{"id":57526,"guid":{"rendered":"https:\/\/graf.cat\/?post_type=event&#038;p=57526"},"modified":"2026-05-22T16:52:57","modified_gmt":"2026-05-22T14:52:57","slug":"el-mur-i-la-ciutat-dispositius-visuals-de-la-modernitat","status":"publish","type":"event","link":"https:\/\/graf.cat\/es\/events\/event\/el-mur-i-la-ciutat-dispositius-visuals-de-la-modernitat\/","title":{"rendered":"\u201cEl mur i la ciutat. Dispositius visuals de la modernitat\u201d"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":8,"featured_media":57521,"template":"","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"event-venues":[734],"event-tags":[],"class_list":["post-57526","event","type-event","status-publish","has-post-thumbnail","hentry","event-venue-museu-tapies","event-category-simposi"],"acf":{"title_ca":"\u201cEl mur i la ciutat. Dispositius visuals de la modernitat\u201d","title_es":"\u201cEl muro y la ciudad. Dispositivos visuales de la modernidad\u201d","title_en":"\u2018The Wall and the City: Visual Devices of Modernity\u2019","desc_ca":"El simposi internacional\u00a0<em>El mur i la ciutat. Dispositius visuals de la modernitat<\/em>\u00a0es vincula conceptualment a l\u2019exposici\u00f3\u00a0<em>Antoni T\u00e0pies. El moviment perpetu del mur<\/em>, una exposici\u00f3 que actualment es pot veure al Museu T\u00e0pies i que ha estat comissariada per Imma Prieto i Pablo Allepuz. Aquesta mostra explora l\u2019obra de l\u2019artista a partir dels seus contextos i modalitats d\u2019exhibici\u00f3 i se centra en quatre exposicions individuals dels anys cinquanta, caracteritzades per grups d\u2019obres i solucions de muntatge molt diverses. El conjunt permet situar la producci\u00f3 de T\u00e0pies en relaci\u00f3 amb debats m\u00e9s amplis sobre arquitectura moderna, disseny, ind\u00fastria, espai urb\u00e0 i formes de vida de l\u2019\u00e8poca.\r\n\r\nA partir d\u2019aquest marc conceptual, el simposi internacional\u00a0<em>El mur i la ciutat. Dispositius visuals de la modernitat<\/em>\u00a0proposa una lectura cr\u00edtica de la modernitat a trav\u00e9s dels dispositius materials i visuals que la van fer possible: murs, fa\u00e7anes, paviments, vitrines, cartells, estructures expositives i espais dom\u00e8stics. Aquests elements, aparentment funcionals, esdevenen agents actius de mediaci\u00f3 entre art, disseny, arquitectura i experi\u00e8ncia perceptiva, at\u00e8s que la mat\u00e8ria, la llum, el muntatge visual i la disposici\u00f3 dels objectes influeixen en la percepci\u00f3 est\u00e8tica i defineixen noves maneres de veure, habitar i entendre la ciutat.\r\n\r\nEn el context de la reconstrucci\u00f3 europea despr\u00e9s de la Segona Guerra Mundial \u2014i de la postguerra i l\u2019a\u00efllament cultural del franquisme a Espanya\u2014, l\u2019espai expositiu i el paisatge urb\u00e0 van actuar com a laboratoris de modernitat. Museus, pavellons, aparadors i habitatges es van convertir en espais experimentals on arquitectura, disseny i display generaven formes espec\u00edfiques de percepci\u00f3, marcant una sensibilitat visual i urbana pr\u00f2pia de la postguerra. A Barcelona, figures com Antoni T\u00e0pies, Josep Antoni Coderch, Antoni de Moragas Galliss\u00e0, Oriol Bohigas, Ricard Giralt Miracle o America Sanchez van proposar una sintaxi comuna: una modernitat artesanal i continguda, amb densitat mat\u00e8rica i gest manual, que articulava arquitectura, disseny i display visual. La seva pr\u00e0ctica no nom\u00e9s definia una cultura visual, sin\u00f3 tamb\u00e9 un model de display que condicionava la percepci\u00f3 est\u00e8tica de l\u2019espai i l\u2019objecte.\r\n\r\nEl simposi analitza aquests dispositius com a pr\u00e0ctiques actives de discurs i percepci\u00f3 que configuren imaginaris de comunitat, mem\u00f2ria i relaci\u00f3 entre cos i arquitectura. Es revisiten els llenguatges expositius, arquitect\u00f2nics i gr\u00e0fics dels anys cinquanta i seixanta per interrogar la seva vig\u00e8ncia: qu\u00e8 queda avui de la manera de concebre murs, cases o la ciutat com a espais de pensament, resist\u00e8ncia i percepci\u00f3? Quines continu\u00eftats o fractures hi ha entre els dispositius visuals de la modernitat i les pr\u00e0ctiques actuals de museografia i urbanisme? Aquesta revisi\u00f3 permet pensar el museu i la ciutat contempor\u00e0nia com a espais de cr\u00edtica, experimentaci\u00f3 i experi\u00e8ncia est\u00e8tica, on la mem\u00f2ria del display modern segueix sent una estrat\u00e8gia de pensament i de percepci\u00f3.\r\n\r\nPer elaborar el programa, s\u2019ha convidat investigadors\/es, artistes, arquitectes\/es, dissenyadors\/es i professionals de l\u2019\u00e0mbit curatorial a presentar propostes que abordin aquestes q\u00fcestions des de perspectives cr\u00edtiques, hist\u00f2riques o contempor\u00e0nies, i amb enfocaments interdisciplinaris.\u00a0El\u00a0<a href=\"https:\/\/www.upf.edu\/web\/catedra-antoni-tapies\"><i>call for papers<\/i><\/a>\u00a0impulsat des de la C\u00e0tedra Antoni T\u00e0pies \u2013 UPF d\u2019Art i Pensament Contemporanis amplia i aprofundeix la proposta comissarial de la mostra, tot convidant a investigar cr\u00edticament aquestes infraestructures materials i simb\u00f2liques des de perspectives hist\u00f2riques i te\u00f2riques diverses, prenent com a punt de partida l\u2019exposici\u00f3 que actualment es pot visitar al Museu T\u00e0pies. M\u00e9s enll\u00e0 del relat expositiu, doncs, el simposi obre un espai de debat acad\u00e8mic per analitzar com aquests dispositius han modelat la percepci\u00f3 i l\u2019experi\u00e8ncia est\u00e8tica, aix\u00ed com les din\u00e0miques socials i pol\u00edtiques inscrites en la ciutat moderna.\r\n\r\n&nbsp;\r\n\r\n<strong>PROGRAMA<\/strong>\r\n\r\n<strong>Dimecres, 27 de maig de 2026<\/strong>\r\n<ul>\r\n \t<li>18 h. Benvinguda i presentaci\u00f3 a c\u00e0rrec del Museu T\u00e0pies<\/li>\r\n \t<li>18.10 h. Confer\u00e8ncia \u00abEl mur que som. T\u00e0pies, l\u2019espai, l\u2019obra\u00bb a c\u00e0rrec de Federico Ferrari<\/li>\r\n \t<li>18.50 h. Confer\u00e8ncia \u00abL\u2019entorn i la seva influ\u00e8ncia\u00bb a c\u00e0rrec de Xavi Ceerre<\/li>\r\n \t<li>19.20 h. Pausa<\/li>\r\n \t<li>19.30 h. Confer\u00e8ncia \u00abM\u00e9s enll\u00e0 del mur\u00bb a c\u00e0rrec de Carlos Bunga<\/li>\r\n \t<li>20.10 h. Taula rodona i debat<\/li>\r\n \t<li>20.30 h. Cloenda<\/li>\r\n<\/ul>\r\n&nbsp;\r\n\r\n<strong>Dijous, 28 de maig de 2026<\/strong>\r\n<ul>\r\n \t<li>18 h. Benvinguda i presentaci\u00f3 a c\u00e0rrec del Museu T\u00e0pies<\/li>\r\n \t<li>18.10 h. Confer\u00e8ncia \u00abExtramurs. De la silueta de l\u2019ombra del reflex de la imatge\u00bb a c\u00e0rrec de Juan Jos\u00e9 Lahuerta<\/li>\r\n<\/ul>\r\n18.50 h. Confer\u00e8ncia \u00abDe l\u2019\u00e9sser al no-res. Objecte, cos i espai en l\u2019art