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DTSTART;TZID=Europe/Madrid:20250917T190000
DTEND;TZID=Europe/Madrid:20250917T203000
DTSTAMP:20260505T062344
CREATED:20250902T080218Z
LAST-MODIFIED:20250915T085152Z
UID:10001060-1758135600-1758141000@museutapies.org
SUMMARY:Opening of the exhibition 'André du Colombier.  A Lyrical Point of View'
DESCRIPTION:The Museu Tàpies invites you to the opening of the exhibition ‘André du Colombier. A Lyrical Point of View’\, curated by Adam Szymczyk \nAndré Paliard Iscu was born in 1952 in Barcelona. In the early 1970s\, he studied literature and philosophy in Paris. He chose to change his name to du Colombier (“of the dovecote”)\, decided to become an artist and held his first individual exhibition\, entitled Modestie\, Compétence\, et Efficacité (Modesty\, Competence and Efficiency) at the Galerie Eric Fabre in Paris in 1977. He died in Paris in 2003. \nHis earliest surviving work is a vertical silver line: a trace of pencil lead on a sheet of black sandpaper. As if left when sharpening a writer’s tool\, it is an anti-drawing against the grain. Other early works are sequences of black-and-white photographs documenting dynamic actions with household utensils\, or\, by contrast\, static and exposed objects\, defamiliarised under clinical white light. \nStandard-sized sheets of reflective Chromolux paper in various colours became over time the artist’s medium of choice\, used as a backdrop for handwritten or Letraset texts: odd words\, equivocal phrases and cryptic\, coded sentences. Another genre in du Colombier’s practice was his mise-en-scènes. Composed of toys\, tourist souvenirs and accessories arranged and performed on café tables or in other casual situations\, these were often staged for an invited audience of one and never documented. \nThe exhibition’s titular phrase ‘lyrical point of view’ is a title of the text accompanying du Colombier’s show at Patricia Dorfmann’s gallery in Paris in 1999. It captures the position of an artist whose elusive oeuvre keeps confronting us\, free and equal\, with the ever-evolving work of interpretation. \n  \nAndré du Colombier\, Untitled [Flour and Hot Water Bottle]\, n.d. 1977
URL:https://museutapies.org/en/event/opening-of-the-exhibition-andre-du-colombier-a-lyrical-point-of-vue/
LOCATION:Museu Tàpies
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/06/Untitled-la-farine-et-la-bouillote01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250920T100000
DTEND;TZID=Europe/Madrid:20250920T110000
DTSTAMP:20260505T062344
CREATED:20250714T125531Z
LAST-MODIFIED:20250715T150821Z
UID:10001041-1758362400-1758366000@museutapies.org
SUMMARY:Visit of the curator to the exhibition "Anna Malagrida. Opacities. Veiling transparency"
DESCRIPTION:As part of the programming of Barcelona Gallery Weekend\, the Museu Tàpies invites us to a guided visit through the exhibition by Anna Malagrida. Opacitas: Veiling Transparency\, accompanied by Patricia Sorroche\, head of exhibitions at the museum and the show’s curator. Malagrida is represented by Galeria Senda. During the visit we will learn about the artist’s creative process and discover the conceptual reflections and concerns that have shaped her work. \nThis exhibition is centred on the notion of transparency as contemporary fiction\, proposing a critical perspective on the limits between what is visible and what is hidden\, between what is shown and what is veiled. Working alternatively in photography\, video and installation art\, Malagrida calls on us to reflect on urban space\, nature and everyday gestures as scenarios of opacity and resistance.
