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DTSTART;VALUE=DATE:20251203
DTEND;VALUE=DATE:20251205
DTSTAMP:20260505T050902
CREATED:20251118T113649Z
LAST-MODIFIED:20251129T140153Z
UID:10001131-1764720000-1764892799@museutapies.org
SUMMARY:International Symposium "Primitive Images\, Modern Dreams: Tàpies and Post-War Visual Culture"
DESCRIPTION:As part of the exhibition Antoni Tàpies: The Imagination of the World\, the Museu Tàpies is organising an international symposium to explore the study of the image on the basis of its collection. This initiative is part of the museum’s ongoing line of research and aims to rethink the visual narratives that shape our collective imagination\, paying special attention to the symbolic\, aesthetic world view surrounding Antoni Tàpies’ work. \nThe symposium sets out from the body of work on exhibition\, made up of works by Tàpies from the forties and fifties\, prior to his material period; pieces belonging to the artist’s private collection from non-Western cultures or by other artists in his context\, and archive material—both belonging to the museum and acquired by it specifically to prepare this exhibition—related to the popular imagination of the day. \nOn the basis of these materials\, the symposium concentrates on three subject areas that can be followed throughout the exhibition: primitivism\, psychoanalysis and popular culture. These areas allow us to place Tàpies’ artistic output in the context of a post-war Barcelona deeply marked by social\, political and cultural changes\, and to connect it with international avant-garde movements. At the same time\, this encounter sets out to explore other aspects\, such as the way Tàpies approached vernacular traditions and ancestral practices\, the impact of psychoanalytic thought on his work as a tool for addressing psychological concerns typical of an era\, and the dialogue between academic art and popular knowledge as forms of resistance and radical expression. \nThe symposium stands out for its interdisciplinary approach\, incorporating philosophy and psychoanalysis to address images not only as aesthetic forms but also as instruments of thought and symbolic construction. Its ultimate goal is to offer an updated\, critical reading of Tàpies’ work\, opening up spaces for discussion of the image\, the historical narrative and cultural memory. \n  \nProgramme of the symposium \n  \nWednesday\, 3 December 2025 \n· 6 pm. Welcome and presentation by the Museu Tàpies \n· 6.10 pm. Talk: ‘The Material Imagination’\, by Emmanuel Alloa \n· 6.50 pm. Talk: ‘A Visionary Context: Spiritualism\, Clairvoyance and the Unconscious’\, by Andrea Graus Ferrer \n· 7.30 pm. Break \n· 7.40 pm. Talk: ‘The Origin and Context of primitivism in Antoni Tàpies’\, by Estela Ocampo \n· 8.20 pm. Round table and debate moderated by the Museu Tàpies \n· 9 pm. Closing \n  \nThursday\, 4 December 2025 \n· 6 pm. Welcome and presentation by the Museu Tàpies \n· 6.10 pm. Talk: ‘Imagination\, imagined\, imaginary’\, by Chiara Boticci (online) \n· 6.50 pm. Talk: ‘Club 49\, a Window on the World’\, by Muriel Gómez \n· 7.30 pm Break \n· 7.40 pm Talk: ‘Swing and Modernity: Jazz in postwar Barcelona’ by Jordi Pujol Baulenas  \n· 8.20 pm. Round table and debate moderated by the Museu Tàpies \n· 9 pm. Close with ‘Echoes of Club 49’\, by the Carlos Falanga Trio \n  \nSpeakers \n  \nEmmanuel Alloa. Professor of Aesthetics and Philosophy at the University of Freiburg (Switzerland). A researcher at NCCR eikones\, he has lectured at Paris 8 University and been a guest lecturer at the universities of Weimar (Germany)\, Morelia (Mexico)\, Belo Horizonte (Brazil)\, Shanghai (China) and Berkeley\, Columbia and Yale (United States). \nAlloa has published a dozen books on contemporary philosophy\, phenomenology and the relations between aesthetics and politics. His work has been translated into English\, German\, French\, Spanish\, Portuguese and Chinese. Highlights among his publications in Spanish include: La resistencia de lo sensible (2009)\, ¿Cómo (no) leer las imágenes? (2019)\, La imagen diáfana (2021)\, Pensar la imagen I & II (2020 and 2022) and Repartos de la perspectiva (2024). His research work has won several awards\, including the Latsis Award in 2016 and the Aby Warburg Award in 2019. \n  \nChiara Bottici. An Italian philosopher and writer\, she lives and works in New York. She holds a chair in Philosophy in the Philosophy department of the New School for Social Research\, where she lectures\, among other things\, on the thought of Hannah Arendt and Ágnes Heller. As well as lecturing in political philosophy and aesthetics\, at the same institution she has founded and run the Gender and Sexualities Studies Institute. \nShe has written\, among other things\, Filosofía del mito político (Bollati Boringhieri\, 2012)\, The Myth of the Clash of Civilizations (2010\, with Benoît Challand)\, Imagining