de performance contemporani\u00bb a c\u00e0rrec de Lyu Wen\r\n\r\n19.20 h. Pausa\r\n\r\n19.30 h. Confer\u00e8ncia \u00abEl model Mir\u00f3. L\u2019exposici\u00f3 d\u2019elements ef\u00edmers com a pr\u00e0ctica art\u00edstica\u00bb a c\u00e0rrec de Jordana Mendelson\r\n<ul>\r\n \t<li>20.10 h. Taula rodona i debat<\/li>\r\n \t<li>20.30 h. Cloenda<\/li>\r\n<\/ul>\r\n&nbsp;\r\n\r\n<strong>Divendres, 29 de maig de 2026<\/strong>\r\n<ul>\r\n \t<li>18 h. Benvinguda i presentaci\u00f3 a c\u00e0rrec del Museu T\u00e0pies<\/li>\r\n \t<li>18.10 h. Confer\u00e8ncia \u00abEl mur com a m\u00e8dia\u00bb a c\u00e0rrec de Beatriz Colomina<\/li>\r\n \t<li>18.50 h. Confer\u00e8ncia \u00abT\u00e0pies i la cr\u00edtica d\u2019art\u00bb a c\u00e0rrec de Victoria Combal\u00eda<\/li>\r\n \t<li>19.30 h. Pausa<\/li>\r\n \t<li>19.40 h. Taula rodona i debat<\/li>\r\n \t<li>20 h. Acci\u00f3 sonora de cloenda\u00a0<em>Buit actiu. Reflexions sobre el no-res<\/em>\u00a0a c\u00e0rrec de Rasheed Jalloul<\/li>\r\n \t<li>20.30 h. Final<\/li>\r\n<\/ul>\r\n&nbsp;\r\n\r\n<strong>PONENTS<\/strong>\r\n\r\n<strong>\u00a0<\/strong>\r\n\r\n<strong>Carlos Bunga<\/strong>\r\n\r\nCarlos Bunga crea obres orientades al proc\u00e9s \u2014instal\u00b7lacions, performances, v\u00eddeo, dibuix, escultura i pintura\u2014 que fan refer\u00e8ncia al seu entorn arquitect\u00f2nic immediat i hi intervenen. Tot i utilitzar materials ordinaris i discrets, les obres resultants impliquen una complexitat conceptual derivada de la interrelaci\u00f3 entre fer i desfer, entre desfer i tornar a fer, entre investigaci\u00f3 i experimentaci\u00f3.\r\n\r\nBunga va atraure per primera vegada l\u2019atenci\u00f3 internacional amb la seva obra a la biennal d\u2019art contemporani Manifesta 5 a Sant Sebasti\u00e0 (2004). Des de llavors, ha presentat exposicions individuals a CAM Funda\u00e7\u00e3o Gulbenkian, Lisboa (2025); MNCARS, Madrid (2022); Secession, Viena (2021); Whitechapel, Londres (2020); MAAT, Lisboa (2019); Haus Konstruktiv Museum, Z\u00faric (2015); MACBA, Barcelona (2015); Hammer Museum, Los Angeles (2011), i Pinacoteca de S\u00e3o Paulo (2010), entre d\u2019altres.\r\n\r\n<strong>Xavi Ceerre<\/strong>\r\n\r\nLa seva pr\u00e0ctica pict\u00f2rica, de car\u00e0cter processual, explora la fisicitat del gest, l\u2019error i la mat\u00e8ria, amb un inter\u00e8s especial en l\u2019empremta del subconscient col\u00b7lectiu en l\u2019espai p\u00fablic i en les tensions entre urbanisme i formes de subversi\u00f3.\r\n\r\n\u00c9s graduat en Disseny Gr\u00e0fic per l\u2019Escola Llotja i t\u00e9 un m\u00e0ster en Pintura per la UPV\/EHU, aix\u00ed com el m\u00e0ster de Formaci\u00f3 del Professorat (UB). Ha ampliat la seva formaci\u00f3 a la School of Visual Arts (Nova York) i a la Gerrit Rietveld Academie (Amsterdam).\r\n\r\nExposa regularment a la Galeria Carles Tach\u00e9 des de 2021, i ha participat en fires com Art-o-rama, Estampa i CAN. Ha realitzat resid\u00e8ncies en centres com BilbaoArte, Fabra i Coats o Piramid\u00f3n, entre d\u2019altres. La seva obra forma part de col\u00b7leccions p\u00fabliques i privades.\r\n\r\n<strong>Beatriz Colomina<\/strong>\r\n\r\nT\u00e9 la c\u00e0tedra d\u2019Arquitectura Howard Crosby Butler, i \u00e9s directora del programa de doctorat a l\u2019Escola d\u2019Arquitectura i directora fundadora del programa interdisciplinari Media and Modernity a la Universitat de Princeton.\r\n\r\nEls seus llibres m\u00e9s recents s\u00f3n\u00a0<em>Sick Architecture<\/em>\u00a0(MIT Press, 2025) i\u00a0<em>We the Bacteria: Notes Toward Biotic Architecture<\/em>\u00a0(Lars M\u00fcller, 2025). Recentment ha co-comissariat amb Mark Wigley l\u2019exposici\u00f3\u00a0<em>We the Bacteria: Notes Toward Biotic Architecture<\/em>\u00a0a la Triennal de Mil\u00e0 2025, i\u00a0<em>The Other Side of the Hill<\/em>\u00a0a la Biennal de Ven\u00e8cia 2025.\r\n\r\n<strong>Victoria Combal\u00eda<\/strong>\r\n\r\nDoctora i professora d\u2019Hist\u00f2ria de l\u2019Art a la Universitat de Barcelona des de 1974. Va ser investigadora convidada a l\u2019Institute of Fine Arts de Nova York entre 1979 i 1981. Ha organitzat m\u00e9s de seixanta exposicions, com ara\u00a0<em>Joan Brossa, 1941-1991<\/em>\u00a0(1991),\u00a0<em>Veure Mir\u00f3. La irradiaci\u00f3 de Mir\u00f3 en l\u2019art espanyol<\/em>\u00a0(1993),\u00a0<em>Com ens veiem. Imatges i arquetips femenins<\/em>\u00a0(1996),\u00a0<em>Kandinsky. Obres procedents del Centre Pompidou<\/em>\u00a0(1996),\u00a0<em>Sean Scully<\/em>\u00a0(2005),\u00a0<em>Dora Maar, malgrat Picasso<\/em>\u00a0(2014) o\u00a0<em>Dones surrealistes<\/em>\u00a0(2017). \u00c9s especialista en Joan Mir\u00f3 i bi\u00f2grafa de Dora Maar.\r\n\r\nHa publicat, entre d\u2019altres,\u00a0<em>Estudis sobre Picasso<\/em>\u00a0(1981),\u00a0<em>Antoni T\u00e0pies<\/em>\u00a0(1984),\u00a0<em>Picasso-Mir\u00f3, mirades creuades<\/em>\u00a0(1998),\u00a0<em>Amazones amb pinzell<\/em>\u00a0(2006),\u00a0<em>Dora Maar, m\u00e9s enll\u00e0 de Picasso<\/em>\u00a0(2013),\u00a0<em>Muses, mecenes i amants<\/em>\u00a0(2016) i\u00a0<em>Veure per viure. Mem\u00f2ries<\/em>\u00a0(2024). Ha estat directora del Centre Cultural Tecla Sala i assessora art\u00edstica de la Comunitat de Madrid. Va ser nomenada Chevalier des Arts et des Lettres l\u2019any 2003. \u00c9s presidenta del Comit\u00e8 Dora Maar.\r\n\r\n<strong>Federico Ferrari<\/strong>\r\n\r\nFil\u00f2sof i esteticista itali\u00e0, professor d\u2019Est\u00e8tica a l\u2019Accademia di Belle Arti di Brera. El 2020 va fundar, amb Andrea Cortellessa i Riccardo Venturi, Antinomie, un lloc web dedicat a la relaci\u00f3 entre la imatge i la paraula. El 2025, sota el seu impuls, es va crear el Centro di storia e teoria dell\u2019arte (CeSTA), amb seu a l\u2019Accademia di Brera. Ha publicat nombrosos volums a It\u00e0lia i a l\u2019estranger, centrant-se tant en la q\u00fcesti\u00f3 comunit\u00e0ria dins dels teixits socials desagregats propis de la civilitzaci\u00f3 postmoderna com en l\u2019experi\u00e8ncia art\u00edstica, en la seva ambigua tensi\u00f3 entre l\u2019aspiraci\u00f3 a un altre m\u00f3n i la seva reducci\u00f3 a mercaderia de luxe dins d\u2019un mercat especulatiu.\r\n\r\nEntre els seus llibres destaquen\u00a0<em>La comunit\u00e0 errante<\/em>\u00a0(1997),\u00a0<em>Nudit\u00e0<\/em>\u00a0(1999),\u00a0<em>Lo spazio critico<\/em>\u00a0(2004),\u00a0<em>Costellazioni<\/em>\u00a0(2006),\u00a0<em>Sub specie aeternitatis<\/em>\u00a0(2008),\u00a0<em>Il re \u00e8 nudo<\/em>\u00a0(2011),\u00a0<em>Arte essenziale<\/em>\u00a0(2011),\u00a0<em>L\u2019insieme vuoto<\/em>\u00a0(2013),\u00a0<em>L\u2019anarca<\/em>\u00a0(2014; 2a ed. 2023),\u00a0<em>Visioni<\/em>\u00a0(2016),\u00a0<em>Oscillazioni<\/em>\u00a0(2016),\u00a0<em>Il silenzio dell\u2019arte<\/em>\u00a0(2021),\u00a0<em>L\u2019antinomia critica<\/em>\u00a0(2023),\u00a0<em>Ritratti<\/em>\u00a0(2025) i, amb Jean-Luc Nancy,\u00a0<em>La pelle delle immagini<\/em>\u00a0(2003),\u00a0<em>Iconografia dell\u2019autore<\/em>\u00a0(2006),\u00a0<em>La fin des fins<\/em>\u00a0(2015) i\u00a0<em>Estasi<\/em>\u00a0(2022).