URL:https://museutapies.org/en/event/visit-of-the-curator-to-the-exhibition-anna-malagrida-opacities-veiling-transparency/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2025/07/Screenshot_1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250920T110000
DTEND;TZID=Europe/Madrid:20250920T120000
DTSTAMP:20260505T062344
CREATED:20250904T143645Z
LAST-MODIFIED:20250908T123719Z
UID:10001068-1758366000-1758369600@museutapies.org
SUMMARY:Visit of the artist to the exhibition "Anna Malagrida. Opacities. Veiling transparency"
DESCRIPTION:  \nAs part of the programming of Barcelona Gallery Weekend\, the Museu Tàpies invites us to a guided visit through the exhibition by Anna Malagrida. Opacitas: Veiling Transparency\, accompanied by the artist. Malagrida is represented by Galeria Senda. During the visit we will learn about the artist’s creative process and discover the conceptual reflections and concerns that have shaped her work. \nThis exhibition is centred on the notion of transparency as contemporary fiction\, proposing a critical perspective on the limits between what is visible and what is hidden\, between what is shown and what is veiled. Working alternatively in photography\, video and installation art\, Malagrida calls on us to reflect on urban space\, nature and everyday gestures as scenarios of opacity and resistance. \n  \nAnna Malagrida at the exhibition. Photo: Pep Herrero
URL:https://museutapies.org/en/event/visit-of-the-artist-to-the-exhibition-anna-malagrida-opacities-veiling-transparency/
LOCATION:Museu Tàpies
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/09/Anna-Malagrida-artista-20250312-roda-premsa-AnnaMalagrida.Opacitas-MuseuTapies-Foto-Pep-Herrero-28-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250920T180000
DTEND;TZID=Europe/Madrid:20250920T200000
DTSTAMP:20260505T062344
CREATED:20250702T161200Z
LAST-MODIFIED:20250724T093540Z
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SUMMARY:Following the Sun: Guillem Jiménez / laSADCUM
DESCRIPTION:Oliver 04 \nThis body essay is the staging of an investigation into digi-modernist poetics. It functions as a compilation of various gestural investigations that stem from the world Guillem Jiménez\, choreographer and dancer from Barcelona\, seeks to build through his company\, laSADCUM. A portal to a fantasy world that takes certain bodily behaviours cultivated by capitalism and cyberspace to the extreme.  \nThrough the use of satire\, Jiménez proposes a character governed by the logics of pop magic\, interns\, techno-feudalism and a series of online and offline cultural conventions. Oliver is a kind of alter ego\, not only of Jiménez\, but of a whole system of bodies subject to the authorities that operate in the interstices of digital algorithms. \n  \nGuillem Jiménez / laSADCUM \nlaSADCUM is a Barcelona-based dance company led by choreographer Guillem Jiménez that\, through the lens of dance and choreography\, addresses certain poetics of the post-internet era. \nlaSADCUM have produced four performance pieces so far: two small-scale pieces (The Uncanny Valley\, 2019\, and The Lesson\, 2020) and two large-scale pieces (Aclucalls\, 2022\, and Navaja\, 2024). They have also carried out two exhibitions (Classmates\, 2020\, and Twink Twink Twink\, 2022)\, workshops and curatorial programmes\, as well as various collaborations with artists and institutions. They have received various awards\, including the ActAward 2021 for best dance piece (The Lesson)\, 10 Sentidos 2021 for best dance piece (The Lesson)\, DansaCat 2024 for best music (Aclucalls)\, DansaCat 2024 for best choreography (Aclucalls)\, DansaCat 2024 for best show (Navaja) and Pedra Viva 2024 (Navaja). \nlaSADCUM’s work has been presented at venues such as the CCCB\, Teatros del Canal\, Festival Dansa València\, La Casa Encendida\, the Museo Guggenheim Bilbao\, Dansa Metropolitana\, Tanečno Festival\, Teatro Réplika\, Sala Apolo\, Pluto