Translocation is a term used in the field of genetics, defined as the displacement of segments between chromosomes, the phenomenon whereby a fragment of chromosome is transferred to another non-homologous chromosome and, therefore, modifies it. The consequences of such displacements can be mutations in affected organisms, as in some cases modified chromosomes may be defective and generate malformations, but in other cases may cause favourable evolutions. We are interested in this idea of fragility and risk which translocation involves in connection with contemporary forms of displacement among people, their interactions in local contexts and the various transfer mechanisms which occur. Translocation is the conjugation between subjects, experiences and the relationships of cause-and-effect which occur between locals and visitors, those who usually reside in a particular place, and those who are strangers, others, foreigners. The consequences of this conjugation have a great deal to do with the space over which this transcultural mobility is deployed, and within which it is configured, and explicitly affects this space.
Translocations | Project Observatory is an exhibition comprising a group of heterogeneous artistic works which, taken as a whole, deal with contemporary mobility fluxes and their interactions with social and public spaces in specific sites within various cities. Global phenomena which have a geo-political global impact, such as tourism, migration or displacement due to job-seeking, are dealt with through contextualised projects, some of which analyse, and some of which report upon, the ways in which these phenomena affect or influence the local context, while still others propose alternatives . The consequences of mobility, in relation to citizenship, identity, territoriality, diversity, and the consolidation or the construction of public space, intersect and show disparate effects according to circumstance, time, and placement.
This exhibition brings together a number of projects already realised in several cities by a selection of artists and creators, along with the various phases, which were developed as part of TRANSLOCATIONS, and also various production projects developed within the context of Raval and the Barri Gòtic. Overall, Translocations reveals the worldwide scope of the phenomenon of mobility, but also how it takes on specific nuances in each location, and how many related issues achieve form and relevance according to the ways in which this phenomenon is dealt with. The selected projects impact upon these contexts through mapping, by enabling critical action, or by deploying mechanisms of collaboration and co-participation within the urban context.
Projects by: Rogelio López Cuenca / Amnistia Internacional / Atfal Ahdath / Marcos Ávila Forero / Isabel Banal - Jordi Canudas / Ángela Bonadíes / Luz Broto / Santiago Cirugeda / Pep Dardanyà / Raquel Friera / Daniel García Andújar / Bouchra Khalili / Matteo Ferroni / Núria Güell - Levi Orta / Ro Caminal / Irma Arribas - Queralt Guinard - Octavi Rofes - Pau Vilallonga / Iconoclasistas / ID Barrio Mex / Left hand Rotation / Josep-Maria Martín / Teresa Mulet / Arturo-Fito Rodríguez Bornaetxea/ Torolab.
Artistic interventions in public space with Brigitte Vasallo - Pol Galofre / Juan Pablo Ordúñez- MawaTres / Diásporas Críticas (Verónica Lahitte, Rebecca Close, Anyely Marín Cisneros) / Ro Caminal / Col·lectiu Fem Plaça / Giuliana Racco - Matteo Guidi.
Cartography (directed by Itzíar González - Consuelo Bautista). Participants: Oriol Ballesteros, Simona Cerri, Joaquín Jordán, Valentina Asinari di San Marzano, Lucia Vecchi, Ana Llorens, María Paz Montecinos, Mercè López Bravo, David Limaverde, Valerie Mathis, Federica Formeti, Edu Ruiz, Anna Irina Limia Russell, Irene Grego, Alejandra Crespo Amigo, Maria José Jimenez Sequeiros, Montserrat Moliner, Ruth Soria, Isabel Carrero, Leonardo Fernández, Helen Morgan, Ricard Escudero, Margot Mecco, Diana Padrón, Anna Recasens, Monica Roselló, Mireia Vidal, Tomas López, Núria Font, Llàtzer Planas, Anita Serrano, Carla Thoene, Danja Burchard.
Zombi Spaces (directed by Domènec - Idensitat). Participants: Aleix Porta, Blanca Machuca, Daniel A. Ramírez, Toni Sangrà, Chiara De Marco, Eva Marín Peinado, Imma Camps, Imma Vallmitjana, Joan Vitòria, Jordi Lafon, Marc Fernández, María Jiménez, Marisa Paituvi, Marta Morató, Mechu Lopez, Mireia Vidal, Rubén Oliva, Sergi Bermejo, Jordi Garet, Anna Recasens, Francesc Magrinyà, David Picó, Diana Padrón, Gaspar Maza.