Europe: Myth\, Memory and Identity (2013\, with Benoît Challand)\, Manifest anarcafeminista (Laterza\, 2022)\, Cap submissió: El feminisme com a crítica de l’ordre social (2023)\, Mitologia feminista (Castelvecchi\, 2022) and La política de la imaginació (Castelvecchi\, 2023). Her work has been translated into a dozen foreign languages. \n  \nCarlos Falanga. Born in Buenos Aires (Argentina)\, at a very early age he started learning drums with Roberto Cesari Jr. At the age of 22 he decided to move to Barcelona\, where he continued his study of harmony and the piano at the Taller de Músics\, and of the drums with the great Aldo Caviglia. He subsequently graduated from the Barcelona Conservatory (ESMUC)\, where he studied with Jo Krause and David Xirgu. \nSince 2002 he has played an active part in the Catalan music scene\, performing in clubs and festivals all over Europe\, Asia and the Americas\, with a range of Spanish musicians and artists including Jorge Rossy\, Marco Mezquida\, Amparo Sanchez\, Carme Canela\, Horacio Fumero\, Bill McHenry\, Fredrik Carlquist\, Guillermo Klein and the Orquestra Simfònica del Liceu\, among others. He has released two albums under his own name: Gran Coral (Underpool) and Quasar (Fresh Sound New Talent)\, and with his experimental project IHHH he has made several recordings and performed at many festivals\, including Sónar Festival and Keroxen. \n  \nMuriel Gómez. She has a doctorate in the History of Art from the University of Zaragoza. She is currently an associate lecturer and vice-dean for Alliances\, Community and Culture in Art and Humanities Studies at the Universitat Oberta de Catalunya (UOC). A member of the SEC (Society\, State and Culture) history research group\, her research focuses on the analysis of processes of rupture and continuity in Catalan artistic modernity between the pre-war and post-war periods. Her main areas of study include the links between ADLAN and Club 49\, and the figures of Joan Miró and the sculptor Eudald Serra. \n  \nAndrea Graus Ferrer. Ramón y Cajal researcher at the Institució Milà i Fontanals d’Investigació en Humanitats at the CSIC. With a doctorate in the History of Science from the UAB\, she worked at the Centre Alexandre Koyré at the CNRS in Paris and at the University of Anvers (Belgium) for six years. The author of Ciència i espiritisme a Espanya (1880-1930) (Comares\, 2019)\, she has published work on the history of psychic research with mediums\, hypnosis and mystical phenomena in the 19th and early 20th centuries. Her current line of research focuses on the history of gifted children and child talent in contemporary Europe\, the subject of her next book. She curated the exhibition Gifted Children: Fame\, Science and Politics (Biblioteca de Catalunya\, 2024). \n  \nEstela Ocampo. She was a tenured lecturer at the University of Barcelona from 1987 and at the Pompeu Fabra University in Barcelona from 1987 until her retirement in September 2021. Academic secretary at the Pompeu Fabra University’s Institut de Cultura (2000–2008). Director of the Pompeu Fabra University’s Institut Universitari de Cultura (2008–2014)\, She is currently director and lead researcher at CIAP\, the Research Centre for Primitive Art and Primitivism at the Pompeu Fabra University. She has carried out research projects funded by the Spanish ministry of education and science into primitive art between 1997 and 2003\, and into primitivism and modern art between 2007 and 2016. \nShe has published numerous articles in Spanish and international journals. Her most recent books are: El Fetitxe en el Museu\, (Madrid\, 2011)\, Primitivisme a Europa i Amèrica\, (Barcelona\, 2017) and Traços. Pintura aborigen australiana: tradició i contemporaneïtat (Barcelona\, 2022)\, among others. She has given numerous lectures and seminars in Spain and abroad. She has curated several exhibitions\, the last being Strokes. Australian Aboriginal Painting: Tradition and Contemporaneity (Museu Etnològic i de les Cultures del Món\, December 2021 – June 2022). \n  \nJordi Pujol Baulenas. Born in Barcelona in 1953\, in 1983 he founded the music label Fresh Sound Records\, devoted to jazz\, after having worked as a textile designer in Lyon and Barcelona. In the course of his career\, he has recovered historic recordings like the concert by Louis Armstrong in Windsor (1955)\, and\, with the label Fresh Sound New Talent\, recorded the debut albums by artists like Brad Mehldau\, Robert Glasper\, Ambrose Akinmusire and Kurt Rosenwinkel\, as well as numerous local musicians. The winner of awards from the Académie du Jazz and the Académie Charles Cros\, he has featured in articles and interviews in media including Down Beat\, Jazz Magazine\, The New York Times and Los Angeles Times. He is the author of the book Jazz a Barcelona 1920-1965\, winner of the Ciutat de Barcelona Award in 2006. \n  \n[Imagen: Antoni Tàpies\, Gossos (Dogs)\, 1948. Col·lecció particular\, Barcelona © Comissió Tàpies / VEGAP\, 2025]