and La Mutant\, among others. \nGuillem Jiménez\, on the other hand\, works as a performer (with Pedro Torres\, Amaranta Velarde\, Mar Aguiló and Benjamin Abel\, among others) and as assistant choreographer and movement director (with Meritxell de Soto\, Marina Fueyo and Gabriela Richardson\, among others). This year he will premiere Duplex Studio (2025)\, a piece co-created alongside choreographer Luqui Lagomarsino\, at Antic Teatre as part of the Grec Festival. \n  \nA session within the framework of the 2nd edition of the “Following the Sun 2025” cycle\, curated by Gabriel Virgilio Luciani. \n  \n[Photo: Guillem Jiménez en Duplex Studio\, @gergelyofner ] \n 
URL:https://museutapies.org/en/event/following-the-sun-guillem-jimenez-lasadcum/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/06/GuillemJimenez-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250920T190000
DTEND;TZID=Europe/Madrid:20250920T200000
DTSTAMP:20260505T062344
CREATED:20250807T101147Z
LAST-MODIFIED:20250902T160121Z
UID:10001053-1758394800-1758398400@museutapies.org
SUMMARY:Following the Sun. Sejal Parekh
DESCRIPTION:  \nWhat Did You Say \nWhat Did you Say is a sociological and sonic inquiry into the distortion of meaning and fact caused by deliberate or non-deliberate miscommunication or misunderstanding. Activated by the Indian-British artist Sejal Parekh\, the performance—which functions more as a reckoning—confronts imperial mistranslations\, the deliberate deafness of power and the symbolic violence of asking someone to repeat themselves in a language not their own.  \nThe dynamic dialogues with several non-verbal communication phenomena\, such as: the Sufi zikr\, where breath carries meaning beyond the rational; Vedic chant\, whose potency lies in vibrational memory; or Ashanti drum language\, where rhythm speaks what cannot be said. Furthermore\, the piece proposes a participative action\, a take on a children’s game previously referred to in the United Kingdom as Chinese Whispers. The Sinophobic origins of the game’s title dialogues with other cultural bullyings and otherings\, such as the Greek barbarian\, with an onomatopoeic etymology mocking the sounds of those who did not speak Greek. \nTàpies’ Mitjó [Sock] will be activated as a listening device or witness through sounds of whispers and semiotics\, which the audience should attempt to decipher by navigating the space around the sculpture. In the words of the artist: “What happens when whispers are given form\, volume and permanence?” The corporeal gesture of collectively leaning in\, attempting to understand\, actively listening and accepting the sacred discomfort of not understanding\, are the core elements of this spatial choreography. \n  \nSejal Parekh is a cross-disciplinary artist. Through site-specific installations\, video and sound work\, she excavates the intricate topologies of hiraeth\, a Welsh diasporic condition that transcends mere nostalgia\, articulating instead a radical reimagining of spatial and cultural inhabitation. \nEmerging from an intricate understanding of parallel world systems\, where cultural dynamics are not merely observed but performatively dismantled\, Parekh’s aesthetic strategy constitutes a fundamental archaeology of gesture. She recuperates and transforms objects\, motifs and performative actions that were historically deployed to marginalise and stratify\, transmuting them into nuanced instruments of critical refusal. \nSejal has an MA in Sculpture from Royal College Art\, London. Her work has been shown at MACBA\, Somerset House\, Hope93\, Ovada Gallery\, SWAB Art Fair\, Art Meets Apolo with Galería Senda and Stone Space Gallery. She has upcoming exhibitions at Barbati Gallery Venice\, VHC Gallery India and the Souvenir for Loop Video Art Festival 2025. \n  \nA session within the framework of the 2nd edition of the “Following the Sun 2025” cycle\, curated by Gabriel Virgilio Luciani.
