Distanciamientos: Que reste-t-il de nos amours ?: ADN Collection: Tàpies / Grup de Treball

It was 1942 when Charles Trenet wrote and published this beautiful ballad Que reste-t-il de nos amours, which remains the great emblem of nostalgia for once young loves, now faded: Ce soir le vent qui frappe à ma porte, me parle des amours mortes. France had been occupied since June 1940 and Antoni Tàpies would have turned 19 on December 13rd of the same year. From 1943, the catalog with his Obras Completas only lists two works: Jardín de Puigcerdà and Ensayo de Pintura al óleo. Tàpies, who would later emerge as one of the most significant and assertive artists in our region, could hardly have imagined that, 30 years later, other artists in their twenties would confront him. This confrontation gave rise to one of the most pointed art disputes in our context, featuring a mature Tàpies and a collective of young artists who, thanks to that public controversy, would come together under the heading Grup de Treball.

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