Passejant pel Raval (directed by Andrew Lister - Daniel Cid, Elisava Escola Superior de Disseny i Enginyeria de Barcelona / Winchester School of Arts). Participants: Roman Daniel Esteba, Silvester Oliver, Laura Freixas, Clara Massó, Carlota Ruiz, Anderson Underwood, Claire Naïma, Ana Vazquez.
Selected projects done in Raval context and interviews with Isabel Banal - Jordi Canudas, Herman Bashiron / Josep Bohigas / Manuel Delgado / Marcelo Expósito / Macarena González / Carles Guerra / Rosa Llop - Simona Marchesi / Rosa Pera / Jeffrey Swartz / Claudio Zulián. (Directed by Ramon Parramon – Diana Padrón).
El paraíso es de los extraños (Paradise Belongs to Strangers), in process since 1999
The Mufti named those men who experienced the cruellest kinds of torture as a result of not emigrating “Ghuraba”: Strangers. In this way he passed on the Word of the Messenger of God: “Islam began as something strange and will continue to be strange until the end. Paradise belongs to strangers". Amin Maalouf, Leo Africanus. Paradise Belongs to Strangers is an ongoing project that uses various mediums. It analyses how the vision of the Islamic-Arab world has been put together in the West. The object of the study is not so much the foreigner, or the stranger, but the environment that actually creates the processes that define his/her identity itself, based on the idea of exclusion and opposition to any signs that alter the image of ideal truth. The cultural image that has been constructed has contributed to the demonisation, distortion, denial or idealisation of the Moors. Rogelio López Cuenca is alerting us to another dormant type of racism, which is less visible and exists disguised by tolerance, which values the more superficial effects of a culture and condemns the stranger, the foreigner, to a compulsory type of otherness, whether that means as a tourist attraction or a perpetual slave.
SOSEurope is a European campaign to raise awareness about the necessity to protect people rather than territorial borders. Since 2011, more than 3,500 immigrants or refugees have disappeared attempting to cross the Mediterranean Sea. Amnesty International's work in this field of activity involves convincing the European Union to respect human rights at its borders. Objectives include abolishing arbitrary, abusive arrests, people being forced to return to their country of origin, or physical mistreatment of those that try to access the continent. Other objectives include making existing border control operations and cooperation with other countries more transparent. The actions that SOSEurope carry out are aimed at various European institutions, the European parliament and various national governments, as all of them have the capacity to draft laws that introduce respecting human rights as a basic element of the EU immigration policy.
The Constellations, 2011
The pieces that are part of The Constellations explore contemporary migratory routes, crossing borders and those that cross them illegally. Sole journeys, that are part of the processes typical of contemporary migration, which are reproduced using images that evoke star constellations. Here, the stars represent cities that give us a glimpse of a type of map. Poetic constructions consisting of subtle lines that connect each of the cities together, that simultaneously hide a tragic story and intense experiences. They are images where territories and borders do not exist: the journey itself is what takes shape.
The wear and tear caused by the barge (dugout canoe) scraping the ground on the route between Oujda (on the border of Morocco with Algeria) and Melilla (Spain) leaves a white trail on the paths, roads and hillocks until it becomes destroyed on its journey towards the sea. The video is a metaphor for the fragility that exists between what those people who use this means of transport in desperation to be able to start their life in a new place wish for, and the reality that they experience. It is a peculiar response to the question around how they travel and how things change, contextualised from a political and social perspective. Poetics and violence blend together in images that invoke the failure or brutality that many people have suffered that have been obliged to carry out such a feat due to a necessity to survive, military conflicts, or the search for a better life.
Informe 24.763 / Tipo Inútil. (Report 24.763 /Useless Type Ejercicio_Volumen 24.763, (Exercise_Volume 24.763) 2013
The numbers 1 to 24,763 correspond to the number of people that died a violent death in Venezuela in 2013. The mound is a pile made up of 24,763 sheets. It is a volumetric and metaphorical exercise that reveals the high crime rate that the country suffers from. A metaphor and a monument to those that died, who are frequently forgotten about by those in power, who are incapable of facing up to a situation that has spiralled out of control. Fear has a double effect when it comes to internal or transnational mobility: on one hand it can stop people from being capable of travelling freely around parts of the city and different towns within the country; on the other hand, fear and terror can give people an incentive to leave the country itself, in search of a better place to live.
