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DTSTART;TZID=Europe/Madrid:20260604T180000
DTEND;TZID=Europe/Madrid:20260604T184000
DTSTAMP:20260805T041644
CREATED:20260522T113306Z
LAST-MODIFIED:20260530T124658Z
UID:10001290-1780596000-1780598400@museutapies.org
SUMMARY:Vibe. The Weight of Sand
DESCRIPTION:Vibe: The Weight of Sand is a performance inspired by the cosmogony of Black Africa\, where objects\, gestures and words are part of the same relational system. In this domain\, functionality and symbolism coexist without hierarchies: the everyday can become a ritual\, and the simplest of gestures might reveal a profound\, ancestral side of things. \nThis piece takes shape as an act of divination occurring in a contemporary urban context. Instead of percussion\, we use sand and electronic devices to create frequences able to move it. We then draw over top of this living surface\, evoking ephemeral forms\, enabling them to appear\, as if matter were trying to speak. \nSand represents vibration\, latent energy and movement. \nThe stool represents weight\, a centre and stability. \nAt the heart of the action we have the nkoh\, a stool from ethnic Bamileke culture. I sit on it covered by a large piece of cloth that transforms the body into an almost pyramidal figure. The stool is a seat\, drum\, throne and memory itself: the hidden chair; the grandfather’s throne; the chair at the door\, waiting without expecting anyone; the presence the body resonates from. \nTwo cameras film the drawing tables and project the images on the wall. In this way\, the hands working the sand become a kind of digital divination: shaky traces\, hesitant gestures\, ongoing appearances and disappearances. \nThe performance also explores other ways of holding up and moving the body. Carrying someone on your back\, like a child; improvising seating with sacks or unstable structures; moving an elderly person between two poles from one village to another. Here the chair is not just a functional object\, but an extension of the body\, an instrument of survival\, care and transmission. \nA visible chair. \nAnother that is invisible. \nThe chair of life. \n  \nXumo Nunjo. An independent artist\, musician and producer from Cameroon\, based in Barcelona. His grandparents initiated him in traditional Bamileke performing arts\, which would have a powerful impact on his artistic sensibility and creative path. His interests include architecture\, art history\, anthropology\, theatre and the visual arts\, all of which contribute to his original\, cross-disciplinary work. In his career he has participated in the creation and production of stage shows\, recordings\, performance art\, street art projects and advertising campaigns. He has performed in throughout Europe\, the United States\, Asia and Africa\, presenting original work that reflects on his abundant artistic universe. \n  \nAngel Ihosvanny. A multidisciplinary artist living and working between Barcelona and Luanda. His practice encompasses painting\, installation\, video and music\, addressing themes in contemporary urban planning\, consumerism and the transformation of the environment. He has exhibited in international events like the Luanda Triennale and the Venice Biennale. \n  \nSeries “The Chairs of Tàpies” are curated by Judith Barnés.
URL:https://museutapies.org/en/event/vibe-the-weight-of-sand/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260609T170000
DTEND;TZID=Europe/Madrid:20260609T190000
DTSTAMP:20260805T041644
CREATED:20260602T104352Z
LAST-MODIFIED:20260602T105249Z
UID:10001291-1781024400-1781031600@museutapies.org
SUMMARY:Meeting Point
DESCRIPTION:  \nIn the context of the exhibition Antoni Tàpies: The Perpetual Movement of the Wall\, the Museu Tàpies presents a public enlivening of the research process developed by Mauricio Sierra through conversations with various individuals who either work in the museum or visit it. \nOpening up this process represents an invitation to place the body inside the exhibition space and experience varied manners of perception. The format combines mechanisms for artistic mediation and performance\, and will be open to the participation of any person visiting the museum during designated opening times. \nThe proposal is founded on the idea that encounter activates movement\, arouses murmurs\, activates other rhythms and makes pauses possible\, along with necessary relief and rest periods. In this regard\, Sierra proposes to work on the basis of the collective gestures that bodies produce within museum spaces\, understanding the museum as a site of relation and conversation. Through these gestures of approximation\, the research project delves into the appearance of subtle gestures and forms of shared presence\, rehearsing the museum as a meeting point influenced by everyday relationships\, where many actors coincide\, and where spaces for listening and exchange might be created. In this way\, the proposal pursues an existing line of work focused on experiencing ways of being together and collectively inhabiting spaces. \n  \nMauricio Sierra is a researcher\, performer\, collaborative playwright and director\, assistant director and mediator. His practice addresses the collective body as ongoing support and object of study\, as well as a possibility for destabilisation and basis of research. He has worked on projects in theatre\, dance\, performance\, cinema and museography in Colombia\, Spain and England. He develops processes with professional and academic groups in the performing arts where\, through contemporary forms of communication\, and with particular attention to non-conventional spaces\, he explores the possibilities of design\, reception and participation in artistic experiences. \n  \nFour people observe Marró i ocre  [Brown and ochre] (1959)\, by Antoni Tàpies\, at Sala Gaspar\, 1960. Personal Archive of Antoni Tàpies.