URL:https://museutapies.org/en/event/international-symposium-primitive-images-modern-dreams-tapies-and-post-war-visual-culture/
CATEGORIES:Public Programme
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251205T173000
DTEND;TZID=Europe/Madrid:20251205T183000
DTSTAMP:20260505T050902
CREATED:20251107T130509Z
LAST-MODIFIED:20251128T120638Z
UID:10001123-1764955800-1764959400@museutapies.org
SUMMARY:Artistic mediations at the André du Colombier: A Lyrical Point of View exhibition\, with Estel Boada
DESCRIPTION:Mediation experience at the André du Colombier: A Lyrical Point of View exhibition\, led by artist Estel Boada\, aimed at the audiences visiting the museum on Friday afternoons. \nWhat connection do you think there is between a ceramic frog\, a collection of rubbers\, different-coloured party plates and shopping bags? These are some of the mundane objects which du Colombier gave a poetic setting and space. What would you choose from your bag or your pockets if you had to give an improvised gift? Don’t worry: if you haven’t got anything on you\, you can always give a play on words! In this immersion in du Colombier’s work we’ll be revealing new messages hidden behind the assemblages selected for the exhibition at the Museu Tàpies\, creating new plays on words and listening to music from the edges in a homage to du Colombier’s outside universe. \n  \nEstel Boada (Barcelona\, ​​1991)\, singer and multidisciplinary artist\, defines herself as a contextual juggler. With a background in Fine Arts\, she explores space\, community\, and voice through performance. Her work\, marked by humor and absurdity with touches of fantasy\, burlesquely reflects on her life as a “frustrated diva.” Interested in experimental education\, contextual art\, sound\, music\, and drawing\, she uses action and humor as tools of critique. She has participated in numerous interdisciplinary art interventions and curated self-organized contemporary art series. She is also a composer and vocalist for various musical projects.
URL:https://museutapies.org/en/event/artistic-mediations-at-the-andre-du-colombier-a-lyrical-point-of-view-exhibition-with-estel-boada/
CATEGORIES:Education
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251213T130000
DTEND;TZID=Europe/Madrid:20251213T143000
DTSTAMP:20260505T050902
CREATED:20251202T115507Z
LAST-MODIFIED:20251202T115507Z
UID:10001140-1765630800-1765636200@museutapies.org
SUMMARY:Mami Sugar. Search no. 3: Rewriting
DESCRIPTION:A sock: an everyday object\, minimal\, almost insignificant. When I look at it\, I make an immediate association: \nsock → foot → shoe \nAnd this journey leads me to think about hundreds\, thousands of people who walk: \n\nwho cross deserts\, coasts\, cities and frontiers;\nwho reach Europe or try to get to Catalonia;\nwho disappear from our view as soon as they get to the city;\nwho cannot go into museums\, but sustain everyday life.\n\nI think of those who live on the edges\, about non-normative bodies that do not fit into the official narrative. I think of those\, still without papers\, who build and sustain the Catalan economy: \n\nthe people in the fields in Lleida province\,\nthose who work in recycling with the same materials that Tàpies used to create his work.\n\nThose invisible presences who are here; their ancestors felt the whip that helped to raise up this country with raw materials like cocoa\, coffee\, sugar and timber. \nAnd if I think of Tàpies\, I inevitably think of Catalonia. And if I think of Catalonia\, is see the senyera\, its flag. How would a Catalan flag be constructed today? \nWhat is its gold? Whose is the blood behind the four red bars? \nBut I am Catalan. This flag is also mine. We need to appropriate the symbols\, transform them\, play with them\, create new narratives. \nThis is another foundational story for the 21st-century Catalan flag\, made from the socks of Afro-descendent people who walk over fictitious blood. \nThis is why I propose a different senyera: a flag created from the sidelines\, from the bodies that are not expected in the street but are exhibited in the museum as a symbol of diversity and integration. \nIn this other flag\, the yellow is the gold of Abya Yala: the wealth extracted from Africa and Latin America\, today turned into coltan\, cocoa\, oil and extractive companies that sustain European well-being. The red is the blood of the transatlantic trade: a trail that lives on in the deaths in the Mediterranean\, on the frontiers where black bodies continue to bleed. \nBecause the black presence in Catalonia does not begin with recent migration: it is ancient\, it is in the land and in time. \nIn almost all regions of Africa there exists a figure that connects the worlds of the living and the dead. A presence that dresses in clothing made of dried