Identité vo(i)lée, (Hidden Identity) 2014
The image is direct, but understanding and interpreting it takes us down more ambiguous paths, formed by controversy. The fusion of a senyera (Catalan flag) and a burka provokes a powerful shock. In a period in which the construction of the Catalan national identity is giving rise to discussions around breaking away and the formation of an independent state, the European states are discussing how necessary or convenient it is to close their borders to immigration from the north of Africa and the permanent presence in the media of atrocities committed by the so called Islamic state is invading our "peaceful" daily life, being faced with this image that plays with and retains a little part of all of these overlapping worlds makes us feel slightly uncomfortable. The ambiguity that it suggests makes reference to social cross-breeding, cultural globalisation and the construction of identity when it comes to territory and articulating citizenship.
The Missing Link, 2013 / Exploded View, 2014
Atfal Ahdath is a collaborative project by three Lebanese artists that were born during the Civil War that scourged the country for 15 years (1975 to 1990). The name translates to "Children of the Events" in reference to the generation that they belong to. Their projects indicate an interest in the production and the use of memory and history, and include their own involvement in these dynamics. They work on constructing new fictitious realities, using material that comes from image banks and photography studies from the entire Arab world. They incorporate backdrops used by professional photographers created to stage exotic holidays and trips to faraway lands that eat away at the clients that are unable to pay for such trips. An ironic piece of work that reflects a social reality, consisting of having to keep up appearances in order to avoid social exclusion.
At the beginning of 2001, a new community of women became very visible in public areas of the city of Barcelona. Generally of Nigerian origin, they offered sexual favours to possible clients in a very direct manner. Depending on the time of day, la Rambla becomes a shop window and an advertisement for various types of transaction. Tourism and sex are a defining element of the intense lifestyle that can be experienced in this part of the city. Pep Dardanyà employed Estefany and offered her a job as a model in must see places on any cultural route for tourists. At night, with her consent, he recorded her negotiating with potential clients on la Rambla. The collection of images defined a new and fictitious reality for Estefany, which simultaneously relates to and contrasts with the reality that some women that come from other countries live on a day to day basis, who, from a certain time onwards occupy an extremely touristic part of the city in their capacity as sexual workers.
Spaces of Possible, 2011-2013
An intervention project in a public area, which carries on from the work that was previously carried out in Istanbul and el Prat de Llobregat. This public intervention consists of several loudspeakers that broadcast individual interviews with 20 women in Istanbul and 33 women in different neighbourhoods in El Prat. The audio recordings were made in different places and collective meetings. Their desires, fears and opinions and the evidence of the minimalist role that women play in the public sphere are the key elements of this project. The project is connected to work carried out by feminine organisations over the last 30 years in both countries that have concentrated on bringing the defence of women's rights to the political agenda, in order to gain more participation and presence in the public sphere. In the specific case of El Prat, there are also questions involved that relate to the relationship between women that come from different countries and other cultures and women that have local roots. Identity, culture and presence in public blend with personal stories and experiences.
Te odio, mi amor, (I Hate You, My Love) 2015
This project focuses on the rise in contemporary political processes that originate from breakaway movements that end up occupying government institutions. It presents a comparison between the reality of what people in Spain are going through, using a recording of a meeting of people that are involved in the aforementioned movements or new political parties, and mixing it with allusions to the decline of the Communist revolutions in the 20th century. Some countries managed to change the social body of the state, but the equal society that was longed for was not achieved. At first it was a dream which has now transformed into a nightmare: capitalism has ended up dominating and incorporated into the system of free market competition, and the aforementioned breakaway movements are a result of revolutionary utopia. The project is based on a series of questions destined to make you think, set against the backdrop of a formal meeting, faced with a series of objects and historical documents that were a part of past revolutions. The artists acquired all of these articles as souvenirs, in the main squares and tourist streets of Cuba.