\r\n\r\n<strong>Rasheed<\/strong><strong>\u00a0Jalloul<\/strong>\r\n\r\nArquitecte, artista, compositor i investigador liban\u00e8s establert a Barcelona. La seva pr\u00e0ctica es mou entre l\u2019arquitectura, el so i el llenguatge, entenent-los com a sistemes interdependents a trav\u00e9s dels quals s\u2019articula l\u2019espai. La seva metodologia opera com un efecte Casimir pol\u00edtic, en qu\u00e8 vacu\u00eftats produ\u00efdes per la calamitat reorganitzen les condicions perceptives i mnem\u00f2niques. A trav\u00e9s d\u2019aquesta noci\u00f3 de buit actiu, aborda l\u2019abs\u00e8ncia com un camp de condicionament a partir del qual la forma emergeix mitjan\u00e7ant processos de sostracci\u00f3 i fluctuaci\u00f3, fet que posa en q\u00fcesti\u00f3 les\u00a0epistemologies colonials\u00a0del cos i l\u2019espai.\r\n\r\nActualment, Jalloul \u00e9s resident al Centre d\u2019Arts Santa M\u00f2nica, on desenvolupa una recerca sobre mediaci\u00f3 espacial. El seu treball ha estat presentat a MACBA, Kampnagel, Festival S\u00e2lmon, RCR Arquitectes i la Fundaci\u00f3 Enric Miralles, entre d\u2019altres.\r\n\r\n<strong>Juan Jos\u00e9 Lahuerta<\/strong>\r\n\r\nHa estat professor d\u2019Hist\u00f2ria de l\u2019Art a l\u2019Escola T\u00e8cnica Superior d\u2019Arquitectura de Barcelona. Ha ensenyat a l\u2019Universit\u00e0 Iuav di Venezia i a la Universitat de Nova York, entre d\u2019altres. Ha estat conservador del Museu Picasso de Barcelona i cap de col\u00b7leccions del Museu Nacional d\u2019Art de Catalunya.\r\n\r\nAlguns dels seus darrers llibres s\u00f3n\u00a0<em>Religious Painting. Picasso and Max Von Moos<\/em>\u00a0(2015),\u00a0<em>Marginalia. Aby Warburg, Carl Einstein<\/em>\u00a0(2015),\u00a0<em>Photography or Life: Popular Mies<\/em>\u00a0(2015),\u00a0<em>On Loos, Ornament, and Crime<\/em>\u00a0(2015),\u00a0<em>Antoni Gaud\u00ed. Ornament, Fire, and Ashes<\/em>\u00a0(2016) i\u00a0<em>Arte en la \u00e9poca del infierno<\/em>\u00a0(2022).\r\n\r\nHa estat comissari d\u2019exposicions com\u00a0<em>Picasso. Rom\u00e0nic<\/em>\u00a0(MNAC, Barcelona, amb la col\u00b7laboraci\u00f3 del Mus\u00e9e Picasso, Par\u00eds, 2015),\u00a0<em>Gaud\u00ed<\/em>\u00a0(MNAC, Barcelona i Mus\u00e9e d\u2019Orsay, Par\u00eds, 2022) i\u00a0<em>Julio Gonz\u00e1lez. Ser Artista<\/em>\u00a0(IVAM, Val\u00e8ncia, 2023), i n\u2019ha escrit els respectius cat\u00e0legs. \u00c9s membre del consell cient\u00edfic de Casabella (Mil\u00e0) i fundador i director de l\u2019editorial Mudito &amp; Co (Barcelona, Nova York, Ven\u00e8cia).\r\n\r\n<strong>Jordana Mendelson<\/strong>\r\n\r\nJordana Mendelson \u00e9s professora agregada al Departament de Lleng\u00fces i Literatures Espanyola i Portuguesa de la Universitat de Nova York, on entre 2020 i 2026 va dirigir Espacio de Culturas, un centre dedicat a desenvolupar esdeveniments i programes relacionats amb Espanya, la pen\u00ednsula Ib\u00e8rica i Am\u00e8rica. La seva recerca se centra en la cultura visual, expositiva i impresa a l\u2019Espanya dels anys trenta.\r\n\r\n\u00c9s autora de\u00a0<em>Documenting Spain: Artists, Exhibition Culture and the Modern Nation, 1929-1939<\/em>\u00a0(Penn State UP, 2005), coeditora de\u00a0<em>Postcards: Ephemeral Histories of Modernity<\/em>\u00a0(Penn State UP, 2010) i comiss\u00e0ria de\u00a0<em>Revistas y Guerra 1936-1939<\/em>\u00a0(Madrid, Museo Reina Sof\u00eda, 2007) i\u00a0<em>Encounters with the 1930s<\/em>\u00a0(Madrid, Museu Reina Sof\u00eda, 2013). Tamb\u00e9 \u00e9s coeditora del\u00a0<em>Journal of Spanish Cultural Studies<\/em>. Actualment est\u00e0 treballant en un manuscrit provisionalment titulat\u00a0<em>Paper Routes: The Power of Design in 20th-Century Spain<\/em>.\r\n\r\n<strong>Lyu Wen<\/strong>\r\n\r\nArtista i investigadora interdisciplin\u00e0ria que est\u00e0 realitzant un doctorat al Departament d\u2019Humanitats de la Universitat Pompeu Fabra. El seu treball explora la intersecci\u00f3 entre l\u2019art de performance, els mitjans digitals i la filosofia de l\u2019Escola de Kyoto.\r\n\r\nTreballant entre la performance, el v\u00eddeo, la instal\u00b7laci\u00f3 i la pintura, desenvolupa una aproximaci\u00f3 basada en la pr\u00e0ctica que nodreix la seva recerca. Els seus projectes actuals investiguen de quina manera accions quotidianes, com ara caminar i seure, es poden transformar en pr\u00e0ctiques corporals d\u2019atenci\u00f3 sostinguda i consci\u00e8ncia.\r\n\r\n&nbsp;\r\n\r\nAmb la col\u00b7laboraci\u00f3 i la participaci\u00f3 de la C\u00e0tedra Antoni T\u00e0pies \u2013 UPF d\u2019Art i Pensament Contemporanis.\r\n\r\nActivitat en el marc de\u00a0<a href=\"https:\/\/www.barcelona.cat\/capitalmundialarquitectura\/ca\/presentacio\/barcelona-2026-capital-mundial-de-larquitectura\">Barcelona 2026, Capital Mundial de l\u2019Arquitectura<\/a>.","desc_es":"El simposio internacional\u00a0<em>El muro y la ciudad. Dispositivos visuales de la modernidad<\/em>\u00a0se vincula conceptualmente con la exposici\u00f3n\u00a0<a href=\"https:\/\/museutapies.org\/es\/exposicio\/antoni-tapies-el-movimiento-perpetuo-del-muro\/\"><em>Antoni T\u00e0pies. El movimiento perpetuo del muro<\/em><\/a>, una muestra que actualmente puede verse en el Museu T\u00e0pies y que ha sido comisariada por Imma Prieto y Pablo Allepuz. Esta exposici\u00f3n explora la obra del artista a partir de sus contextos y modalidades de exhibici\u00f3n, y se centra en cuatro exposiciones individuales de los a\u00f1os cincuenta, caracterizadas por grupos de obras y soluciones de montaje muy diversas. El conjunto permite situar la producci\u00f3n de Antoni T\u00e0pies en relaci\u00f3n con debates m\u00e1s amplios sobre arquitectura moderna, dise\u00f1o, industria, espacio urbano y formas de vida de la \u00e9poca.\r\n\r\nA partir de este marco conceptual, el simposio internacional\u00a0<em>El muro y la ciudad. Dispositivos visuales de la modernidad<\/em>\u00a0propone una lectura cr\u00edtica de la modernidad a trav\u00e9s de los dispositivos materiales y visuales que la hicieron posible: muros, fachadas, pavimentos, vitrinas, carteles, estructuras expositivas y espacios dom\u00e9sticos. Estos elementos, aparentemente funcionales, se convierten en agentes activos de mediaci\u00f3n entre arte, dise\u00f1o, arquitectura y experiencia perceptiva, dado que la materia, la luz, el montaje visual y la disposici\u00f3n de los objetos influyen en la percepci\u00f3n est\u00e9tica y definen nuevas formas de ver, habitar y entender la ciudad.