This exhibition takes a look at the avant-garde practices that the psychiatrist Francesc Tosquelles carried out in the therapeutic, political and cultural field. Tosquelles transformed psychiatric institutions during the Republic and in fascist Europe. Today, he is an inspiration when addressing mental health policies in times of extreme crisis. This exhibition has the support of the 4Cs Project.This Mediation Lab, divided into three activities, has been designed to connect the figure of Francesc Tosquelles and the world of mental health with the world of art. With the Mediation Lab we have introduced one of the pioneers of critical psychiatry in post-war Europe. Institutional Psychotherapy is recovered here through the figure of Francesc Tosquelles: a discourse and practice that address not mental illnesses, but vital, social and ethical problems. Institutional Psychotherapy foresaw the dysfunctions that would eventually afflict people in contemporary societies and the dysfunction of the institutions.Lecture organised on the occasion of Ariella Azoulay's visit to Barcelona to prepare the next exhibition at Fundació Antoni Tàpies - Erratum (October 2019)Communication material - Fundació Antoni Tàpies"Politics of Silence" is an anthology/exhibition in book format about silence as resistance. Silence is often associated with something passive – that nothing happens. But silence can also be used as a poetic protest and as a resistance against ruling regimes. Get to know more about the book when Ana Fabíola Maurício presents the book in conversation with artists Blanca Gracia and Michelle Eistrup at the Museo Patio Herreriano de Arte Contemporáneo Español in Valladolid, on December 9th.To take stock of the past year, Artforum asked an international group of artists to select a single exhibition or event that most memorably caught their attention in 2020.
Kader Attia has selected "Errata" - Ariella Aïsha Azoulay's exhibition at Fundació Antoni Tapiès, Barcelona.Public institutions such as libraries, museums and archives consist of a huge amount of plundered material and are organized around imperial structures that facilitate the normalization of these holdings in these institutions. Based on this assumption the seminar aims to provide a framework for discussion of transformative potentialities of imperial collections and different modalities of undoing its legacies.Errata consists of a series of ‘rehearsals’ in non-imperial modes of archival literacy. Photography is being used here as part of a ‘potential history’, a way of unlearning the imperial habits and gestures through which citizens of differentially ruled body politics have been trained to inhabit the privileged position of experts – in photography, art, politics and human rights discourse – and explore the plight of others, congealed in objects, books and documents, while those others with whom they share the world are forced to endure secondary and subservient roles.On the occasion of the exhibition "Susan Meiselas. Mediations", the Fundació Antoni Tàpies has invited the Syrian artist of Kurdish origin, Guevara Namer, to become an artist-in-residence. Guevara Namer is a photographer and documentary filmmaker. The purpose of the residence is to invite an artist in the specific context of Barcelona and the Fundació to establish a dialogue between her artistic practice and that of the current exhibition."Sensible Grounds: Inhale" at Fundació Antoni Tàpies. "Inhale" (2016-2021) is an archive of fictional narratives and sounds that trace opium smoke in the junction of writing and breath. The narratives are written passages that chronicle instances of opium use in Iranian modern and contemporary novels and short stories from the last and present centuries.The goal of the workshop was to approach several aspects of the Sea Conflict.The idea was to reflect about sea areas problematics with the people involved into the conflict and with the people who live directly this situation (neighbours, dockers, street illegal vendors, the collective of the old fisherman, artisans, etc).