Democraticemos la democracia, (We Democratise Democracy) 2011
The slogan aims to remind us that nominal or representative democracy is not a true democracy, and that the democratisation process should mean that citizens are continuously participating. The action in this piece of work is carried out using a light aircraft which pulled along a banner with a slogan printed on it. It travelled along the coast from Levante to the Costa Brava. The flight was recorded from another light aircraft, therefore whilst you see the banner cut off by the sky from the ground, on the video recording you have a panoramic view of the built up coastline. The coastal area is densely urbanised, heavily affected by speculation and extremely corrupted by the close relationship between financial and political power. In this simple and forceful artistic action it represents a propaganda-like appeal to revise or democratise the frameworks that sustain the majority of western democracies. Whilst the action took place, he encouraged people to document the light aircraft's journey using their own images and to upload them to the project's web page, thus participating in the creation of a collective piece of work.
Estudio Supernova 1: La casa de la piedra, (The Stone House) 2015
The project being presented is the first part of an account that is told over several chapters about a neighbourhood called los Corales, which is located on the Venezuelan coast, between the El Ávila mountain and the Vargas state beach. This neighbourhood was mainly visited because of national tourism, until 1999, when heavy and persistent rainfall caused a very large landslide of rocks and mud from the mountain. The neighbourhood was the area that suffered the worst damage, and this drastic change meant that it was no longer attractive in terms of tourism and became a refuge for the people that had been displaced from the city. This created a community of people that were, to a certain extent, socially marginalised. In this first chapter which starts off the series, Ángela Bonadíes focuses on one of the houses in this neighbourhood, a stone house that was deformed and dented by the landslide. It is a now a passing place for people that are waiting for social housing from the government.
ID Barrio Mex | Tultitlán. Phase One, 2013
ID Barrio Mex | Tultitlán is a collective project driven by Idensitat which addresses the phenomenon caused by expansion of the city, or more specifically, by self-construction, in an area next to the metropolitan area of Mexico City. The place in question is known as the Lost City, and it is a borderline area between the city and nature. Occupation of land and self-construction generates an informal and lacking type of urban planning when it comes to public areas. The project presents strategies for analysis and representation of the dynamics of the area, and includes an intervention in a public area that symbolically marks the limit of the expansion of the city, and the effort made by the first settlers to build a common space, a neighbourhood. As a whole, the project prompts reflection on the role of art and the artist or researcher in fairly complex social contexts.
In the first phase the project consists of an action that is recorded on video and an installation that is located in the community. The second phase envisages the creation of an Observatory in the city, against a backdrop of vivid change, which would focus on creation and research, in partnership with residents, collectives or other local institutions.
COMA (Mediterranean Food Cooperative), 2014
Artistic project carried out in Tijuana, within the framework of the Cross-Border Farm Laboratory. This project involves ToroLab's development of a line of work known as Iniciativa de Economías Creativas y La Sociedad de Agentes de Cambio (Creative Economies Entreprise and Agents for Change Society) which is the driving force for various projects that they are working on, together with other creators and projects that have been invited to take part. In essence, the Cross-Border Farm looks at the dynamics of the relationship between the development of the city and food. It aims to fight against poverty using combinatorial processes that involve art, culture, workshops, exchanges, knowledge and the production of new economic models that give the citizens the authority to achieve social and territorial transformation. It was in this context that COMA came into being, a collaboration between Torolab, gastronomy students, musicians, artists and the chef Diego Becerra. By means of the COMA project ToroLab traces the physiological changes of a Mexican person based on their daily relationship with food. This culminates in the creation of a new dietary product known as La Picudita, a type of bread that uses different ingredients. It contains all of the nutrients that are absent from a typical Mexican diet, according to the Mexican national health census.
When moving from Tijuana to Barcelona, the COMA project became COMED (Mediterranean Food Cooperative), thus looking at the possibility of translocating an idea, a project or a product, via other collaborations with locals and Idensitat.
Foroba Yelen, 2011
Foroba Yelen is the name that a group of women from a village in Mali have given to the lamp designed by Matteo Ferroni. The lamp combines low cost technology with elements that are easily accessible for those that live in small towns and that lack infrastructure and public lighting services. It has been implemented in small towns in Mali, where many activities take place during the night, sheltered from the high temperatures that are characteristic of the daytime. The lamp can be used outside, where communal activities take place, without any assistance. The project was based on the idea that it could be replicated by local artisans. In order to be able to make more than 150 lamps, which were donated to collectives and public services in various villages, the artist was assisted by the Fondazione eLand in collaboration with the Faso Gnietaa Association and the municipality of Cinzana.
Two of these lamps are being used in the Raval by the group of people that manage the Ágora Juan Andrés Benítez plot of land, which has been restored for all of the residents of the neighbourhood to use.
