Departing from the title, the video establishes a divergent parallelism in between the wife of the Senegalese migrants’ and the Odysseus’ Penelope. The protagonist do not just take Penelope’s roll, but subvert it. Parallelism due the similarity in the long periods waiting for their husbands’ return home. Divergence because, here these women take the enunciation power, to tell us how they deal with their reality and they how negotiate with the social pressure surrounding them, that like in the Odysseus, would love relegating them into a second term.

One of the most unknown uprisings of our history "The bread mutinery" was led by women in Cordoba, May 1652. There are no faces, there are neither names. There is no image of them. How can we recover the gestures of resistance that we cannot see?

Alba is twelve years old and wants to discover the mysterious, fascinating and unknown reality of death. With her best friend Samuel, she enters abandoned houses, travels through forgotten villages and explores remote mountains that hide another parallel world. Hers is a journey to reveal the unexplainable conflict between the living and the dead.

A new place in the world is revealed while Bea is confronted with loss and what she imagines will come. In the house that prepares itself to embrace change, fears dwell. An unforeseen loneliness also seems to be part of her desire, that of being a mother without a partner and a lesbian. Raquel films her attached to a time when the two shared the same idea of community. As Bea’s body changes, the camera moves between affection and distance. An attempt to get to know each other (again), and perhaps also a need to wonder about family, love, friendship and all those desires that overflow the limits of intimacy.

In the depths of aquatic worlds there is an amniotic fluid that connects us, immersing us in that place where gills are evident through bubbles, plankton and algae. Fluid, lactating worlds where the horizon is hazy and undulating. Where up or down is anywhere and everywhere at the same time.

The Aphrodisia were considered the works of Aphrodite in ancient Greece, were all that offered pleasure to the senses. The intention of this audiovisual is to show some of the taboos where sexuality hides in the catalan context. Through three speeches, whose common objective is to defend sexuality, it approaches sex work and the works of the aphrodite that we live in everyday. The experience that three people can transmit from the Genera Association, erotic Massage and Sexual Assistance. This video is part of the Educational Agreement of collaboration between theOVNI Archives and the Department of Anthropology of the University of Barcelona -  UAB , for the curricular external practices of the students, of the academic year 2017-2018.

The animals of Stella. While out exploring in the winter months, an almost prodigious chance encounter bring me to the shores of the lake ‘des Eaux-Chaudes’ (Alps of Haute Provence, France), the place that will become a creation laboratory of the video installation Les animaux de Stella/The animals of Stella. The human voice frees itself from the coded language and interacts with other sounds becoming part of the place, which in turn is internalized by the child. Thus a reciprocal dialogue is established, a spontaneous communication that brings out an intimate bond of affection. An equal relationship is progressively fostered between the girl and the environment that welcomes her, in an attempt to renew the ancient relationships between human and non-human.

This work, the result of a trip to Germany (taken in December of 2000) and of a personal investigation that lasted over two years, tackles the theme of the construction of memory and of the mechanisms of the production of history. Through the narration of my family’s history, it delves into the memory of the recent emigration from the spanish state to Europe, and reflects on the mechanisms of oblivion and remembrance, by recuperating the idea of the construction of memory as a nexus and a dialogue, and the elaboration from personal experience against the idea of an official history and memory, restricted to the institutional and articulated around the aestheticisation and the deactivation of the political subjects.