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.Communication material - Fundació Antoni TàpiesLecture organised on the occasion of Ariella Azoulay's visit to Barcelona to prepare the next exhibition at Fundació Antoni Tàpies - Erratum (October 2019)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.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).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.