Proyectar con luces, (Light Projections) 1999
Proyectar con luces combines fun action, the participation of citizens and political strategies in order to stop an urban plan that affected the historic neighbourhood of San Bernardo de Sevilla in 1999. It consisted of using strokes of light to outline the perimeter of two plots of land which were specifically impacted by the urban plan. Together they predicted a gentrification process, as well as speculation which would affect the people that lived in the neighbourhood. For two nights, residents of the neighbourhood carried 14 fluorescent light bags and walked around these areas. This action was carried out in order to invite and encourage the residents to actively participate in various conferences regarding the Plan Urbanístico Especial (Special Urban Plan) which was attended by senior politicians and important architects. The objectives of this strategic action involved encouraging the residents to take action, having a voice in discussions with executive powers and making alternative proposals in order to paralyse and redirect the existing plan.
Museo de los desplazados (Museum of the Displaced Ones),in process since 2010
Museo de los Desplazados is a collaboration platform that presents itself as a tool for collective thoughts on the conflicts that are associated with gentrification processes. Left hand Rotation has structured this file based on the project-workshop "Gentrification is not a woman's name" which was developed in various countries. Gentrification is the name given to specific urban transformation processes that cause strategic areas in a city to artificially increase in value, causing the economically vulnerable community to be displaced. This is a process that above all, affects the collective memory of a neighbourhood, making a reconstruction of the past impossible, and provoking the loss of local identity. The people that are displaced are those that are most affected by this type of process. Museum of the Displaced Ones is a collaborative project that uses a file format to build upon the potential of recordings to generate knowledge, safeguard collective memory and prove that reality is inconsistent, insufficient and unclassifiable.
Yo llego a ser YO en el Tú; al llegar a ser YO, digo Tú (*) (I Become ME in You; by Becoming ME, I Say You (*), 2003-2015
This exhibition proposal aims to give form to a thought process that falls between otherness, communication and interpretation, using projects that were carried out at different times. The first project, “Locutorio Móvil” (2003), (Mobile Call Shop) focuses on the relationship between communication and immigration. The second project focuses on the visual representation of space, from the perspective of blind people. Both of these cases are centred on the representation of otherness. This is based on understanding that the other person is not a problem, but quite the opposite, and trying to find common points that allow channels of communication to be established. Locutorio Móvil is a project that started in Barcelona and subsequently spread to different cities: Cologne, Hamburg, Berlin and Stuttgart. The project centred on a device that people could use to make calls free of charge. In exchange for this, they told a writer about experiences that they had had. Secrets that could subsequently be transformed into fictional stories.
The piece presented takes varied material from the previous project and puts it in the format of dialogue, together with one of the images produced based on the interpretation of the perception of a space from the point of view of a blind person.
Project by Josep-Maria Martín with Caroline Morel-Fontaine, Jesús Marull, Luz Muñoz, Marouanejoubba +María Lucía Castrillón, Montserrat Mas, Santi Balmes, Juan Abreu, Juan Villoro, Ignacio Vidal-Folch, Miquel de Palol, Thomas Steinaecker, Pilar Baumeister, Navid Kermani, Natasza Goerke, Stefan Beuse, Singrid Behrens, Tosten Schulz, Feriden Zaimoglu, Yade Kara, Odile Néri-Kaiser, Tilmarau, Sudabeh Mohafez, Anna Catarina, Hahn, Beqe Cufaj, and Sandra Hoffmann.
(*) - Martin Buber (1993).Yo y tú. Caparros Editores, Madrid.
Parada (Kiosk), 2015
The tradition of selling live animals on the Rambla , the various attempts to regulate this in order to make it fit in with the institutional ideals of the modern, cosmopolitan city, and finally it being substituted by other businesses and stalls that focus on tourism, which is evidence of the conflicts that cause tension in public areas. Parada pinpoints the layers, things that have built up and fractures in the different temporalities that have emerged on the Rambla due to there being no possibility of a universal agreement being reached.
Territori Guiri (Tourist Land), 2015
A project involving discussions and debates on the relationship between locals and visitors in Barcelona.
Using the hashtag #TerritorioGuiri and the Twitter platform, opinions, phrases and ideas are collected to contribute to the debate on the tourism phenomenon in Barcelona. The aim is to analyse the conflictive relationship that is being produced because of the overwhelming size of the tourist industry in comparison with local daily life. The project combines analogical and digital elements, as the text is projected from the front of Arts Santa Mónica, using a technological LED device which projects the phrases that have been collected live. The phrases are also collected via the website (idensitat.net) whilst a file containing texts, thoughts and reference points is being put together, contributed by various authors examining this subject.