URL:https://museutapies.org/en/event/meeting-point/
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260610T180000
DTEND;TZID=Europe/Madrid:20260610T190000
DTSTAMP:20260805T041644
CREATED:20260529T131329Z
LAST-MODIFIED:20260529T131356Z
UID:10001292-1781114400-1781118000@museutapies.org
SUMMARY:Mur mur i zo
DESCRIPTION:  \nMur mur i zo* is a kinetic and poetic exploration of the exhibition Antoni Tàpies: The Perpetual Movement of the Wall\, held at the Museu Tàpies. This collaborative research project on movement and stasis has been developed between two artists from different disciplines\, dance (Georgia Vardarou) and the visual arts and poetry (Nathalie Karagiannis). The project is grounded on three core concepts: the repetition of the wall motif in the work of Tàpies and its implications\, the relationship between body and memory (memory as a dead archive or creative vitality) and interaction between these two creators. \nPresented at the Museu Tàpies\, this exploration is the result of the first edition of the research residency Archival Body\, a collaborative project between the Museu Tàpies and Graner – Centre de creació de dansa i arts vives. \n* The title of the project is the transliteration into Latin characters of a Greek verb meaning ‘murmur’. Placed in this format\, it repeats the Catalan word mur\, meaning ‘wall’\, as well as zo\, the Greek word for ‘live’. \n  \nGeorgia Vardarou graduated from the National School of Dance (Κ.Σ.Ο.Τ.) in Greece and then from P.A.R.T.S.\, in Belgium. As a professional dancer she has worked with Salva Sanchis\, Marc Vanrunxt and Anne Teresa De Keersmaeker / Rosas\, among others. As a choreographer she is interested in personal movement\, the content it carries and intersubjectivity between the observer and the dancer in perception of the dance. Her most recent pieces have been seen at STUK (Leuven)\, Mercat de les Flors (Barcelona)\, KC NONA (Antwerp)\, Corso-Berchem (Belgium)\, Spider Festival (Slovenia) and December Dance (Bruges). Vardarou is a member of the teaching staff at Centre Superior d’Art Dramàtic Eòlia. Her work is produced by kunst/werk. \nNathalie Karagiannis works in writing\, drawing and installation. She has degrees in Public Law (Paris I) and Political Science (Sciences Po Paris)\, and did a doctorate in Social and Political Theory from EUI in Florence. Her most recent exhibitions are Three Breaths of Fresh Air (Islahane Museum\, 2025)\, Vent (La Pahissa del Marquet\, 2025) and Dago (Hadjmihali Museum\, 2025). She is the curator of Art and Crisis at the CCCB (2013)\, the Festival SUD de Poesia at the Reial Cercle Artístic deBarcelona (2015)\, Der Blinde Fleck at Warburg Haus (2019) and Elogio del riesgo and Vallas at La Fusteria (2023). She has published seven books\, is the editor of three volumes of writing\, and has written articles on democracy\, debt\, solidarity and other questions related to social and political theory.