\r\n\r\nEn el contexto de la reconstrucci\u00f3n europea posterior a la Segunda Guerra Mundial \u2014y a la posguerra y el aislamiento cultural del franquismo en Espa\u00f1a\u2014, el espacio expositivo y el paisaje urbano actuaron como laboratorios de modernidad. Museos, pabellones, escaparates y viviendas se convirtieron en espacios experimentales donde arquitectura, dise\u00f1o y\u00a0<em>display<\/em>\u00a0generaban formas espec\u00edficas de percepci\u00f3n, marcando una sensibilidad visual y urbana propia de la posguerra. En Barcelona, figuras como Antoni T\u00e0pies, Josep Antoni Coderch, Antoni de Moragas Galliss\u00e0, Oriol Bohigas, Ricard Giralt Miracle o America Sanchez propusieron una sintaxis com\u00fan: una modernidad artesanal y contenida, con densidad mat\u00e9rica y gesto manual, que articulaba arquitectura, dise\u00f1o y\u00a0<em>display<\/em>\u00a0visual. Su pr\u00e1ctica no solo defin\u00eda una cultura visual, sino tambi\u00e9n un modelo de\u00a0<em>display<\/em>\u00a0que condicionaba la percepci\u00f3n est\u00e9tica del espacio y el objeto.\r\n\r\nEl simposio analiza estos dispositivos como pr\u00e1cticas activas de discurso y percepci\u00f3n que configuran imaginarios de comunidad, memoria y relaci\u00f3n entre cuerpo y arquitectura. Se revisitan los lenguajes expositivos, arquitect\u00f3nicos y gr\u00e1ficos de los a\u00f1os cincuenta y sesenta para interrogar su vigencia: \u00bfqu\u00e9 queda hoy del modo de concebir muros, casas o la ciudad como espacios de pensamiento, resistencia y percepci\u00f3n? \u00bfQu\u00e9 continuidades o fracturas existen entre los dispositivos visuales de la modernidad y las pr\u00e1cticas actuales de museograf\u00eda y urbanismo?\u00a0Esta revisi\u00f3n permite pensar el museo y la ciudad contempor\u00e1nea como espacios de cr\u00edtica, experimentaci\u00f3n y experiencia est\u00e9tica, donde la memoria del\u00a0<em>display<\/em>\u00a0moderno sigue siendo una estrategia de pensamiento y percepci\u00f3n.\r\n\r\nPara elaborar el programa, se ha invitado a investigadores\/as, artistas, arquitectos\/as, dise\u00f1adores\/as y profesionales del \u00e1mbito curatorial a presentar propuestas que aborden estas cuestiones desde perspectivas cr\u00edticas, hist\u00f3ricas o contempor\u00e1neas, y con enfoques interdisciplinarios.\u00a0El\u00a0<a href=\"https:\/\/www.upf.edu\/web\/catedra-antoni-tapies\"><i>call for papers<\/i><\/a>\u00a0impulsado desde la C\u00e1tedra Antoni T\u00e0pies \u2013 UPF de Arte y Pensamiento Contempor\u00e1neos amplia y profundiza la propuesta curatorial de la muestra, invitando a investigar cr\u00edticamente estas infraestructuras materiales y simb\u00f3licas desde perspectivas hist\u00f3ricas y te\u00f3ricas diversas, tomando como punto de partida la exposici\u00f3n que actualmente se puede visitar en el Museu T\u00e0pies. M\u00e1s all\u00e1 del relato expositivo, el simposio abre un espacio de debate acad\u00e9mico para analizar como estos dispositivos han modelado la percepci\u00f3n y la experiencia est\u00e9tica, as\u00ed como las din\u00e1micas sociales y pol\u00edticas inscritas en la ciudad moderna.\r\n\r\n&nbsp;\r\n\r\n<strong>PROGRAMA<\/strong>\r\n\r\n<strong>Mi\u00e9rcoles, 27 de mayo de 2026<\/strong>\r\n<ul>\r\n \t<li>18 h. Bienvenida y presentaci\u00f3n a cargo del Museu T\u00e0pies<\/li>\r\n \t<li>18.10 h. Conferencia \u00abEl muro que somos. T\u00e0pies, el espacio, la obra\u00bb a cargo de Federico Ferrari<\/li>\r\n \t<li>18.50 h. Conferencia \u00abEl entorno y su influencia\u00bb a cargo de Xavi Ceerre<\/li>\r\n \t<li>19.20 h. Pausa<\/li>\r\n \t<li>19.30 h. Conferencia \u00abM\u00e1s all\u00e1 del muro\u00bb a cargo de Carlos Bunga<\/li>\r\n \t<li>20.10 h. Mesa redonda y debate<\/li>\r\n \t<li>20.30 h. Clausura<\/li>\r\n<\/ul>\r\n&nbsp;\r\n\r\n<strong>Jueves, 28 de mayo de 2026<\/strong>\r\n<ul>\r\n \t<li>18 h. Bienvenida y presentaci\u00f3n a cargo del Museu T\u00e0pies<\/li>\r\n \t<li>18.10 h. Conferencia \u00abExtramuros. De la silueta de la sombra del reflejo de la imagen\u00bb a cargo de Juan Jos\u00e9 Lahuerta<\/li>\r\n<\/ul>\r\n18.50 h. Conferencia \u00abDel ser a la nada. Objeto, cuerpo y espacio en el arte de performance contempor\u00e1neo\u00bb a cargo de Lyu Wen\r\n\r\n19.20 h. Pausa\r\n\r\n19.30 h. Conferencia \u00abEl modelo Mir\u00f3. La exposici\u00f3n de elementos ef\u00edmeros como pr\u00e1ctica art\u00edstica\u00bb a cargo de Jordana Mendelson\r\n<ul>\r\n \t<li>20.10 h. Mesa redonda y debate<\/li>\r\n \t<li>20.30 h. Clausura<\/li>\r\n<\/ul>\r\n&nbsp;\r\n\r\n<strong>Viernes, 29 de mayo de 2026<\/strong>\r\n<ul>\r\n \t<li>18 h. Bienvenida y presentaci\u00f3n a cargo del Museu T\u00e0pies<\/li>\r\n \t<li>18.10 h. Conferencia \u00abEl muro como media\u00bb a cargo de Beatriz Colomina<\/li>\r\n \t<li>18.50 h. Conferencia \u00abT\u00e0pies y la cr\u00edtica de arte\u00bb a cargo de Victoria Combal\u00eda<\/li>\r\n \t<li>19.30 h. Pausa<\/li>\r\n \t<li>19.40 h. Mesa redonda y debate<\/li>\r\n \t<li>20 h. Acci\u00f3n sonora de clausura\u00a0<em>Vac\u00edo activo. Reflexiones sobre la nada<\/em>\u00a0a cargo de Rasheed Jalloul<\/li>\r\n \t<li>20.30 h. Final<\/li>\r\n<\/ul>\r\n&nbsp;\r\n\r\n<strong>PONENTES<\/strong>\r\n\r\n<strong>\u00a0<\/strong>\r\n\r\n<strong>Carlos Bunga<\/strong>\r\n\r\nCarlos Bunga crea obras orientadas al proceso \u2014instalaciones, performances, v\u00eddeo, dibujo, escultura y pintura\u2014 que hacen referencia a su entorno arquitect\u00f3nico inmediato e intervienen en \u00e9l. Aunque utiliza materiales ordinarios y discretos, las obras resultantes implican una complejidad conceptual derivada de la interrelaci\u00f3n entre hacer y deshacer, entre deshacer y rehacer, entre investigaci\u00f3n y experimentaci\u00f3n.\r\n\r\nBunga atrajo por primera vez la atenci\u00f3n internacional con su obra en la bienal de arte contempor\u00e1neo Manifesta 5 en San Sebasti\u00e1n (2004). Desde entonces ha presentado exposiciones individuales en CAM Funda\u00e7\u00e3o Gulbenkian (Lisboa, 2025), MNCARS (Madrid, 2022), Secession (Viena, 2021), Whitechapel (Londres, 2020), MAAT (Lisboa, 2019), Haus Konstruktiv Museum (Z\u00faric, 2015), MACBA (Barcelona, 2015), Hammer Museum (Los \u00c1ngeles, 2011) y Pinacoteca de S\u00e3o Paulo (2010), entre otros.\r\n\r\n<strong>Xavi Ceerre<\/strong>\r\n\r\nSu pr\u00e1ctica pict\u00f3rica, de car\u00e1cter procesual, explora la fisicidad del gesto, el error y la materia, con especial inter\u00e9s en la huella del subconsciente colectivo en el espacio p\u00fablico y en las tensiones entre urbanismo y formas de subversi\u00f3n.\r\n\r\nEs graduado en Dise\u00f1o Gr\u00e1fico por la Escola Llotja y tiene un m\u00e1ster en Pintura por la UPV\/EHU, as\u00ed como el m\u00e1ster de Formaci\u00f3n del Profesorado de la Universidad de Barcelona. Ha ampliado su formaci\u00f3n en la School of Visual Arts y en la Gerrit Rietveld Academie (\u00c1msterdam).