Manifestazioak III, 2014-2015
Protests are a means to exhibit your opinion in public, as well as being an active tool to provide evidence of a conflict, a demand, a specific cause of unrest or a confrontation with political, economic or legislative powers. Normally they are held to stage a protest, but they can also be organised to celebrate something. A way in which to make euphoria and support for something that one agrees with visible, that always takes the format of a message that unites a social collective.
Manifestazioak III was created using collage and occultation. It consists of images of groups of people, that have been altered by covering any symbols or texts that appear on the scene. The composition of the images becomes uniform without the elements that make them identifiable, and it loses its context and is globalised. Something specific is generalised in such a way that a place could be any place. According to Arturo/Fito Rodríguez: Occultation becomes an acute visual system, a key to auto-criticise one's vision. We are faced with the organised evacuation of prejudices and a box of visual tools for media hygiene and disinfection-.
Meterme donde no me llaman (Intervene Where I Haven't Been Invited), 2014
Meterme donde no me llaman was an action that took place at the Marcelo T de Alvear Building, the Social Sciences Faculty of the University of Buenos Aires. A public university with an active student movement that is organised around assemblies and which has a strong tradition of political activism. The faculty is full of posters that were made by hand by the different student groups, to spread the word about their ideas and activities. The posters are to do with protesting and/or voting. The artist proposed to take the posters down for a day in order to encourage the students to discuss the management and the meaning of this public space. In the exhibition, the idea is presented in the form of a video documentary that shows how the diverse elements of the student community gave shape to the idea over a period of four months. It is a portrayal of the specific character of a place, a moment, the consequences and the relevance of intervening when you have not been invited to.
Tools: Pictogramación, 2015,
Cartography workshops: #Eurorevolución, #15M, La crisis global, 2011
One of the characteristics of Iconclasistas is the effort the group makes to transform an interpretation of reality into a type of social and political transformation. By creating a critical and collective map, it kicks off a process to gain knowledge about, analyse and translate certain territories, in order to make strategic tools that can newly change reality. "Creating a map – interpreting it – transforming it, becomes a simultaneous task, which is constantly moving".
Two pieces of the group's work are presented here: one the one hand, a collection of pictograms that they use in their projects, which can be adapted to different circumstances and specifications. They become a tool to invigorate, signpost and create stories within the framework of the collective mapping workshops. The main part of their work is based on the spirit of sharing knowledge with social movements, collectives and neighbourhood groups. On the other hand, there are some maps created in one of the workshops. Specifically speaking, a critical cartography workshop that took place in Vic (ACVic, 2011) two months after 15M (the beginning of the Spanish anti-austerity movement). The mapping work is an attempt to create cartography to interpret the global crisis and the explosion of social movements and the demonstrations held.
Hospital 106, 4º 1ª. El lloc i el temps (Place and Time), 1995-2005 Artistic project that guides one's gaze to the urban and social changes that took place in the Raval neighbourhood in Barcelona. It began in 1995, before the renovation work that took place on the Rambla del Raval, and finished in 2005, several years after the renovation work finished. The project centres on a flat affected by the PERI or Special Plan for Internal Reform, which went from being inhabited to being demolished and from being a private house to a public area. The flat is taken as a unit of measurement, which allows the changes that affected many more homes in the neighbourhood to be discussed. Hospital 106, 4º 1ª is a project that focuses on time and space. For ten years the changes that took place were documented, and a series of artistic interventions took place that intermittently maintained a direct, synchronised connection with the reality of the Raval. All of this is gathered together in a publication, which was presented here ten years later as a piece of work that remembers, (in the form of an accurate timeline) each one of the years that the project was worked upon, whilst it demonstrates how the place changed.
MICROINTERVENTIONS | TRANSLOCATIONS
A MICROINTERVENTION is an action that takes place occasionally, a process, a fleeting intervention in space, a small incident in a place, a collaborative activity, a formalisation that adapts to the context, the articulation of an idea that suggests a new way in which to look at things, a macro-intervention on a small scale, the visualisation of a collective interest, any project that has an impact on the local-visitor relationship.