URL:https://museutapies.org/en/event/mur-mur-i-zo/
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260611T190000
DTEND;TZID=Europe/Madrid:20260611T210000
DTSTAMP:20260805T041644
CREATED:20260508T121500Z
LAST-MODIFIED:20260608T081339Z
UID:10001273-1781204400-1781211600@museutapies.org
SUMMARY:Àngel Jové: Bite the Image. Film series
DESCRIPTION:  \nThe Museu Tàpies\, in collaboration with Espai Texas\, presents the film series Àngel Jové: Bite the Image\, which explores the cinematographic side of one of the most unique creators in the contemporary Catalan scene\, an artist who was radical\, experimental and interdisciplinary. \nAlongside his artistic career\, Jové developed a body of work of a potent experimental character the field of cinema.  After (1968)\, a part of a performative action\, to the creation of Primera muerte (1969) with the El Maduixer conceptual group — considered the first piece of video art in Spain) — his audiovisual work became a terrain for radical research on the image. This line of work culminated in later projects like Lo pedrís\, viatge per les terres de Ponent (Lo pedrís\, voyage to western lands\, 1989)\, made with Benet Rossell and Carles Hac Mor. \nStarting in the late 1960s\, Jové would take on regular roles in the films of Bigas Luna\, becoming an actor with a cult reputation in films like Bilbao (1978)\, Caniche (1979) and Angustia (1987)\, as well as in other productions of Catalan and Spanish film in the 1980s and 1990s. His artistic career has likewise been the subject of film\, as seen in the documentaries Gonzalo Herralde made about him over various decades. \nThe series Àngel Jové: Bite the Image thus proposes an approximation to the audiovisual side of Jové\, with three sessions combining screenings and contextual contributions from respective experts\, with the aim of polyhedrally placing Jové within this form of register. \n  \nProgramme \n  \nSession 3 — Experimental cinema: conceptual artistic practice at Primera muerte \nScreening of Primera muerte (1969) and Eco de Primera muerte (2017) \nThe final session will begin with a presentation by Daniel Pérez Pàmies\, Professor of Film History (UdG) and member of the research group GROC\, and will close with a presentation by Imma Prieto\, director of the Museu Tàpies\, who will focus on Jové’s role in the early years of video art. \nDate: Thursday 11 June\, 7 pm \n  \nPast: \nSession 1 —The cinema of transgression: Àngel Jové and Bigas Luna as a paradigm of the 70s \nScreening of Bilbao (1978)\, by Bigas Luna \nThis session features an introduction by Jordi Balló\, who will address how this film represented an aesthetic and thematic rupture. \nDate: Wednesday 20 May\, 7 pm \nSession 2 — The view of Gonzalo Herralde: documentaries on the work and thought of Àngel Jové \nScreening of Capiscar la fior de la mà morta (1991) and Altra volta mossego un tros de pa. Cristòfol-Pavese (2007). \nA dialogue between Gonzalo Herralde and Maria Josep Balsach\, curator of the exhibition Àngel Jové. De intactu\, at the Museu Tàpies. \nDate: Wednesday 3 June\, 7 pm \n  \nImage: Àngel Jové. Eco de Primera muerte\, 2017
URL:https://museutapies.org/en/event/angel-jove-bite-the-image-film-series/
CATEGORIES:Public Programme
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260616T180000
DTEND;TZID=Europe/Madrid:20260616T193000
DTSTAMP:20260805T041644
CREATED:20260609T111043Z
LAST-MODIFIED:20260731T085207Z
UID:10001293-1781632800-1781638200@museutapies.org
SUMMARY:Lliurament de premis de la tercera edició del concurs Teresa Barba d’escriptura crítica
DESCRIPTION:  \n  \n  \n 
URL:https://museutapies.org/en/event/lliurament-de-premis-de-la-tercera-edicio-del-concurs-teresa-barba-descriptura-critica/
CATEGORIES:Education
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BEGIN:VEVENT
DTSTART;TZID=Europe/Madrid:20260619T190000
DTEND;TZID=Europe/Madrid:20260619T210000
DTSTAMP:20260805T041644
CREATED:20260522T075902Z
LAST-MODIFIED:20260602T103602Z
UID:10001289-1781895600-1781902800@museutapies.org
