Anarquismo

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            Anarquismo

              7 Archival description results for Anarquismo

              ES ES-OVNI CTX-S011-SS006-0110 · Item · 2004
              Part of Non-Identified Video Observatory (OVNI)

              El Perro Negro - Stories from the Spanish Civil War is a poetic collage of homemade movies, captured almost involuntary by amateur artists. Joan Salvans i Piera and Joan Ernesto Díaz Noriega are the two characters of this story: Ernesto, a middle class student in Madrid, who survives war; and Joan, a Catalan industrialist who is murdered six days after the outbreak of the conflict. Their films lead us through the Spain of the 30s and 40s.

              Untitled
              ES ES-OVNI DIF-S007 · Series · 2019
              Part of Non-Identified Video Observatory (OVNI)

              His Name Was Not Frankenstein

              The fragmented face and the wrath of the clan

              Faculty of Geography and History, room 409, Universitat de Barcelona, Montalegre 6

               Why do we find the fragmented face of Frankenstein’s Monster so fascinating? The monster in the 1931film was certainly one of the most successfully characterisations in the history of cinema, but there issomething more: it raises a question that goes beyond the creen and has something to do with the idea of that spectre haunting Europe that opens The Communist Manifesto.

              The workshop will dissect the film Dr. Frankenstein (1931) to try and understand how terror and dreams are      connected in the logic of the fight against the master.

              https://www.libroscorrientes.es/frankenstein/

              https://www.libroscorrientes.es/frankenstein/

              ES ES-OVNI RSC-4076 · Item · 2009
              Part of Non-Identified Video Observatory (OVNI)

              There is an anarchist essence inherent in Islam, which deserves our attention. Koranic cosmology states that a human being in the state of nature is a ‘slave (or serf) of Al-lâh, just as a sunflower is a slave of the sun, because they are organically linked. The concept of submission to a Single Reality (al- islam) does not translate into submission to human institutions, rather the reverse: it leads to a rejection of all external coercion as contrary to the nature of things. Muslims reject the limits that the market and the institutionalisation of life impose on their freedom, as an inner space in which intimacy with Creation becomes possible. The freedom that Muslims recognise is not political freedom under protection of the State, but an inner state/space that enables us to reject the world of representations, reject the fiction of power that some sheathe themselves in. This is based on idea that human beings are noble in essence, that their state of nature (fitrah) is superior to their state of culture. Ibn Jaldún says: “The political and educational order is contrary to the power of the soul because it embodies an instance of external control”.This point explains why Islam has been described as ‘mystical anarchy’. Abdennur Prado is a writer, president of the Catalan Islamic Council and co-director of the International Congress of Islamic Feminism.

              La marca Barcelona
              ES ES-OVNI CTX-S012-SS003-0007 · Item · 2006
              Part of Non-Identified Video Observatory (OVNI)

              A documentary that criticizes Barcelona's mammoth urban restructuring process, which is carried out without the participation of the people who live in and use the city according to a model that chooses to ignore social memory, especially when it comes to the working class. Through the voices of some of the people behind this process, the documentary shows a side to this chapter of the city's history that is usually not presented by the media.

              Untitled
              REWEND
              ES ES-OVNI EXP-S004 · Series · 2022
              Part of Non-Identified Video Observatory (OVNI)

              Practical information

                         A presentation of Kurdish films by the Rojava Kurdistan Film Commune (Northern Syria)

              OVNI has collaborated with the Rojava Film Commune in a project aimed at researching, screening, and promoting their work in Spain, Italy, and France. A process of investigation through videos, texts, and meetings, in order to listen to their voices and understand their struggle together. We have created a website that you can visit link.

              Komîna fîlm a Rojava (Rojava Film Commune) is a collective of filmmakers founded in 2015, based in the autonomous Rojava region in the Federation of Northern and Eastern Syria. The Commune is actively working in the region to rebuild and reorganise filmmaking and film education infrastructures.

              The Rojava Film Commune was established to promote local film culture by organising film screenings, facilitating discussions on the role of film within society, producing new films, and setting up a Film Academy. Following the 1960 fire in Rojava’s only cinema in the city of Amude—which saw the death of 298 children trapped inside—the Commune aims to reclaim film as a central space for reimagining society, by democratising and revolutionising the imagination itself.

              The Commune has educated a new generation of Rojava filmmakers, organized screenings in cities and villages, and produced new films. It seeks to represent the values and ideals of the Rojava Revolution, but also to mediate and depict the daily struggles in the Syrian civil war and Rojava’s collective attempt to build a new society.

              The Rojava Film Academy provides education for aspiring filmmakers in Northern Syria. Founded in 2015, it offers one-year programmes, with courses on international film history, Kurdish film history, film theory, photography, cinematography, script writing, editing, and sound design, taught by local and international film professionals.

              The Academy is self-organized and non-hierarchical, encouraging students to participate in every aspect of its organization. Exchange networks have also been set up with other academic, media, and news platforms, and with civil society organizations, in order to engage in broad discussions and create screening possibilities. Considering the influx of foreign filmmakers and journalists to Rojava, it is important for the Commune to reclaim the representation and imagination of the revolution.

              After decades of oppression of Kurdish language and culture, the Rojava Film Academy aims to revitalize local film culture, reclaiming the power to narrate and imagine one’s dreams and realities. After the Syrian Civil War started, the predominantly Kurdish northern region declared the Autonomy Administration, creating structures based on grassroots democracy, women’s liberation, and cultural diversity.

              The Academy bases its methodology on ‘revolutionary realism’, i.e. a realism that does not merely reveal the current reality in a new way, but also restructures the reality of the possible . As well as finding forms to express things as-they-are, it creates the opportunity to imagine the not-yet-present, the ‘eternal becoming’ that is the revolution itself.

              https://rewend.desorg.org/

              https://rewend.desorg.org/

              WAR, INSUBMISSION, ART
              ES ES-OVNI EXP-S013 · Series · 2025
              Part of Non-Identified Video Observatory (OVNI)

              Project in Residency Falconetti Peña

              / Exhibition War, insubmission, art /

              / FILMOTECA DE CATALUNYA /

              / CRIPPLES OF WAR AND NORMALITY /

              / PATRIOTISM AND COLONIZATION /

              / YOU WILL DIE AS HEROES /

              / PAMPHLET AND REVOLUTION /

              WAR, INSUBMISSION, ART

              Project in Residency Falconetti Peña

              In 1924, coinciding with the tenth anniversary of the end of World War I, Otto Dix published his work The War, composed of fifty engravings in which he denounced warmongering with a harshness that had not been seen until then. A century earlier, Goya, a painter who inspired Otto Dix, produced The Disasters of War. And now, one hundred years later, a cruel and senseless war is once again being fought in Europe.

              Otto Dix is located between two times, Goya's and ours. The project for this exhibition/intervention is to take his engravings as a starting point for a journey through the art that has rebelled against war slogans.

              Goya, Dix, Grosz, Arntz, Watkins and many other artists defied the prevailing aesthetic order by creating works of enormous relevance. To do so, they used modest formats, the engraving, the poster, the mimeographed magazine, the pamphlet, the false documentary, the only ones they could access in times of censorship and blockade. These are works that managed to last against all odds, as there were many who were interested in making them disappear.

              Thanks to them, today we can follow the trail of those who in their day disobeyed the patriotic slogans, maintaining the flame of resistance to the war madness.

              The project will cover various spaces and historical periods, combining different formats, pictorial, graphic and audiovisual.

              The idea is to contrast them, face to face, with the messages of those who at the time bet on galvanizing the warrior ardor of the masses.