The projects that have materialised as Microinterventions are:
TRANSRAVAL by Brigitte Vasallo and Pol Galofre, NACIONES COTIDIANAS DOMÉSTICAS UNIDAS(DAILY UNITED DOMESTIC NATIONS) by Juan Pablo Ordúñez/ MawaTres, UN DÍA SIN TIEMPO (A TIMELESS DAY) by Diásporas Críticas, (collective formed by the following members: Verónica Lahitte, Rebecca Close, Anyely Marín Cisneros), VIDEOVAN by Ro Caminal and FEM PLAÇA (OCCUPY THE SQUARE) by the Fem Plaça Collective.
Idensitat + Arts Santa Mónica
Investigation by Diana Padrón, Anna Recasens and Ramon Parramon . The project involves the compilation and creation of a file of social and artistic projects, encouraged by social entities and cultural figures or institutes, that were carried out in the Raval and Gothic Quarter neighbourhoods in Barcelona. The file of artistic projects consists of a selection of pieces of work created by artists and curators from the end of the 1980's up until the present day. In the exhibition some of the many projects found for the file will be presented, and a series of interviews with the promoters have been recorded. Isabel Banal and Jordi Canudas, Herman Bashiron, Josep Bohigas, Manuel Delgado, Marcelo Expósito, Macarena González, Carles Guerra, Rosa Llop y Simona Marchesi, Rosa Pera, Jeffrey Swartz, Claudio Zulián all participated in the project. The interviews are presented in the form of a map that touches upon a topology of themes that are linked to the area, with the chronological development of each one of the proposals. The social projects file is made up of a series of recent projects, put into action by entities and associations present in the Raval and Gothic Quarter neighbourhoods of Barcelona. The vast majority of existing projects, above all in the Raval neighbourhood, make this file a defined and specific sample, aimed to give publicity to work that can be defined as a hybrid of the social and creative domains. They are proposals that have been formulated from a social action point of view, but that simultaneously have a heavy cultural and creative emphasis. We understand that they are projects and processes that take an interest in applying creative innovation to themes of a social nature. In some cases they incorporate the work of artists and creators as collaborative work in the projects, in other cases, they were encouraged by the creators themselves, in collaboration with a collective or entity.
The archive can be consulted at http://www.idensitat.net/en/trans-locations/1128-projects-archive-translocations
|Isabel Banal / Jordi Canudas||Carles Guerra||Manuel Delgado||Josep Bohigas|
|Marcelo Expósito||Macarena González||Rosa Pera||Jeffrey Swart|
|Claudio Zulián||Rosa Llop / Simona Marchesi, OVNI||Herman Bashiron|
Directed by Itziar González (La Revolta Cartographic Institute) in collaboration with Consuelo Bautista
With the participation of Oriol Ballesteros, Simona Cerri, Joaquín Jordán, Valentina Asinari di San Marzano, Lucia Vecchi, Ana Llorens, María Paz Montecinos, Mercè López Bravo, David Limaverde, Valerie Mathis, Federica Formeti, Edu Ruiz, Anna Irina Limia Russell, Irene Grego, Alejandra Crespo Amigo, Maria José Jimenez Sequeiros, Montserrat Moliner, Ruth Soria, Isabel Carrero, Leonardo Fernández, Helen Morgan, Ricard Escudero, Margot Mecco, Diana Padrón, Anna Recasens, Monica Roselló, Mireia Vidal, Tomas López, Núria Font, Llàtzer Planas, Anita Serrano, Calra Thoene, Danja Burchard.
The critical cartography workshop took place between October 2014 and April 2015. It is a laboratory that has combined work on a series of existing plans and maps of the Raval-Gothic environment, with the creation of new cartographies and artistic proposals regarding the same area. Throughout the workshop, it was possible to directly access graphic documentation on different levels via a website, which illustrated the thematic, temporal and historical complementarity of these neighbourhoods. It was also possible to access a file containing artistic interventions in the Raval that dated back to the end of the 1980s (put together by Diana Padrón for Translocations) with the aim of becoming familiar with and contextualising the proposals aired in the workshop.
The CRITICAL CARTOGRAPHY workshop is a laboratory that is part of the debate and the reflections that materialise from TRANSLOCATIONS, through critical interpretation of graphic and artistic documentation, and the creation of new proposals and cartographies. The process and the cartographies and proposals outlined during the course of the workshop have been put together in a publication that can be seen as part of the exhibition.
