The sun does not always shine in Barcelona, the “best shop in the world” according to the slogan of a City Council campaign. The thousands of tourists who visit Barcelona every month boost the city's economy, but their social and human impact is often overlooked. The precarious nature of jobs in tourism, real estate pressure from the hotels, and the types of problems that crop up when a city turns into a kind of theme park in an attempt to seduce outsiders. The classic problems of global capitalism, reflected in one of the country's major industries... “BCN Thematic Park” talks about all this... about Barcelona, a city-advertisement that is turning into the newest theme park on the international market.

Gaza, War in Media presents a series of interviews that challenge the official Spanish media account of Israel's Operation Cast Lead, in which 1,400 Palestinians died and 5,000 people were wounded, most of them civilians. According to this version, Israel was “defending itself” from the launch of Qassam rockets by Hamas, by massive bombardments to destroy the “infrastructure” of this “terrorist” group. In reality, the bombardments and the ground offensive by the Israeli army targetted the civilian population of the Gaza Strip, as shown by the Goldstone report commissioned by the UN Human Rights Council.

Shot in Cameroon and Brussels, Je ne suis pas moi-même explores the world of African antiquities and the contradictions in a European art market hungry for new tribal objects. Where do the African masks come from? What journey do these masks make before their unveiling in the windows of the biggest galleries or art collections in Europe? Who determines the economic and aesthetic value of these objects now that colonialism is supposedly dead' And then there's a continent called Africa, in need of economic resources and therefore willing to sell its cultural heritage or, if need be, to fake it. The authenticity of the objects becomes blurred when the people that once adored them start to sell them.

Léxico Familiar transforms the all-encompassing intent behind the idea of a “dictionary” into a more modest attempt to compile a few elements of the “family lexicon” that constitutes the language of the new movements. As per Heinrich von Kleist's idea of gradual production of thoughts whilst speaking, this vocabulary is revealed through the course of the conversation, framing and editing, which literally seek to show how thought is embodied. Just as political concepts that lead to dynamics of change (which can be appropriated by other subjects, and which circulate so as to be verified through different practices) don't arise through isolated gestures or thought ex nihilo, but from actual experiences and specific bodies and struggles.

Maa Tere Manalen is the result of Tere Recaren's two trips to Mali. It all began the day the artist discovers that in Mali, her name means something like “destiny.” So Recarens sets off to Africa to explore all the possible meanings of her name for the Bamanan, the country's most numerous ethnic group. Maa Tere Manalen (someone with a lighted Tere) took shape during her second visit. After her trip to Estonia, where she had discovered that “Tere” meant “good day,” she embarks on a similar exploration avoiding the classic tourist trip. Faithful to her habits, she promotes other kinds of exchanges and experiences; so in Mali she works in a textile factory where she designs and produces her own fabric with prints of drawings and phrases related to her name. Once this was done, she cuts it up and swaps it for photos of everybody who has helped her in some way, filming the whole process. The work draws attention to the gift itself, and the artist's constant availability. Recarens “builds” a room, which functions as a space in which to exhibit her work: she fills it with fabric that she finds or swaps things for, with motifs that refer to public or private moments, ideal for talking about different kinds of families. A space that is halfway between aesthetic and functional, where Recarens displays her own images.

Mapas Migrantes looks at migration in Barcelona from the period following the Civil War up until the present, through the city's buildings, infrastructures and street furniture. It is a kind of atlas, a series of maps that take shape through the voices of migrants, whose tales of the past invite us to re-read the city. Charting the invisible, we enter a territory in which individual subjectivities erase the boundaries laid down by the dominant discourse.

“The opening of a Muslim oratory in a building in Santa Coloma de Gramenet (Barcelona), for the celebration of Ramadan in October 2004 sparked a confrontation with dye intolerance among the residents of the city and the City. No Mosque! is a documentary of dialog and reflection that analyzes causes and consequences of this conflict on the basis of testimony of all of its protagonists.” We see the escalating pressure from one section of the neighborhood, the solidarity of others (the Ateneu Popular), the pathetic response of the City Council and the Muslim community's banishment to a prayer room made from shipping containers among wire fences in an Industrial Zone... A fractal that is being repeated exponentially throughout the country.

A TV advertisement for Campofrío (a processed food brand) that parodies a fictional vegetarian family in order to sell its “Finísimas” processed meat product. Action carried out by the Animal Equality group in response to this ad. “We decided to show audiences what goes on behind-the-scenes at farms, to show the life of slavery that animals are subjected to. To respond to a fictitious advertising campaign with an investigation into one of the farms owned by the company. On July 4 and 12, 2008, activists from the Animal Equality entered a farm located in Burgos that provides to Campofrío in order to document what goes on there and bring it to light”.

A 20 minute short movie-presentation of the insurrection of December 2008 in Greece through the words and actions of people that took part in it. The video was created in Thessaloniki in January 2009 and its first presentation took place before an open discussion-review of the insurrection in the squatted public library of Ano Poli.

The author of this film hitchhiked from Tarragona to Pakistan with the object of shooting a film in the so-called “Islamic” countries, and doing so in a fashion that is different from the usual media stereotypes that pigeon-hole women. For thirteen months, she travelled and lived in Bosnia, Turkey, Iran, Afghanistan and Pakistan. Unveiled Views portrays the lives of five women she met during her sojourn. These women have chosen art as a way to express themselves: public performances, cinema, music, poetry and dance are the tools they use -each in her own particular way- to unveil a personal vision of life.