“The only crime that the inmates of Migrant Detention Centres (CIE) have committed is to cross some border or other, to be poor, and to be black, that's all. Remember that these people are the grandchildren of the slaves who were hunted down like animals and loaded onto ships...” Lamine Sarr. “Nobody sees the reality of Migrant Detention Centres, it's a hidden reality.” Aziz Faye.

There is one place on the Rambla that Ariadna Pi has always been very fond of. This has been true of all the incarnations she has known over the decades, especially when they have taken place in and around El Chino, such as when she existed as a textile worker and mother of a family in a flat in Carrer Escudellers, a florist on the Rambla itself, a whore in Robadores, a shop assistant in Plaça del Padró, a young girl who someone fell madly in love with one night in La Paloma and never saw again, a young girl with whom someone fell madly in love one night in La Paloma and whom she never saw again, an immigrant first from the Catalan and then Andalusian countryside, and very recently from the Maghreb, living in a shabby boarding house perhaps in Carrer Ample, and earning a living rubbing scales in the Eixample. It should be noted that the aversion to this building was not so much explained by the things that were done, but by the type of staff who frequented it: haughty, bloated, arrogant characters, disdainful of the working people of the neighbourhood. The frequenters were the masters, the bankers, the landlords, the financiers, the powerful and their respective wives, the "best houses" in Barcelona, all the most uptight people, always dressed in their best clothes, hypocritically bragging to each other...  

Cristophe Coello spent eight years filming the everyday lives and activities of a group of men and women who squatted Barcelona buildings affected by property speculation (Miles de Viviendas). Squat captures direct democracy and invites viewers to immerse themselves in the experimental world of resistance.

INTERVIEW AGENCY An exercise that explores the interview format– as testimony or as a document – and the values associated with it: transparency/manipulation, neutrality/ideology and subjectivity/objectivity.

Sin Papeles tells the story of the of a hunger strike staged by migrant workers, without papers (sin papeles), in a small church in Barcelona by bringing together a sound recording of its climax made in March 2001 and film footage of the location shot four years later to the day. The subjective account of the event made by the artist in the form of a sub-titled narration is a process of personal reflection de-objectifying the subject of migration for the purpose of work, displacement and social order. The film is a reflection on the implications and realities of the aspects of the EU project that have created a fortress of Europe.