leaves\, of fibres\, of cloths\, of materials that breathe memory. It is a mask that entertains children\, that dances\, that provokes\, but that also guides\, supports and helps to transcend. A figure that does not just appear: it intercedes. That does not just dance: it opens gateways. That does not just play: it protects. \nI want to take this ancestral figure and create one of our own; a being wearing socks\, with the socks of people who migrate to Catalonia\, and also the socks used to create this new flag. \nSocks get lost in the wash\, yes; but they are also the best place to keep secrets\, to protect small treasures\, to keep us from the cold in the world. This is why I ask the migrant community for these odd socks in order to create a suit to dialogue face to face with Tàpies’ giant sock; a suit to stir a dance of the marginalised\, a movement to bring together times and places\, to connect me to the thousands of people who walk\, who make the crossing over to Europe\, to Spain\, to Catalonia. Because when there are no shoes\, when all has been lost or left behind\, we will carry on walking in socks. \nMy body—black\, female\, nearly fifty years old\, fat\, queer\, excessive—is not the expected body. But it is this body that today constructs this new senyera. That claims its place in the narrative. That says: Catalonia is also written by us. That declares: we are here\, we have always been here and we are a fundamental part of what this territory is and what it may become. \n  \nSilvia Albert Sopale \n  \nSilvia Albert Sopale is an actress by vocation\, a director by obligation\, a dramatist by social responsibility and an activist out of love for blackness. Born in San Sebastián\, she is the daughter of a Boobe mother from Equatorial Guinea and an Igbo father from Nigeria. She currently lives in Barcelona. \nShe is founder of Periferia Cimarronas\, the first Black theatre company in Spain; she taught the 2025 spring chair at the King Juan Carlos I of Spain Center at the University of New York; she is a member of the Academia de las Artes Escénicas de España; founder of Hibiscus\, the association of Afro-Spaniards and Afro-descendants; and director of the Festival Black Barcelona. She is also co-founder of Tinta Negra\, a collective promoting racial diversity in the performing arts\, and member of t.i.c.t.a.c. (Taller de Intervenciones Críticas Transfeministas Antirracistas Combativas). \nShe is joint creator of No es país para negras (2014)\, Blackface y otras vergüenzas (2019)\, Parad de pararme (2021)\, La Moreneta (2021)\, Cuentos desde la Periferia (2023)\, Mahmud y no solo Mahmud (2023) and Lotö\, un ritual de emancipación corporal (2024). \nHer work is studied in universities in Spain and the United States\, and she has staged productions in New York\, Chicago\, Colombia and several European countries. \n  \nThe programming and curating of the second edition of the Following the Sun cycle has been carried out by Gabriel Virgilio Luciani.
URL:https://museutapies.org/en/event/mami-sugar-search-no-3-rewriting/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251216T180000
DTEND;TZID=Europe/Madrid:20251216T190000
DTSTAMP:20260505T050902
CREATED:20251209T103932Z
LAST-MODIFIED:20251210T095132Z
UID:10001143-1765908000-1765911600@museutapies.org
SUMMARY:Unspeakable Magic
DESCRIPTION:The third edition of the series A Hatch in the Void\, conceived by the writer Marc Caellas for the exhibition Antoni Tàpies: The Imagination of the World\, features the participation of Esteban Feune de Colombi and Félix Denuit. \nOn this occasion\, Caellas will install a number of oracles to serve viewers\, who will be invited to participate in brief personalised sessions. Instead of working like a predictive artifice\, each oracle works as a poetic\, sensitive device\, a tool to reveal what has remained hidden—in our perception\, in aesthetic experience or in the act of looking. The activity proposes an opening up exercise\, allowing intuition\, ancestral wisdom and latent energies to find a place to express themselves. \nThis play of interpretations\, combining performativity\, presence and imagination\, comes into direct dialogue with the ideas of Tàpies. Like the magician\, the artist was well aware that almost everything is a trick\, yet he also knew that authentic magic is not based on trickery but on what gets activated between the creator and the observer. For Tàpies\, over and above the final result what mattered was the process\, along with shared mystery and the affective relationship forged through objects and gestures. \n“Unspeakable Magic” calls on us to explore this terrain between the visible and invisible\, between art and ritual\, experiencing the work and thought of Tàpies up close\, in an intimate\, unforeseen manner. \n  \n[Image: detail of one of the showcases of the exhibition Antoni Tàpies. The imagination of the World.]