DESIGN WORKSHOP | A WALK IN THE RAVAL
Elisava (Barcelona School of Design and Engineering) / Winchester School of Arts Directed by Andrew Lister in collaboration with Daniel Cid.
Exploratory design workshop focusing on the Raval neighbourhood with pupils from both schools of design. The workshop took place in order to promote understanding and cultural exchanges, via a registration process and dialogue that took place with the people that live in or pass through the Raval neighbourhood. In order to give visibility to the process and come up with specific proposals, participants walked through the streets, visiting the shops and talking to people. These actions were encouraged as part of the fieldwork.
With the participation of:
Cristina Rodés, Gemma Mier, Juliana Trujillo, Mássimo Noleti, Roman Daniel, Ellora, Laura Isart, María Luisa Espinós, Maite Iriondo, María González, Dipti Suhanda, Aida Navarro, Judit Riba, Inés Sivatte, Marta Donoso, Andrea Romero, Oliver Silvester, Laura Freixas, Clara Masso, María Eugenia Drusetta, Núria Fluviá, Carlota Ruíz, Naïma Claire Underwood, Ana Vázquez.
ZOMBIE AREAS WORKSHOP
Domènec - Idensitat
Workshop/project centring on a multidimensional map of the areas between Besòs and the Fórum de Barcelona. The workshop consisted of exploring and analysing the Besòs territory in el Fórum from a viewpoint that is based on the "zombie areas" concept, as well as the development of a multidimensional structure that includes elements that focus on the registration, cartography and representation of the morphology explored in the area that has been analysed.
The zombie area is an area that can be defined using fragments that have been thought up but have yet to totally materialise. A zombie area is a place that comes to life again in a mismatched way, despite the many attempts to articulate it. The combination of the speculative mindset, public dealings that have been affected by private interests, the replication of badly customised models, building work that was started being stopped due to the crisis, migration flows and the appearance of new activities, disconnecting from the historic processes of the place; these things and other things specific to each place make this type of area a place where the things that have been planned and built make it easy for social relationships and living conditions to deteriorate. A zombie area is not a lifeless area, it is a place where various types of dislocated lives reorganise themselves. The zombie area, which comes back to life as a result of various projects intersecting with each other, many of which are not finished or were aborted by other projects, other politics, other economic interests and other circumstances that were not of an extralocal nature, outline rough urban landscapes that continue to function with the deformities caused by the desires of many people or institutions that wanted to bring them to life based on what they desired.
With the participation of:
Aleix Porta, Blanca Machuca, Giacomo Lombardi, Daniel A. Ramírez, Toni Sangrà, Chiara De Marco, Eva Marín Peinado, Imma Camps, Imma Vallmitjana, Joan Vitòria, Jordi Lafon, Marc Fernández, María Jiménez, Marisa Paituvi, Marta Morató, Mechu Lopez, Mireia Vidal, Rubén Oliva, Sergi Bermejo, Jordi Garet, Anna Recasens, Francesc Magrinyà, David Picó, Diana Padrón, Gaspar Maza
TRANSLOCACIONS | PROJECT OBSERVATORY
Project idea and curator: Ramon Parramon
Grafic design: Marc Valls
Exhibition design: Núria Parés
Production coordination: Carles Martín
Coordination Assistant: Irati Irulegui
Project archive: Diana Padrón / Ramon Parramon / Anna Recasens
Video production (Project archive): Andrea Cano
Publication: Roulotte 11
TRANSLOCACIONS is a project by IDENSITAT and Arts Santa Mònica
Direction: Ramon Parramon - IDENSITAT and Manuel Guerrero - Arts Santa Mònica.
Project steering group: Consuelo Bautista, Itziar González, Gaspar Maza, Martí Peran, Claret Serrahima.
MICROINTERVENTIONS Coordination and mediation: Laia Ramos, Irati Irulegui (Idensitat).
General Coordination: Fina Duran (Arts Santa Mònica), Laia Ramos (Idensitat).
With the collaboration of : Departament d'Antropologia, Filosofia i Treball Social de la URV (Universitat Rovira i Virgili), AGI | Art, Globalizació, Interculturalitat, Departament d'Història de l'Art de la UB (Universitat de Barcelona), ACVic Centre d'Arts Contemporànies, Raval Cultural, Galería ADN.