“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.

Open conversation with Toni Serra *) abu ali (OVNI Archives) and the authors of the videos of ACTE 34: The Other City: Marc Almodóvar, David Batlle and Giovanni Cioni, who will reflect on their works in particular and open discussion on the evolution of cities in the conflicts of global capitalism. Suñol Foudation, 3rd October, 2016.

• “It’s hard to come to terms with the fact that the supposedly civilised society that you fled to, seeking refuge, is so brutal.” -“People say: “get civilised”. But when you get civilised you realise that it’s the worst thing they could have taught you. Do you know what they mean by “getting civilised”? Have money, go shopping, spend money, and always keep in your head: I want more, more, more... Consume.” - the persistence of Eurocentrism in European dissidence. (*) Title of Pier Paolo Pasolini’s last interview.

Tarajal: Dismantling Impunity on the Southern Border is a documentary research project by the production company Metromuster, which previously produced the influential activist documentary Ciutat Morta. It has been commissioned by Observatori DESC, which is collaborating in the research process. Tarajal is based on statements from migration experts, journalists, lawyers, police spokespersons, and activists, as well as official declarations from the Interior Ministry, edited together to reveal the many contradictions in the accounts of the events leading to the death of 15 migrants at Tarajal. Above all, it suggests that the events may not have simply been a matter of police negligence, but part of a strategy designed for the application of migration control policies.

Rene Vautier, Brittany, 1928, studied at the “Institut des Hautes Etudes Cinématographiques”. Author of several works denouncing Colonialism, including: Afrique 50, Un homme est mort, Une nation, l'Algerie, L'Algerie en Flammes, Hirochirac,... René Vautier appears to be the archetypal socially committed filmmaker: his militant films are held up by a flexible rigorousness and formal ingenuity that help him overcome the practical problems arising from his "social intervention" works. In his own words, his motto could be: "Write history in images, immediately". In 1950, disgusted by the French censors who confiscated many of his reels, he managed to finish Afrique 50, the first French anti-colonial film. His social commitment as a filmmaker leads to 13 charges against him, and a jail sentence. At the price of many years in jail and a hunger strike, René Vautier's struggle against all kind of oppression - political, economic and cultural – will endure.

The cycle From the Imagined to the Tangible, proposes to present abstract ideas that help us to reflect on the reality where we live, immediate, concrete and material. Toni Serra, co-director of the OVNI Archives presents different pieces of the more than 2000 that this audiovisual archive has gathered over 21 years, offering us an uncomfortable vision of the century where we live, but also the dreams and desires of societies that do not see each other reflected in the imaginary of corporate media. Museum of World Cultures, Barcelona. 4th October 2016.

Port Trade Portrait is a portrait of the old Barcelona cargo port, which has been transformed into a tourist leisure area. Today, tourists step around Africans who are trying to make a living in the face of the constant threat of persecution and detention, right on the same docks from which the slave ships that enriched distinguished families set sail not so long ago.

“I will show two videos: “Trobriand Cricket”, and “Les Maîtres Fous” to talk about what I will call “mimetic excess”. By this I mean a joy or "jouisance" in mimesis itself (Nietzsche talks about this in his description of Dionysus). An “excess” produced at the moment of de-Colonisation in the 1950s-1960s, with the encounter between the Indigenous and the European worlds; the first with its mimetic body, and the European world with its mimetic-machine (the camera). A question for us: Now, in 2006, what do we do with this "excess?"