\r\n\r\nExpone regularmente en la Galeria Carles Tach\u00e9 desde 2021, y ha participado en ferias como Art-o-rama, Estampa y CAN. Ha realizado residencias en centros como BilbaoArte, Fabra i Coats o Piramid\u00f3n, entre otros. Su obra forma parte de colecciones p\u00fablicas y privadas.\r\n\r\n<strong>Beatriz Colomina<\/strong>\r\n\r\nTiene la c\u00e1tedra de Arquitectura Howard Crosby Butler, y es directora del programa de doctorado en la Escuela de Arquitectura y directora fundadora del programa interdisciplinar Media and Modernity en la Universidad de Princeton.\r\n\r\nSus libros m\u00e1s recientes son\u00a0<em>Sick Architecture<\/em>\u00a0(MIT Press, 2025) y\u00a0<em>We the Bacteria: Notes Toward Biotic Architecture<\/em>\u00a0(Lars M\u00fcller, 2025). Recientemente ha co-comisariado con Mark Wigley la exposici\u00f3n\u00a0<em>We the Bacteria: Notes Toward Biotic Architecture<\/em>\u00a0en la Trienal de Mil\u00e1n 2025, y\u00a0<em>The Other Side of the Hill<\/em>\u00a0en la Bienal de Venecia 2025.\r\n\r\n<strong>Victoria Combal\u00eda<\/strong>\r\n\r\nDoctora y profesora de Historia del Arte en la Universidad de Barcelona desde 1974. Fue investigadora invitada en el Institute of Fine Arts de Nueva York entre 1979 y 1981. Ha organizado m\u00e1s de sesenta exposiciones, como\u00a0<em>Joan Brossa, 1941-1991<\/em>\u00a0(1991),\u00a0<em>Ver a Mir\u00f3. La irradiaci\u00f3n de Mir\u00f3 en el arte espa\u00f1ol<\/em>\u00a0(1993),\u00a0<em>C\u00f3mo nos vemos. Im\u00e1genes y arquetipos femeninos<\/em>\u00a0(1996),\u00a0<em>Kandinsky. Obras procedentes del Centre Pompidou<\/em>\u00a0(1996),\u00a0<em>Sean Scully<\/em>\u00a0(2005),\u00a0<em>Dora Maar, a pesar de Picasso<\/em>\u00a0(2014) o\u00a0<em>Mujeres surrealistas<\/em>\u00a0(2017). Es especialista en Joan Mir\u00f3 y bi\u00f3grafa de Dora Maar.\r\n\r\nHa publicado, entre otros,\u00a0<em>Estudios sobre Picasso<\/em>\u00a0(1981),\u00a0<em>Antoni T\u00e0pies<\/em>\u00a0(1984),\u00a0<em>Picasso-Mir\u00f3, miradas cruzadas<\/em>\u00a0(1998),\u00a0<em>Amazonas con pincel<\/em>\u00a0(2006),\u00a0<em>Dora Maar, m\u00e1s all\u00e1 de Picasso<\/em>\u00a0(2013),\u00a0<em>Musas, mecenas y amantes<\/em>\u00a0(2016) y\u00a0<em>Ver para vivir. Memorias<\/em>\u00a0(2024). Ha sido directora del Centre Cultural Tecla Sala y asesora art\u00edstica de la Comunidad de Madrid. Fue nombrada Chevalier des Arts et des Lettres en 2003. Es presidenta del Comit\u00e9 Dora Maar.\r\n\r\n<strong>Federico Ferrari<\/strong>\r\n\r\nFil\u00f3sofo y esteticista italiano, profesor de Est\u00e9tica en la Accademia di Belle Arti di Brera. En 2020 fund\u00f3, junto con Andrea Cortellessa y Riccardo Venturi, Antinomie, un sitio web dedicado a la relaci\u00f3n entre la imagen y la palabra. En 2025, bajo su impulso, se cre\u00f3 el Centro di storia e teoria dell\u2019arte (CeSTA), con sede en la Accademia di Brera. Ha publicado numerosos vol\u00famenes en Italia y en el extranjero, centrados tanto en la cuesti\u00f3n comunitaria dentro de los tejidos sociales desagregados propios de la civilizaci\u00f3n posmoderna como en la experiencia art\u00edstica, en su ambigua tensi\u00f3n entre la aspiraci\u00f3n a otro mundo y su reducci\u00f3n a mercanc\u00eda de lujo dentro de un mercado especulativo.\r\n\r\nEntre sus libros destacan\u00a0<em>La comunit\u00e0 errante<\/em>\u00a0(1997),\u00a0<em>Nudit\u00e0<\/em>\u00a0(1999),\u00a0<em>Lo spazio critico<\/em>\u00a0(2004),\u00a0<em>Costellazioni<\/em>\u00a0(2006),\u00a0<em>Sub specie aeternitatis<\/em>\u00a0(2008),\u00a0<em>Il re \u00e8 nudo<\/em>\u00a0(2011),\u00a0<em>Arte essenziale<\/em>\u00a0(2011),\u00a0<em>L\u2019insieme vuoto<\/em>\u00a0(2013),\u00a0<em>L\u2019anarca<\/em>\u00a0(2014; 2.\u00aa ed. 2023),\u00a0<em>Visioni<\/em>\u00a0(2016),\u00a0<em>Oscillazioni<\/em>\u00a0(2016),\u00a0<em>Il silenzio dell\u2019arte<\/em>\u00a0(2021),\u00a0<em>L\u2019antinomia critica<\/em>\u00a0(2023),\u00a0<em>Ritratti<\/em>\u00a0(2025) y, junto con Jean-Luc Nancy,\u00a0<em>La pelle delle immagini<\/em>\u00a0(2003),\u00a0<em>Iconografia dell\u2019autore<\/em>\u00a0(2006),\u00a0<em>La fin des fins<\/em>\u00a0(2015) y\u00a0<em>Estasi<\/em>\u00a0(2022).\r\n\r\n<strong>Rasheed Jalloul<\/strong>\r\n\r\nArquitecto, artista, compositor e investigador liban\u00e9s establecido en Barcelona. Su pr\u00e1ctica se mueve entre la arquitectura, el sonido y el lenguaje, entendidos como sistemas interdependientes a trav\u00e9s de los cuales se articula el espacio. Su metodolog\u00eda opera como un efecto Casimir pol\u00edtico, en el que vacuidades producidas por la calamidad reorganizan las condiciones perceptivas y mnem\u00f3nicas. A trav\u00e9s de esta noci\u00f3n de vac\u00edo activo, aborda la ausencia como un campo de condicionamiento a partir del cual la forma emerge mediante procesos de sustracci\u00f3n y fluctuaci\u00f3n, lo que cuestiona las epistemolog\u00edas coloniales del cuerpo y el espacio.\r\n\r\nActualmente, Jalloul es residente en el Centre d\u2019Arts Santa M\u00f2nica, donde desarrolla una investigaci\u00f3n sobre mediaci\u00f3n espacial. Su trabajo se ha presentado en MACBA, Kampnagel, el Festival S\u00e2lmon, RCR Arquitectes y la Fundaci\u00f3 Enric Miralles, entre otros.\r\n\r\n<strong>Juan Jos\u00e9 Lahuerta<\/strong>\r\n\r\nHa sido profesor de Historia del Arte en la Escola T\u00e8cnica Superior d\u2019Arquitectura de Barcelona. Ha ense\u00f1ado en la Universit\u00e0 Iuav di Venezia y en la Universidad de Nueva York, entre otras. Ha sido conservador del Museu Picasso de Barcelona y jefe de colecciones del Museu Nacional d\u2019Art de Catalunya.\r\n\r\nAlgunos de sus \u00faltimos libros son\u00a0<em>Religious Painting. Picasso and Max Von Moos<\/em>\u00a0(2015),\u00a0<em>Marginalia. Aby Warburg, Carl Einstein<\/em>\u00a0(2015),\u00a0<em>Photography or Life: Popular Mies<\/em>\u00a0(2015),\u00a0<em>On Loos, Ornament, and Crime<\/em>\u00a0(2015),\u00a0<em>Antoni Gaud\u00ed. Ornament, Fire, and Ashes<\/em>\u00a0(2016) y\u00a0<em>Arte en la \u00e9poca del infierno<\/em>\u00a0(2022).\r\n\r\nHa sido comisario de exposiciones como\u00a0<em>Picasso. Rom\u00e0nic<\/em>\u00a0(MNAC, Barcelona, con la colaboraci\u00f3n del Mus\u00e9e Picasso, Par\u00eds, 2015),\u00a0<em>Gaud\u00ed<\/em>\u00a0(MNAC, Barcelona y Mus\u00e9e d\u2019Orsay, Par\u00eds, 2022) y\u00a0<em>Julio Gonz\u00e1lez. Ser Artista<\/em>\u00a0(IVAM, Valencia, 2023), y ha escrito los respectivos cat\u00e1logos. Es miembro del consejo cient\u00edfico de Casabella (Mil\u00e1n) y fundador y director de la editorial Mudito &amp; Co (Barcelona, Nueva York, Venecia).