Using the 1964 Russian-Cuban classic film I Am Cuba as its starting point, She Was Cuba explores the nature of memory, the time passed and its remains. The film is made up of two stories. The first traces the life and death of a Cuban woman, Ada Perez Esquivel, who fled to seek political asylum in Canada. It is the tale of a woman of colour in exile, and her search for freedom, love and acceptance. The heroine symbolizes Cuba the country as well as those who have left their native land for a new home elsewhere.
UntitledMigration
97 Archival description results for Migration
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.
Life in an Immigration Detention Centre is not life at all, it is waiting. Waiting and fear. Fear of deportation, fear of losing your direction while your life is limited to the four walls of the cell, fear of a future that could surely not be worse. The testimonies of former inmates of the Immigrant Detention Centre (CIE) at Zona Franca, Barcelona, offer us a glimpse of the reality of these illegal, covert prisons.
UntitledThe port of Tangiers is a transit zone, and many travelers and goods pass through each day in huge trucks bound for destinations all over Europe. This is why large numbers of children and adults live in the port, waiting for an opportunity to hide under one of the trucks and cross the border into the Schengen zone. Almost all of them have a home and a family. Locals spend some time there and then return to their homes to build up strength for the next attempt. Those whose homes are far away settle among the containers or find a more or less inconspicuous hideaway in the port. Abdelghani is one of the minors who has decided to leave his family in southern Morocco to try and cross over to Spain.
First part of a video triptych about wanderings in frontier zones, where physical and imaginary geographies become indistinguishable.
Untitled[ migra and coloniality ] / OVNI 2016
The Center as the Border. Zones of Being and not Being
/ CONTEXT 1994 - 2020
[ migra and coloniality ] / OVNI 2016
PROGRAMA CASTELLANO PDF
Videos Talks Debates.
The border has a tendency to spread: it explodes into outsourcing to third countries, and implodes as domestic borders, control devices, detentions and disappearances...; in other words, it tends to occupy the entire system, becoming centre. In the shadows of the border-as-system, where control is out of control, the prototype of a totalitarian society is assembled.
Around the subject of migration there are a series of crucial lapses or ‘forgettings’, which not only hinder in-depth reflection but also fuel exclusionary visions There first of these is the colonial lapse – we have forgotten the close ties between migration and coloniality, and its global mutation. The second lapse springs from limiting our reflections on migration to the spheres of politics, policing, economics, demographics and humanitarian action... but rarely considering it in terms of knowledge and wisdom, of which we are truly in need. A third lapse consists of labelling people “immigrants”, creating the corresponding imaginary and confining them within it... failing to remember that all of us in fact migrate between different territories, spaces, times, and forms of knowledge.
Centre de Cultura Contemporània de Barcelona
Montalegre 5. 08001 Barcelona
Mohamed Ramzam is a Pakistani who has earned a living delivering gas bottles in the neighbourhood of "El Raval" since arriving in Barcelona in 1990. Despite working these last 12 years Mohamed doesn't receive a salary and lives from day to day on the tips he receives from the customers. He has managed to bring his wife and three children from Pakistan and they live in a warehouse situated in the heart of this working class area where the Muslim ideas and traditions of Pakistan are held dear.
UntitledNievell Zero - Fundació Suñol - Act 34
Opening: Thursday 21st, July, 7:30 pm
The works selected for Act 34 at Nivell Zero focus on analysing the concept of the city as a diverse, living, alternating phenomenon. Seen through this prism, the other city is an imagined, dreamed, stifled, revolutionised, abandoned place that eschews the neoliberal paradigm of the metropolis as a stage for doing business and disdains the identical, cloned theme-park cities found in so many places across the world.
The six works featured in the show shine a torch into the dark corners of cities such as Barcelona, Cairo, Casablanca, Marseille, Naples and Beirut.
Each video will be screened as a looped projection at Nivell Zero on a given day of the week. In parallel, visitors can also watch eight documentaries from OVNI Archives, on demand on two computers in the gallery.
Calendar of screenings:
Morning screenings: 11am-12am-1pm / Afternoon screenings: 4pm–5pm–6pm-7pm
BARCELONA > Port Trade Portrait . David Batlle. 2014. Spain. OV in Catalan with English subtitles. 37’
Morning screenings: 11am-12am-1pm / Afternoon screenings: 4pm–5pm–6pm-7pm
CAIRO > Erhal [Leave] . Marc Almodóvar. 2011. Egypt/Spain. OV in Arabic with Spanish subtitles. 55′
Morning screenings: 11am-12:30am / Afternoon screenings: 4pm-6pm
CASABLANCA > Des Murs et des Hommes . Dalila Ennadre. 2013. Morocco/France. OV in Arabic with Spanish subtitles. 82′
Morning screenings: 11am-12:30am / Afternoon screenings: 4pm-6pm
MARSEILLE > La Raison du Plus Fort . Patric Jean. 2003. France. OV in French with Spanish subtitles. 83’
Morning screenings: 11am-12:30am / Afternoon screenings: 4pm-6pm
NAPLES > In Purgatorio . Giovanni Cioni. 2009. Italy. OV in Italian with Spanish subtitles. 69′
Afternoon screenings: 4pm–5pm–6pm-7pm
BEIRUT > Ça sera Beau. From Beyrouth with Love . Waël Noureddine. 2005. Lebanon/France. OV in French with Spanish subtitles. 30′
https://www.fundaciosunol.org/en/exposicion/acte-34-la-ciutat-altra-arxius-ovni/
https://www.fundaciosunol.org/en/exposicion/acte-34-la-ciutat-altra-arxius-ovni/
- “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.
“I live on the campus of the Gaston Berger University at Saint Louis, Senegal. I have met there Africans from different parts of the continent. Of all these friends, one of them, a Senegalese, has stuck in my mind. He was the first to speak to me of my difference, the fact that I come from Central Africa. He let me become acquainted with his society, its taboos. Today I do not know where he is. I just know that one day he left on a pirogue headed for Europe. From his absence came the desire to make a film on our meeting, our differences, the places we crossed, the friends we knew.”
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