/Madrid:20250708T193000
DTEND;TZID=Europe/Madrid:20250708T210000
DTSTAMP:20260505T071421
CREATED:20250505T163525Z
LAST-MODIFIED:20250626T155508Z
UID:10001002-1752003000-1752008400@museutapies.org
SUMMARY:Llorenç Barber. L’espai alliberat [Liberated Space]
DESCRIPTION:Extramurs is an artistic project by the Museu Tàpies that conceives the city as a space of intervention and mediation. With a pluralistic\, multidisciplinary approach\, the project encourages inter-institutional dialogue\, along with dialogue with public space and the environment. Featuring the ongoing collaboration of EINA Centre Universitari de Disseny i Art de Barcelona and the Festival Grec\, Extramurs contributes to a rethinking of the role of the institution from a more holistic perspective\, through interventions and activities that respond to contemporary demands\, encouraging new community narratives in urban space. Inspired by concepts of situated knowledge\, this spirit advances reflection on how we mediate our surroundings\, and how we might inhabit the world in a more conscious\, integrating way. At the same time\, the gesture of considering the walls of public space as the carriers of residents’ voices\, spaces where collective discourses are materialised and where shared experiences find new meanings\, connects us directly with the thought of Tàpies. \nHeld annually\, each edition of Extramurs is presented in the public space\, coinciding with the Festival Grec. For the 2025 edition\, the artist Elena del Rivero has been invited to develop the project Transiting La Quema\, curated by Mateo Feijóo. The proposal is grounded in an intense process of collaborative research and production on the topic of the burning of the artist’s first works\, performed as a cleansing gesture. \nThe installations conceived by Del Rivero as part of the Extramurs project\, in collaboration with students from EINA Centre Universitari de Disseny i Art de Barcelona\, will be shown on the façade and interior of the Museu Tàpies\, as well as at Basílica Santa Maria del Pi\, Centre d’Art La Capella\, the Teatre Grec gardens\, Galeria Senda and Loop Barcelona. The exhibition includes photographs\, collages\, objects and an illuminated sign. The cartography of these intervened spaces invites us to reflect on the resilience of human and social structures\, as well as on the dialogue between past and present\, accentuating the tensions and continuities that define history in the construction of the contemporary city. \nThe inaugural event of La Quema takes place at the Rubió i Lluch Gardens with the concert L’espai alliberat\, by Llorenç Barber\, a musician\, composer\, musicologist\, bell-ringer and pioneer of sound art in Europe. This visual and sound artist\, recognised for introducing minimalist music to Spain\, has created a portable set of bells used for the development of his own performance technique. Barber’s bell concerts have been held in over two hundred cities in twenty different countries. He has done concerts for the closing ceremonies of three cultural capital years (Lisbon\, Copenhagen and Stockholm)\, and his performances have featured at biennial exhibitions and art fairs in Japan\, France\, Thailand and Brazil\, while inaugurating two separate Heads of State and Government Meetings (in Salamanca and Rome). \nThe sound of bells brings us to the world of Elena del Rivero\, an international artist committed to the exploration of reparation and memory. We invite you to reflect with us on the resilience of human and social structures and on the dialogue between past and present\, accentuating the tensions and continuities that define history in the construction of the contemporary city. \n  \nWith the collaboration of students from Conservatori Municipal de Música de Barcelona\, Fundació Conservatori del Liceu\, Escola de Música l’Antàrtida de Barcelona\, Escola Municipal de les Arts de Santa Perpètua de la Mogoda and the musical band La Valenciana\, and the support of ESMUC. \n  \nA coproduction of the Festival Grec de Barcelona 2025 and the Museu Tàpies \n  \nExtramurs is an initiative of the Museu Tàpies with the collaboration of EINA Centre Universitari de Disseny i Art de Barcelona and festival Grec\, with the complicity of Centre d’Art La Capella\, Basílica Santa Maria del Pi\, Galeria Senda and Loop Barcelona. \nArtist: Elena del Rivero \nCurator: Mateo Feijóo \nThe realization of Elena del Rivero – La Quema\, at Galicia\, promoted by A Casa do Pozo\, had the support of: AECID and Fundación Cañada Blanch
URL:https://museutapies.org/en/event/llorenc-barber-lespai-alliberat-liberated-space/
LOCATION:Jardins de Rubió i Lluch\, c. Hospital\, 56\, Barcelona
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/05/llorenc-barber.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250717T190000
DTEND;TZID=Europe/Madrid:20250717T193000
DTSTAMP:20260505T071421
CREATED:20250509T103744Z
LAST-MODIFIED:20250711T114559Z
UID:10001010-1752778800-1752780600@museutapies.org
SUMMARY:Thirteen Over Zero. Ritual-action-performance
DESCRIPTION:Tattoo the sacred numbers of the Maya civilisation (13 and 0) on the upper right side of the chest. Thirteen is the number with the highest energy; zero (0) was used by the Maya long before the Western world used Arabic numerals. Zero is absence\, emptiness\, nothingness; zero is silence\, expanding and stretching the eternity of the Maya civilisation. \nIn the Maya Cholqi’ij calendar\, cycles are made up of 13 weeks and 20 days. It is a sacred calendar with 260 days (13 x 20 = 260). In Maya numerical symbolism\, the number 13 is represented by drawing two sticks and three dots. Then a space is left underneath and a conch shell\, symbolising zero\, is drawn. This creates the number 260\, like the 260 days of the Maya calendar\, an ancestrally sacred number. Western modernity ignores\, secularises\, even demonises the number 13; for the Maya\, it is sacred. Zero is totality\, the beginning and the end; it symbolises the agricultural cycle and is represented by a conch shell. \nThe ritual-action-performance Thirteen Over Zero involves tattooing the sacred numbers 13 and 0 on Benvenuto Chavajay’s body. It is about dusting off history and activating memory\, countless stories\, wounds and accumulated legacies. Through this gesture\, the Guatemalan artist activates ancestral memory to take a step forward\, to heal and embrace all the wounds and legacies. It is about giving history a second chance. \nChavajay offers his skin as a sacrifice and an offering to his ancestors. He wounds his body\, opens cracks in it\, dropping in tiny black drops and creating lumps and grooves of memory. Scarring\, coagulation\, blood and charcoal\, pain and tattooing. \n  \nBenvenuto Chavajay (San Pedro La Laguna\, Atitlán Lake\, Guatemala) defines himself as a chunchero artist\, that is\, an observer and intervener of chunches\, a term that in Tz’utujil—the artist’s mother tongue—designates discarded objects that have lost their use value. His aim is to identify\, ratify and dignify symbolic elements that are part of the history and ancestral knowledge of Maya culture\, which he has inherited. In this interview\, Chavajay uses his works in the Museo Reina Sofía Collection as a reference to explain how art can be a healing rite in response to the colonial wound. Based on this premise and far removed from the logics of modern Western thinking\, in his project El retorno de las almas [The Return of the Souls] the artist embodies the dignification of the indigenous cultures that have been erased from history. \nA session of  the second edition of the series The Chairs of Tàpies
URL:https://museutapies.org/en/event/thirteen-over-zero-ritual-action-performance/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2025/05/benvenuto.png
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