\r\n\r\n<strong>Jordana Mendelson<\/strong>\r\n\r\nJordana Mendelson es profesora agregada en el Departamento de Lenguas y Literaturas Espa\u00f1ola y Portuguesa de la Universidad de Nueva York, donde entre 2020 y 2026 dirigi\u00f3 Espacio de Culturas, un centro dedicado a desarrollar eventos y programas relacionados con Espa\u00f1a, la pen\u00ednsula ib\u00e9rica y Am\u00e9rica. Su investigaci\u00f3n se centra en la cultura visual, expositiva e impresa en la Espa\u00f1a de los a\u00f1os treinta.\r\n\r\nEs autora de\u00a0<em>Documenting Spain: Artists, Exhibition Culture and the Modern Nation, 1929-1939<\/em>\u00a0(Penn State UP, 2005), coeditora de\u00a0<em>Postcards: Ephemeral Histories of Modernity<\/em>\u00a0(Penn State UP, 2010) y comisaria de\u00a0<em>Revistas y Guerra 1936-1939<\/em>\u00a0(Madrid, Museo Reina Sof\u00eda, 2007) y\u00a0<em>Encounters with the 1930s<\/em>\u00a0(Madrid, Museu Reina Sof\u00eda, 2013). Tambi\u00e9n es coeditora del\u00a0<em>Journal of Spanish Cultural Studies<\/em>. Actualmente est\u00e1 trabajando en un manuscrito provisionalmente titulado\u00a0<em>Paper Routes: The Power of Design in 20th-Century Spain<\/em>.\r\n\r\n<strong>Lyu Wen<\/strong>\r\n\r\nArtista e investigadora interdisciplinar que est\u00e1 cursando un doctorado en el Departamento de Humanidades de la Universitat Pompeu Fabra. Su trabajo explora la intersecci\u00f3n entre el arte de performance, los medios digitales y la filosof\u00eda de la Escuela de Kyoto.\r\n\r\nTrabajando entre la performance, el v\u00eddeo, la instalaci\u00f3n y la pintura, desarrolla una aproximaci\u00f3n basada en la pr\u00e1ctica que nutre su investigaci\u00f3n. Sus proyectos actuales investigan de qu\u00e9 modo acciones cotidianas, como caminar y sentarse, pueden transformarse en pr\u00e1cticas corporales de atenci\u00f3n sostenida y conciencia.\r\n\r\n&nbsp;\r\n\r\nCon la colaboraci\u00f3n y la participaci\u00f3n de la C\u00e1tedra Antoni T\u00e0pies \u2013 UPF de Arte y Pensamiento Contempor\u00e1neos.\r\n\r\nActividad en el marco de\u00a0<a href=\"https:\/\/www.barcelona.cat\/capitalmundialarquitectura\/ca\/presentacio\/barcelona-2026-capital-mundial-de-larquitectura\">Barcelona 2026, Capital Mundial de la Arquitectura<\/a>.","desc_en":"The International Symposium\u00a0<em>The Wall and the City: Visual Devices of Modernity<\/em>\u00a0is conceptually related to\u00a0<em>Antoni T\u00e0pies: The Perpetual Movement of the Wall<\/em>, an exhibition currently being shown at Museu T\u00e0pies, curated by Imma Prieto and Pablo Allepuz, and exploring the artist\u2019s work through his contexts and exhibition modes. It focuses on four solo shows from the 1950s, which were characterised by groups of work and highly diverse display solutions, making it possible to situate T\u00e0pies\u2019 production in relation to broader debates on modern architecture, design, industry, urban space and ways of life in the period.\r\n\r\nDrawing from this conceptual framework, the international symposium\u00a0<em>The Wall and the City: Visual Devices of Modernity<\/em>\u00a0proposes a critical reading of modernity through the material and visual devices that made it possible: walls, facades, pavements, shop windows, posters, exhibition structures and domestic spaces. These apparently functional features become active agents of mediation between art, design, architecture and perceptive experience, given that matter, light, visual display and the arrangement of objects influence in aesthetic perception and define new ways of seeing, inhabiting and understanding the city.\r\n\r\nIn the context of European reconstruction after the Second World War, and during the postwar and cultural isolation of Francoism in Spain, the exhibition space and urban landscapes worked as laboratories for modernity. Museums, pavilions, shop windows and housing became experimental spaces where architecture, design and display gave rise to specific forms of perception, setting apart the visual and urban sensibility of the postwar.\r\n\r\nIn Barcelona, figures like Antoni T\u00e0pies, Josep Antoni Coderch, Antoni de Moragas Galliss\u00e0, Oriol Bohigas, Ricard Giralt Miracle and America Sanchez would come to postulate a common syntax: a contained, artisanal modernity, with material density and manual gesture, articulating architecture, design and visual display. Their practice would not only define visual culture, but also a model of display that conditioned the aesthetic perception of space and the object.\r\n\r\nThis symposium analyses these mechanisms as active practices of discourse and perception shaping imagined models of community, memory and the relationship between body and architecture. It looks back at exhibition, architectural and graphic languages of the 1950s and 1960s, querying their currency: what remains nowadays of that way of conceiving walls, homes or the city itself as spaces for thought, resistance and perception? What are the continuities or ruptures between the visual devices of modernity and current practices in museography and urban design?\r\n\r\nIn this symposium, Barcelona is set into dialogue with other centres of modernity\u2014Milan, Paris, Brussels, Zurich and London\u2014tracing out a comparative cartography of possible modernities, examining how material and visual discourses built a European idea of modernity. This revision makes it possible to think of the contemporary museum and city as spaces for critique, experimentation and aesthetic experience, where the memory of modern display continues to be a strategy of thought and perception.\r\n\r\nResearchers, artists, architects, designers and curatorial professionals were invited to submit proposals that address these issues from critical, historical or contemporary perspectives, and with interdisciplinary approaches. The\u00a0<a href=\"https:\/\/www.upf.edu\/web\/catedra-antoni-tapies\">call for papers<\/a>\u00a0promoted by the Antoni T\u00e0pies Chair \u2013 UPF of Contemporary Art and Thought broadens and deepens the curatorial proposal of the exhibition, inviting critical investigation of these material and symbolic infrastructures from diverse historical and theoretical perspectives, taking as a starting point the exhibition that can currently be visited at the T\u00e0pies Museum. Beyond the exhibition narrative, the symposium opens a space for academic debate to analyze how these devices have shaped aesthetic perception and experience, as well as the social and political dynamics inscribed in the modern city.