URL:https://museutapies.org/en/event/following-the-sun-sejal-parekh/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/08/Sejal-Parekh-Portrait-Side-WDYS.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250924T100000
DTEND;TZID=Europe/Madrid:20250924T190000
DTSTAMP:20260505T062344
CREATED:20250902T091909Z
LAST-MODIFIED:20250903T074613Z
UID:10001065-1758708000-1758740400@museutapies.org
SUMMARY:Open day and guided tour on the occasion of La Mercè 2025
DESCRIPTION:  \nAs every year\, on the occasion of the La Mercè 2025 festivities\, the Tàpies Museum offers an open day\, from 10 a.m. to 7 p.m.\, and a free guided tour\, at 5:30 p.m.\, to approach the exhibitions in course: \nAntoni Tàpies. The Imagination of the World \nAnna Malagrida. Opacitas. Veiling Transparency \nAndré du Colombier. A Lyrical Point of Vue \nand the project Extramurs 2025. Elena del Rivero. Transiting “la Quema” \n  \nLa Mercè 2025 Image. Artistic Director: Lluís Danés
URL:https://museutapies.org/en/event/open-day-and-guided-tour-on-the-occasion-of-la-merce-2025/
LOCATION:Museu Tàpies
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/09/Merce2025-cartell-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250925T180000
DTEND;TZID=Europe/Madrid:20250925T183000
DTSTAMP:20260505T062344
CREATED:20250722T165032Z
LAST-MODIFIED:20250916T153115Z
UID:10001047-1758823200-1758825000@museutapies.org
SUMMARY:Joan Morey. Double Event
DESCRIPTION:In 2004\, as part of an artistic project\, Joan Morey tattooed “DECEPTION” on his left forearm. The choice of this word was not arbitrary\, since it carries a semantic ambiguity\, multiple layers of interpretation and a high potential for misunderstanding. Far from considering it a closed statement\, he used it to highlight one of the structural conditions of art: its artificial\, fictional and even tricky character\, but\, at the same time\, its capacity to convey complex forms of truth. \nTwenty years later\, that inscription on the skin can be read as the symbolic beginning of an artistic journey based on ambiguity\, plurality and openness. Far from seeking conclusive forms or a univocal language\, Joan Morey has developed his work from unstable and\, at times\, contradictory positions. It is precisely in this oscillation where his power resides: in his ability to accommodate other voices\, embody other bodies and channel demands—both his own and collectively—that critically question the present. \nThe performance DOUBLE EVENT (in progress since 2004) fits into this context\, developed not as a finite work\, but rather as a machine or an open production mechanism. Its title refers to the double event theatrical technique\, which describes the simultaneous coexistence of two perceptive levels on stage: on the one hand\, the fictional event\, and on the other\, the conscious recognition of the stage device. The performance therefore works as a system of transference and displacement\, a kind of musical chairs\, with witnesses and mirrors that challenge the notion of authorship and unitary presence and where body\, time and gaze come into constant friction. \n  \nWith the special collaboration of: Sílvia Arenas\, Sònia Gómez and Ester Guntín. \n  \nJoan Morey (Mallorca\, 1972) holds a degree in Fine Arts from the University of Barcelona. Since the late 1990s\, his artistic practice has included performances\, videos and installations\, as well as sound and graphic works\, exploring the intersection between theatre\, cinema\, philosophy\, sexuality and subjectivity. His work is characterised by a profound reflection on authority\, power and the dynamics of domination\, exploitation and inequality present throughout the history of humanity.  \nHe has presented performances\, works and site-specific interventions in many museums\, art centres and galleries. His retrospective solo exhibitions include COLLAPSE. Desiring Machine\, Working Machine\, curated by Latitudes at the Contemporary Art Centre of Barcelona – Fabra i Coats (Barcelona\, 2018); COLAPSO. Máquina de representación [COLLAPSE. Representation Machine]\, curated by Alex Brahin\, at the Claustro de San Agustín – Museo de la Universidad Nacional de Colombia (Bogotá\, 2019–2020) and COLLAPSE. Bachelor Machine\, curated by Latitudes\, at Casal Solleric (Palma de Mallorca\, 2020). \n  \nActivity within the framework of the second edition of The Tàpies Chairs series\, coordinated by Judith Barnés.