SUMMARY:Raquel G. Ibáñez. Sienten las piedras [The Stones Feel]
DESCRIPTION:  \nIf we were to plunge into the hole of Antoni Tàpies’ Mitjó [Sock]\, perhaps we would see the sky. Or the bowels of the earth. Or that familiar corner we had never truly noticed before. The hole would then appear as an opening\, a threshold from which to gaze upon a terrace exposed to the sun and the elements—a space where contemplation of the everyday becomes strangely mysterious. As if perception\, by straying just slightly from its usual course\, had opened up a small fissure\, an interstice that\, following Tim Ingold’s reflections\, would not enclose a fixed meaning but would remain between the lines. “An aerial knot.” \nPerhaps\, then\, it would be enough to pull the thread and listen. To listen to the wind\, the flowing water\, the melting snow or the distant crack of a falling tree. To listen also to what vibrates between bodies and objects. From this sustained attention\, a small-scale ritual would unfold. If we were to plunge into the hole. \n  \nWith this invitation in mind\, Raquel G. Ibáñez has designed a listening session in which recordings of atmospheric phenomena and natural environments enter into a distorted dialogue—like a thread in an expanded\, nonhierarchical weave\, intertwining the ancestral and the technological\, the intimate and the geological. In resonance with Mary Oliver’s poetic sensitivity to the wondrous dimensions of the everyday\, this piece subtly shifts perception to reveal—if only momentarily—other ways of relating to the environment. \n… \nFrom this invitation\, the artist proposes a listening session in which recordings of atmospheric phenomena and natural environments dialogue and distort. Like another thread in an expanded weave\, the ancestral and the technological\, the intimate and the geological\, intertwine without hierarchies. In resonance with Mary Oliver’s poetic sensitivity to the wondrous dimensions of the everyday\, the piece subtly shifts perception and opens—if only momentarily—other ways of relating to the environment. \n  \nRaquel G. Ibáñez’s artistic practice explores liminality and the boundaries between sound\, language and visual image\, using listening—both human and more-than-human—as a methodological tool rooted in acousmaticology. Her work focuses on the intangible and on the thresholds between the human\, the spiritual and the natural\, while also examining the tension between the ancestral and the future within a context of global crisis. Her processes highlight the fragility and interdependence of biological life\, materialised in various formats such as sound\, drawing\, performance\, installation and expanded publishing. \nShe has developed projects in institutions such as CA2M-Centro de Arte Dos de Mayo\, Fundación Cerezales Antonino y Cinia\, Tsonami Arte Sonoro\, CDAN\, Sonandes\, La Casa Encendida and MACBA. She has received a number of awards and grants\, including the 2024 Miquel Casablancas Prize\, the 2024 Circuitos Artes Plásticas Prize\, the Comunidad de Madrid’s Visual Arts Creation Grants and public grants from the Spanish Ministry of Culture for the creation\, research and production of artistic projects. \nHer career includes artistic residencies at spaces like AADK\, Jazz ao Centro and Bulegoa and she has participated in sound art and experimental music festivals such as Insonora 14\, Sur Aural\, Rota Music Festival and Soundtiago\, among others. Her involvement in the poetry and performance collective Una Fiesta Salvaje and the publication of her book Granate consolidate a practice that entwines creation\, research and writing. \nActivity programmed as part of the Museu Tàpies series Following the Sun\, entitled Uncovering the Gaze\, curated by Carolina Ciuti. \n  \nImage: Raquel G. Ibáñez. Photo: Juan Hoppe
URL:https://museutapies.org/en/event/raquel-g-ibanez-sienten-las-piedras/
CATEGORIES:Public Programme
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