\r\n\r\n&nbsp;\r\n\r\n<strong>PROGRAMME<\/strong>\r\n\r\n<strong>Wednesday 27 May 2026<\/strong>\r\n<ul>\r\n \t<li>6 pm. Welcome and presentation, Museu T\u00e0pies<\/li>\r\n \t<li>6.10 pm. Lecture \u2018The Wall We Are: T\u00e0pies, Space and Work\u2019, by Federico Ferrari<\/li>\r\n \t<li>6.50 pm. Lecture \u2018Surroundings and Their Influence\u2019, by Xavi Ceerre<\/li>\r\n \t<li>7.20 pm. Pause<\/li>\r\n \t<li>7.30 pm. Lecture \u2018Beyond the Wall\u2019, by Carlos Bunga<\/li>\r\n \t<li>8.10 pm. Discussion and debate<\/li>\r\n \t<li>8.30 pm. Closing<\/li>\r\n<\/ul>\r\n&nbsp;\r\n\r\n<strong>Thursday 28 May 2026<\/strong>\r\n<ul>\r\n \t<li>6 pm. Welcome and presentation, Museu T\u00e0pies<\/li>\r\n \t<li>6.10 pm. Lecture \u2018Extramural: From the Silhouette of the Shadow of the Reflection of the Image\u2019, by Juan Jos\u00e9 Lahuerta<\/li>\r\n \t<li>6.50 pm. Lecture \u2018From Being to Nothingness: Object, Body and Space in Contemporary Performance Art\u2019, by Lyu Wen<\/li>\r\n \t<li>7.20 pm. Pausa<\/li>\r\n \t<li>7.30 pm. Lecture \u2018The Mir\u00f3 Model: Ephemeral Exhibition as Artistic Practice\u2019, by Jordana Mendelson<\/li>\r\n \t<li>8.10 pm. Discussion and debate<\/li>\r\n \t<li>8.30 pm. Closing<\/li>\r\n<\/ul>\r\n&nbsp;\r\n\r\n<strong>Friday 29 May 2026<\/strong>\r\n<ul>\r\n \t<li>6 pm. Welcome and presentation, Museu T\u00e0pies<\/li>\r\n \t<li>6.10 pm. Lecture \u2018The Wall as Medium\u2019, by Beatriz Colomina<\/li>\r\n \t<li>6.50 pm. Lecture \u2018T\u00e0pies and Art Criticism\u2019, by Victoria Combal\u00eda<\/li>\r\n \t<li>7.30 pm. Pause<\/li>\r\n \t<li>7.40 pm. Discussion and debate<\/li>\r\n \t<li>8 pm. Closing sound action, \u2018Active Void. Reflections on Nothingness\u2019, by Rasheed Jalloul<\/li>\r\n \t<li>8.30 pm. Final<\/li>\r\n<\/ul>\r\n&nbsp;\r\n\r\n<strong>SPEAKERS<\/strong>\r\n\r\n<strong>\u00a0<\/strong>\r\n\r\n<strong>Carlos Bunga<\/strong>\r\n\r\nCarlos Bunga creates work oriented towards process\u2014installations, performance, video, drawing, sculpture, painting\u2014referring to his immediate architectural surroundings, intervening in them. While using ordinary, non-descript materials, his work implies conceptual complexity, as derived from the interrelation between doing and undoing, between undoing and starting over, between research and experimentation.\r\n\r\nBunga first attracted international attention with his work for the contemporary art biennial Manifesta 5 in San Sebastian (2004). Since then, he has had individual exhibitions at CAM Funda\u00e7\u00e3o Gulbenkian, Lisbon (2025); MNCARS, Madrid (2022); Secession, Vienna (2021); Whitechapel, London (2020); MAAT, Lisbon (2019); Haus Konstruktiv Museum, Zurich (2015); MACBA, Barcelona (2015); Hammer Museum, Los Angeles (2011); and the Pinacoteca de S\u00e3o Paulo (2010), among others.\r\n\r\n<strong>Xavi Ceerre<\/strong>\r\n\r\nCeerre\u2019s pictorial practice has a processual character, exploring the physicality of gesture, error and material, with a special interest registering collective subconscious in public space, and in the tensions between urban planning and subversive forms.\r\n\r\nHe graduated in Graphic Design from Escola Llotja and has an MA in Painting from UPV\/EHU, as well as an MA in Teacher Training (UB). He further broadened his education at the School of Visual Arts, New York, and Gerrit Rietveld Academie, Amsterdam.\r\n\r\nCeerre has regularly shown at Galeria Carles Tach\u00e9 since 2021, participating in art fairs like Art-o-rama, Estampa and CAN. He has done residencies at BilbaoArte, Fabra i Coats and Piramid\u00f3n, among others. His work is found in various public and private collections.\r\n\r\n<strong>Beatriz Colomina<\/strong>\r\n\r\nHoward Crosby Butler Professor of the History of Architecture at Princeton University, Colomina is head of the doctoral programme at the School of Architecture and founding director of the university\u2019s interdisciplinary programme Media and Modernity.\r\n\r\nRecent book publications include\u00a0<em>Sick Architecture<\/em>\u00a0(MIT Press, 2025) and\u00a0<em>We the Bacteria: Notes Toward Biotic Architecture<\/em>\u00a0(Lars M\u00fcller, 2025). With Mark Wigley she recently co-curated the exhibition\u00a0<em>We the Bacteria: Notes Toward Biotic Architecture<\/em>\u00a0at Triennale Milano (2025) and\u00a0<em>The Other Side of the Hill<\/em>\u00a0at the Venice Biennale (2025).\r\n\r\n<strong>Victoria Combal\u00eda<\/strong>\r\n\r\nCombal\u00eda has a doctorate from the University of Barcelona, where she has been Professor of Art History since 1974. She was guest researcher at The Institute of Fine Arts, New York, from 1979 to 1981. She has organised more than sixty exhibitions, including\u00a0<em>Joan Brossa, 1941-1991<\/em>\u00a0(1991),\u00a0<em>Veure Mir\u00f3. La irradiaci\u00f3 de Mir\u00f3 en l\u2019art espanyol<\/em>\u00a0(1993),\u00a0<em>Com ens veiem. Imatges i arquetips femenins<\/em>\u00a0(1996),\u00a0<em>Kandinsky. Obres procedents del Centre Pompidou<\/em>\u00a0(1996),\u00a0<em>Sean Scully<\/em>\u00a0(2005),\u00a0<em>Dora Maar, malgrat Picasso<\/em>\u00a0(2014) and\u00a0<em>Dones surrealistes<\/em>\u00a0(2017). She is a specialist in Joan Mir\u00f3 and the biographer of Dora Maar.\r\n\r\nCombal\u00eda has published\u00a0<em>Estudios sobre Picasso<\/em>\u00a0(1981),\u00a0<em>Antoni T\u00e0pies<\/em>\u00a0(1984),\u00a0<em>Picasso-Mir\u00f3, mirades creuades<\/em>\u00a0(1998),\u00a0<em>Amazonas con pincel<\/em>\u00a0(2006),\u00a0<em>Dora Maar, m\u00e9s enll\u00e0 de Picasso<\/em>\u00a0(2013),\u00a0<em>Musas, mecenas y amantes<\/em>\u00a0(2016) and\u00a0<em>Ver para vivir. Memorias<\/em>\u00a0(2024), among others. She was the director of Centre Cultural Tecla Sala and was artistic consultant to the Madrid Region. In 2003 she was named Chevalier des Arts et des Lettres, and is current president of the Dora Maar Committee.\r\n\r\n<strong>Federico Ferrari<\/strong>\r\n\r\nAn Italian philosopher and aesthetician, Ferrari is Professor of Aesthetics at the Accademia di Belle Arti di Brera. In 2020 he founded Antinomie with Andrea Cortellessa and Riccardo Venturi, a website dedicated to the relationship between images and words. In 2025 he was a driving force behind the creation of the Centro di storia e teoria dell\u2019arte (CeSTA), based at the Accademia di Brera. He has published various books in Italy and internationally, centring on communitarian questions within disaffected social structures in postmodern civilization, as well as on artistic experience, in its ambiguous tension between the aspiration for a different world and its reduction into a luxury commodity in a speculative market.\r\n\r\nHis book publications include\u00a0<em>La comunit\u00e0 errante<\/em>\u00a0(1997),\u00a0<em>Nudit\u00e0<\/em>\u00a0(1999),\u00a0<em>Lo spazio critico<\/em>\u00a0(2004),\u00a0<em>Costellazioni<\/em>\u00a0(2006),\u00a0<em>Sub specie aeternitatis<\/em>\u00a0(2008),\u00a0<em>Il re \u00e8 nudo<\/em>\u00a0(2011),\u00a0<em>Arte essenziale<\/em>\u00a0(2011),\u00a0<em>L\u2019insieme vuoto<\/em>\u00a0(2013),\u00a0<em>L\u2019anarca<\/em>\u00a0(2014; 2nd ed. 2023),\u00a0<em>Visioni<\/em>\u00a0(2016),\u00a0<em>Oscillazioni<\/em>\u00a0(2016),\u00a0<em>Il silenzio dell\u2019arte<\/em>\u00a0(2021),\u00a0<em>L\u2019antinomia critica<\/em>\u00a0(2023),\u00a0<em>Ritratti<\/em>\u00a0(2025) and, with Jean-Luc Nancy,\u00a0<em>La pelle delle immagini<\/em>\u00a0(2003),\u00a0<em>Iconografia dell\u2019autore<\/em>\u00a0(2006),\u00a0<em>La fin des fins<\/em>\u00a0(2015) and\u00a0<em>Estasi<\/em>\u00a0(2022).