URL:https://museutapies.org/en/event/unspeakable-magic/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251220T110000
DTEND;TZID=Europe/Madrid:20251220T130000
DTSTAMP:20260505T050902
CREATED:20251125T182323Z
LAST-MODIFIED:20260206T115026Z
UID:10001135-1766228400-1766235600@museutapies.org
SUMMARY:Thinking ‘After’: I can’t breathe
DESCRIPTION:  \nAs part of the ‘Euphoric Criticism’ series\, organised by the Grup Obert d’Art Polític (GOAP) in collaboration with Museu Tàpies\, we have asked Franco ‘Bifo’ Berardi to talk about the notion of ‘after’\, which seems to have permeated our lives in recent years: pandemics\, polarisation\, wars and genocides\, as well as runaway technology\, have reinforced the feeling that the world and its institutions have entered a new era. \nLike poetry after Auschwitz according to Adorno\, like history after the end of history according to Fukuyama\, we find ourselves in a disaffected point in time in which we need to learn to think from other reference points: we live in a post-humanism after the rupture between nature and culture\, and with a technology that is automating us for the benefit of a techno-fascist elite. Berardi’s latest book\, Thinking Gaza\, confirms this same disaffected and disoriented situation. We do not know where these space and time of the ‘after’ lie\, nor through what body or what politics a humanised way out can materialise. ‘I can’t breathe’\, we say\, as victims of violent repression: let us breathe and share political intuitions. \nPresentation by Xavier Bassas and Laura Llevadot\, members of GOAP. \nThe act will conclude with a poetical reading by Mireia Calafell. \n  \nFranco Berardi\, known as Bifo since youth\, has been a leading figure in left-wing thought in recent decades. In May 1968\, he took part in the student revolt at the University of Bologna. He also joined the extra-parliamentary group Potere Operaio\, alongside figures such as Toni Negri. During those years of unrest\, he founded the magazine A/traverse and participated in the pirate radio station Alice. In his works\, Berardi abandons orthodox Marxism and draws on the teachings and concepts of psychoanalysis to articulate his critique of post-industrial capitalist society. His latest books are permeated by the idea of the future\, of what comes after\, of our emotional (in)ability to move beyond an automated and depressing era. \nSome of his numerous books include Thinking Gaza: An Essay on Ferocity (English translation forthcoming: Semiotext(e)\, 2026) and Breathing: Chaos and Poetry (Semiotext(e)\, 2019). \n 
URL:https://museutapies.org/en/event/thinking-after-i-cant-breathe/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20251228T110000
DTEND;TZID=Europe/Madrid:20251228T120000
DTSTAMP:20260505T050902
CREATED:20250415T120041Z
LAST-MODIFIED:20260107T125218Z
UID:10000980-1766919600-1766923200@museutapies.org
SUMMARY:Transformation. Activities for families
DESCRIPTION:  \nDynamic guided tour for families of the exhibitions Antoni Tàpies: The Imagination of the World and André du Colombier. A Lyrical Point of View. \nHow does an egg transform into a butterfly? And how does this happen in art? Can things also transform? Antoni Tàpies and André du Colombier shared a deep interest in the objects and the magic of transformation. Would you like to know how they expressed it? \nDuring this activity\, we will discover that the work of both artists is full of references to the objects\, and we will listen to what they are telling us. But we will have to keep our eyes wide open to let ourselves be carried away by their magic! \n  \n[Imatge: Antoni Tàpies. Dona-arbre (1944). Private Collection\, Barcelona © Comissió Tàpies / VEGAP\, 2025] 
URL:https://museutapies.org/en/event/transformation-activities-for-families/
CATEGORIES:Education
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