El arte siempre ha avanzado a golpe de genios y genialidades. Nada fue igual después de que en 1917 Marcel Duchamp (1887-1968) expusiera en Nueva York un urinario público de hombre invertido, convirtiendo este objeto común y seriado (y poco valorado hasta ese momento) en una obra de arte que llamó Fuente y que acabó entrando en la Historia del Arte por la puerta grande. Años después, Duchamp y el creador de la materia, Antoni Tàpies (1923-2012), se conocieron y coincidieron en varias ocasiones. No es de extrañar que la fundación barcelonesa del artista los haya reunido en las dos muestras que presenta estos días y que se verán hasta finales de enero de 2022 para evidenciar cómo el artista catalán, pese a los años transcurridos, tenía presente cuando creó obras como Pila de platos (1970) en las que apiló 37 platos de loza blanca; Cojín y botella, del mismo año, o Cabezal de cama con ropa, de 1973, la obra del artista conceptual franco-norteamericano y la influencia del dadaísmo que reivindicaba dentro del arte “el objeto encontrado”.

"It is a period in which Tàpies consolidates the language of the matérico paintings that began in the mid -fifties, such as the determined commitment to incorporate objects into the works," explains Núria Homs, curator of the Tàpies sample.The reality in the foreground in which you can see 43 impressive works by Tàpies in which, as in its pile of dishes, the political and social reality that it lived has its reflection in the works it produced.In this case they have to do with meals that were distributed to those locked in the convent during the 1966 caputxinada, in which it participated and ended, like the rest of students and intellectuals, detained and fined.

The exhibition incorporates previous works, to show that Tàpies had always used objects in his works.Like the ephemeral work he made in 1956 for the escape of the Sastrería Wales of the Paseo de Gràcia with an old metal blind and a violin (a piece that like the Duchamp urinarydemonstrating that his language continued to be in force).

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"Unlike the surrealists who linked their works with the subconscious, Tàpies simply used the disused objects of their surroundings to put them in value, nothing more," Homs continues in front of the aforementioned cushion and bottle and very close to straw and wood,of 1969, in which a material as poor as straw becomes essential, but that most people who see it, surreal or not, end up seeing a huge pubic hair.The difference with the Povera art is, highlights the commissioner and head of collections of the Foundation, “that Tàpies always intervenes the work, the brand, the firm, puts color;He not only puts a picture to show a frame, but he always intervenes, in a forceful or more subtle way ”.

In works such as inscriptions and four bars on Arpillera, 1971, Tàpies uses the sack fabric as the support in which it includes the name of Catalan intellectuals that then hangs, as if it were a banner, literally to the canvas.This direct language prevented the work from showing until 1976.Others, like great white cloth, from 1969, is much more subtle, but no less shocking, seeing how it joined two canvases of two meters each with a string one centimeter thick and then painted everything in white.The work, which comes from the Jules Maeght collection in Paris, like others in the exhibition, had never been seen in Barcelona.

In other works you can see somieres with sheets, cabinets with clothes, canvases in which it hangs some pants, even knotted napkins differently under the initials of the five family members: their children Antoni, Clara and Miquel;Him's woman Teresa and him.That Tàpies never abandoned this practice, points Homs, shows it that there are works of the nineties that follow this trail and that make the exhibition continue outside the walls of the foundation: on the Pácose Paseo you can see tribute to Picasso, from1983, in which he used tàpies furniture from the office of his father and in a prominent place of the Macba can be seen Rizen, from 1993;A huge white hospital bed placed vertically, which was awarded at the Venice Biennial with the Golden Lion of (surprisingly) painting of that contest.

Obsesionado con la Fountain

To highlight the relationship between Tàpies and Duchamp on the top floor of the Foundation you can see the source archives and beyond, a huge installation by the French artist Saâdan Afif created based on the publications in which the famous source of the source of theConceptualist.These are the pages torn and framed by the publications, which are also shown in a bookstore all ordered by order of acquisition."They are like the molds," explains the artist.Next, AFIF also exposes, as a cacophony, the pages of newspapers and magazines in which you talk about your intervention that is in continuous creation since 2008."In that year, I had a dream a night in which I entered a public urinary one and Duchamp was placed next to it.".Since then he has not stopped collecting and generating documentation on the famous and iconoclast source, demonstrating, overwhelmingly, that this object is a work of art.