URL:https://museutapies.org/en/event/joan-morey-double-event/
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/png:https://museutapies.org/wp-content/uploads/2025/07/Joan-morey.png
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20250930T180000
DTEND;TZID=Europe/Madrid:20250930T203000
DTSTAMP:20260505T062344
CREATED:20250901T115725Z
LAST-MODIFIED:20250930T111838Z
UID:10001057-1759255200-1759264200@museutapies.org
SUMMARY:Conference I\, You\, World: Symbol and Universe
DESCRIPTION:Following on from the success of the first edition of the I\, You\, World: Symbol and Universe study days\, held last year as part of the programme marking the centenary of the artist’s birth\, the Museu Tàpies now presents the second and final edition of these study days. The aim is to delve into one of the most complex and essential aspects of Antoni Tàpies’ work: his ability to create a symbolic language that transcends material form and enters a realm that is both deeply personal and universally resonant. \nBy bringing together art theorists\, poets and image specialists\, those sessions spurred the development of fresh insights and multivoiced readings of Tàpies’ Sèrie Teresa [Teresa’s Series] (1966) and Cartes per a la Teresa [Letters to Teresa] (1974)\, two key works for understanding the dialogue between art\, writing and existence in his career. \nTàpies’ oeuvre can be seen as a living essay that shapes a symbolic universe in which poetic vision and material form are in constant interplay. The focus on his Cartes per a la Teresa portfolio and Sèrie Teresa series brought to light the dialectic between sign and gesture\, word and space\, and the intersection of private life with the public construction of an artwork. This body of images and texts embodies an idea of art not merely limited to representation\, but as an open process of exploration and symbolic creation\, where each work becomes both meditation and communication extending beyond the artist himself. \nThe exhibition Antoni Tàpies: The Imagination of the World\, currently on view at the Museu Tàpies\, presents a selection of twelve works from Cartes per a la Teresa. Building on research shared in these study days\, the show offers visitors a rare opportunity to explore the intersection of love letters\, collage and lithography\, expressed through a language that fuses cosmic gestures with the intimacy of the everyday. This ensemble reflects Tàpies’ gift for decoding and reconstructing shared life experiences\, transforming them into spaces rich in meaning and open to multiple interpretations. \nIn this spirit\, the I\, You\, World: Symbol and Universe study days reaffirm the Museu Tàpies’ commitment to placing the artist’s work within an interdisciplinary framework that allows it to be understood as a meeting point of personal history\, symbolic vision\, politics and aesthetic reflection. This broader perspective reveals how Tàpies’ art transcends its historical and cultural origins to become a universal expression in which the relationship between sign and world expands into the creation of a new universe. \n  \nPROGRAMME \n  \nSESSION 1 \nDate: 30 September 2025 \n6 pm. Welcome and introduction by Imma Prieto \n6.10 pm. Talk: “An Education by Stone”\, by Pedro G. Romero \n6.50 pm. Talk: “Visual Letters: Overflowing Language\, Matter\, Affection and Gesture”\, by Andrea Soto Calderón \n7.30 pm. Poetry reading: “Uneasy Peace”\, by Blanca Llum Vidal \n8 pm. Open floor for questions \n8.30 pm. Closing remarks \n  \nSESSION 2 \nDate: 1 October 2025 \n6 pm. Introduction by Judith Barnés \n6.10 pm. Talk: “Essays on Love Without History”\, by Raül Garrigasait \n6.50 pm. Poetry reading: “Rag Days: Sequentiality\, Epistolarity\, Abstraction\, Tàpies and Millares”\, by Eloy Fernández Porta \n7.30 pm. Debate \n8 pm. Closing remarks \n  \n[Image: Antoni Tàpies. Original model (1971) for the series of lithographs\, lithograph-collages and collages Letters to Teresa\,  1974. © Comissió Tàpies / VEGAP\, 2025] \n  \nLink to the first edition of the conference.
URL:https://museutapies.org/en/event/seminar-i-you-world-symbol-and-universe/
LOCATION:Museu Tàpies
CATEGORIES:Public Programme
ATTACH;FMTTYPE=image/jpeg:https://museutapies.org/wp-content/uploads/2025/08/OG-473-cartesteresa_B_FG.jpg
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