\r\n\r\n<strong>Rasheed Jalloul<\/strong>\r\n\r\nJalloul is a Lebanese architect, artist, composer and researcher based in Barcelona. His practice moves between architecture, sound and language, understanding them as interdependent systems through which space is articulated. His methodology works like a political Casimir effect, where voids produced by calamity reorganise perceptive and mnemonic conditions. Through this notion of an active void, Jalloul addresses absence as a conditioning field, from which form emerges through processes of subtraction and fluctuation, challenging colonial epistemologies of body and space.\r\n\r\nCurrently Jalloul is a resident at Centre d\u2019Arts Santa M\u00f2nica, where he is researching spatial mediation. His work has been presented at MACBA, Kampnagel, Festival S\u00e2lmon, RCR Arquitectes and the Fundaci\u00f3 Enric Miralles, among others.\r\n\r\n<strong>Juan Jos\u00e9 Lahuerta<\/strong>\r\n\r\nLahuerta has been Professor of Art History at ETSAB \u2013 Barcelona School of Architecture, and has taught at Universit\u00e0 Iuav di Venezia and New York University, among others. He was conservator of the Picasso Museum Barcelona and head of collections at the Museu Nacional d\u2019Art de Catalunya. Recent publications include\u00a0<em>Religious Painting: Picasso and Max Von Moos<\/em>\u00a0(2015),\u00a0<em>Marginalia: Aby Warburg, Carl Einstein<\/em>\u00a0(2015),\u00a0<em>Photography or Life: Popular Mies<\/em>\u00a0(2015),\u00a0<em>On Loos, Ornament, and Crime<\/em>\u00a0(2015),\u00a0<em>Antoni Gaud\u00ed: Ornament, Fire, and Ashes<\/em>\u00a0(2016) and\u00a0<em>Arte en la \u00e9poca del infierno<\/em>\u00a0(2022).\r\n\r\nHe has curated exhibitions such as\u00a0<em>Picasso. Rom\u00e0nic<\/em>\u00a0(MNAC, Barcelona, with the collaboration of Mus\u00e9e Picasso, Paris, 2015),\u00a0<em>Gaud\u00ed<\/em>\u00a0(MNAC, Barcelona and Mus\u00e9e d\u2019Orsay, Paris, 2022) and\u00a0<em>Julio Gonz\u00e1lez. Ser Artista<\/em>\u00a0(IVAM, Valencia, 2023), and is the author of their respective catalogue essays. Lahuerta is member of the editorial board of\u00a0<em>Casabella<\/em>\u00a0(Milan) and founder and director of the publisher Mudito &amp; Co (Barcelona, New York, Venice).\r\n\r\n<strong>Jordana Mendelson<\/strong>\r\n\r\nJordana Mendelson is Associate Professor in the Department of Spanish and Portuguese at New York University, where from 2020 to 2026 she has directed Espacio de Culturas, a centre focused on developing events and programmes related to Spain, the Iberian Peninsula and America. Her research centres on visual, exhibited and printed culture in Spain during the 1930s.\r\n\r\nShe is the author of\u00a0<em>Documenting Spain: Artists, Exhibition Culture and the Modern Nation, 1929-1939<\/em>\u00a0(Penn State UP, 2005), co-editor of\u00a0<em>Postcards: Ephemeral Histories of Modernity<\/em>\u00a0(Penn State UP, 2010) and curator of the exhibitions\u00a0<em>Revistas y Guerra 1936-1939<\/em>\u00a0(Madrid, Museo Reina Sof\u00eda, 2007) and\u00a0<em>Encounters with the 1930s<\/em>\u00a0(Madrid, Museo Reina Sof\u00eda, 2013). She is also co-editor of the\u00a0<em>Journal of Spanish Cultural Studies<\/em>. Mendelson is currently working on a publication with the provisional title\u00a0<em>Paper Routes: The Power of Design in 20th-Century Spain<\/em>.\r\n\r\n<strong>Lyu Wen<\/strong>\r\n\r\nAn interdisciplinary artist and researcher, Lyu Wen is doing a PhD in the Department of Humanities at Pompeu Fabra University. Her work explores the intersection between performance art, digital media and the philosophy of the Kyoto School.\r\n\r\nWorking in performance, video, installation and painting, she develops an approach based on a practice that feeds her research. Her current projects explore the ways everyday actions, such as walking and sitting, might be transformed into corporeal practices of sustained attention and awareness.\r\n\r\n&nbsp;\r\n\r\nWith the collaboration and participation of the Antoni T\u00e0pies \u2013 UPF Chair of Contemporary Art and Thought.\r\n\r\nWithin the framework of\u00a0<a href=\"https:\/\/www.barcelona.cat\/capitalmundialarquitectura\/en\/presentation\/barcelona-2026-world-capital-architecture\">Barcelona 2026, International Capital of Architecture<\/a>.","event_category":255,"event_show_only_own_date":true,"_event_confirmed":true,"_event_public":true,"_event_free":false,"_event_price-min":4,"_event_price-max":9,"_event_web_ca":"https:\/\/museutapies.org\/event\/simposi-internacional-el-mur-i-la-ciutat-dispositius-visuals-de-la-modernitat\/","_event_web_es":"https:\/\/museutapies.org\/es\/event\/simposio-internacional-el-muro-y-la-ciudad\/","_event_web_en":"https:\/\/museutapies.org\/en\/event\/international-symposium-the-wall-and-the-city-visual-devices-of-modernity\/","event_contact_email":"","event_apply_email":"https:\/\/museutapies.palisis.com\/?book-direct=r-7111","is_online_event":false,"is_art_nou_event":false,"is_bgw_event":false,"date_text":"","register_deadline":null,"altres_organitzadors":""},"abe_event_venue":"Museu T\u00e0pies","abe_event_category":"Simposi","start":"2026-05-27 18:00:00","end":"2026-05-27 20:30:00","schedule":"once","schedule_meta":"","frequency":1,"all_day":0,"until":"2026-05-27 18:00:00","include":[],"exclude":[],"_links":{"self":[{"href":"https:\/\/graf.cat\/es\/wp-json\/wp\/v2\/events\/57526","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/graf.cat\/es\/wp-json\/wp\/v2\/events"}],"about":[{"href":"https:\/\/graf.cat\/es\/wp-json\/wp\/v2\/types\/event"}],"author":[{"embeddable":true,"href":"https:\/\/graf.cat\/es\/wp-json\/wp\/v2\/users\/8"}],"occurrences":[{"embeddable":true,"href":"https:\/\/graf.cat\/es\/wp-json\/wp\/v2\/events\/57526\/occurrences"}],"acf:term":[{"embeddable":true,"taxonomy":"event-category","href":"https:\/\/graf.cat\/es\/wp-json\/wp\/v2\/event-category\/255"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/graf.cat\/es\/wp-json\/wp\/v2\/media\/57521"}],"wp:attachment":[{"href":"https:\/\/graf.cat\/es\/wp-json\/wp\/v2\/media?parent=57526"}],"wp:term":[{"taxonomy":"event-venue","embeddable":true,"href":"https:\/\/graf.cat\/es\/wp-json\/wp\/v2\/event-venues?post=57526"},{"taxonomy":"event-tag","embeddable":true,"href":"https:\/\/graf.cat\/es\/wp-json\/wp\/v2\/event-tags?post=57526"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}