In 2003, the government headed by ex-president Gonzalo Sánchez de Lozada and Carlos Mesa (Bolivia's current president) passed a new Income Tax act, provoking a police riot that was subsequently repressed by the armed forces. The citizen protests that took to the streets were also repressed by the military and snipers. The documentary is made up of radio audio, TV images and newspaper archives from the main Bolivian newspapers.

He asked me: “Ms Ziadah, don’t you think that everything would be resolved if you would just stop teaching so much hatred to your children? (...). Pause. I look inside me for strength to be patient but patience is not at the tip of my tongue as the bombs drop over Gaza. Patience has just escaped me. Pause. Smile. We teach life, sir! (...) These are not two equal sides: occupier and occupied. And a hundred dead, two hundred dead, and a thousand dead. (...) Is anybody out there? Will anyone listen? I wish I could wail over their bodies. I wish I could just run barefoot in every refugee camp and hold every child, cover their ears so they wouldn't have to hear the sound of bombing for the rest of their life the way I do. (...) Today my body was a TV’d massacre. We teach life, sir. We Palestinians wake up every morning to teach the rest of the world life, sir.”

Long still frames, text, language, and sound are woven together to unfold the narrative of an anonymous group who fill their time by measuring distance.

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.

Anas ek Aili works with Palestinian children in Ramallah. Independently, they create a video to portray their surroundings from their own perspective and their understanding of the language of video.

In front of a vision of the multiculturalism as a space, predefined and consensual by power, institutions and violence, the "other" is enclosed in allotments.

The CCIODH (International Civil Human Rights Watch Commission) travelled to Oaxaca-Mexico between the 16th of December 2006 and the 20th of January 2007, and interviewed 420 people involved in the conflict. The Commission has recorded 23 deaths since the 16th of May 2006. This video documents the Commission's visit through interviews with prisoners, authorities and activists who have no choice but to go underground.

Images of orchids opening, plants sprouting, clouds and water superimposed onto images of the Sabra and Chatila refugee camp massacre in Lebanon in 1982. The voice of Abdel Majid Fadl Ali Hassan (a refugee from 1958 who lives in the Bourg El Harajneh camp) tells how his house in Palestine was destroyed.

Addressing issues of transition, alienation, refusal, identities, ethno-fascism, body as object & metaphor, agents, monsters, abjectness, subjective affinities, and objective trusts with material taped predominately while moving through Ljubljana, Zagreb, Sarajevo, Belgrade, and Skopje. The subjects conversing come from a range of constituencies; migrants, refugees, asylum seekers, residents (permanent and transient), students, workers, and cultural producers, recounting experience, locating sites, shifts, events, and the theorizing and accounting of the issues at stake, with associated ambient imagery forming specific histories of locations, and locations of histories at the intersection of cultures in this/these particular place(s) and time(s).