This exhibition is an intentionally heterogeneous and disparate collection of design, art and architecture projects which affect several aspects of life within society.
These projects demonstrate a commitment from the artists to social problems, and how they accomplish this using parameters beyond their own specialties and practices. A quarantine zone between different creative disciplines, and an area where infection between them may be transmitted, play their part in encouraging the construction of a more responsible, safer, more pleasing and more critical environment than usual. This exhibition highlights and prioritises "human" and "social" factors, over others such as "business" or "formality". It exhibits projects with an aesthetic based upon economy of means, content with fully valid messages, and which openly attempt to capture this message. The pieces selected for the exhibition display projects in very different contexts, and with ambitions to deal with various aspects of social life such as health, food, the elderly, prison conditions, the use of urban space, the 15-M movement, relations between locals and newcomers, relations with other first world countries where labour is "cheaper", or responses to "natural" disasters.
Exhibition displays made at the workshop Arrels Fundació by Aurelio and Valerio.
Participants: Santiago Cirugeda, architect and exhibition's participant, Maia Creus, curator and university teacher, Curro Claret, designer and exhibition curator and Pep Dardanyà from Unnim Espai Cultura, table moderator.
Workshop design and construction of furniture or gadgets with the assembly of various materials. Price 45 euros (50% student discount, the price includes the part and participants will take home).
Arlantique transforms history, the soul, old west African wooden fishing boats into furniture; every item of is made out of old Senegalese wooden canoes by local carpenters and artisans. The wood, with its colour and its symbols, has no post-treatment; it remains unspoiled, with all its wounds and scars after many years of sailing, preserving its prior status as a boat and sailing the Atlantic, standing witness to the lives of African fishermen.
This project is based on the construction of a motorcar similar to what shows up in the film Placid, shot in 1961 practically in full in Manresa and considerate uno de los mejores film by Luis G. Berlanga.
The Department of the Institute Automotion Lacetània Manresa has integrated its educational program the Recovery and restoration of an old vehicle similar to the movie. Once restored and modified, converts itself into a "Memorial monument" Movement in a capsule Device ironic and critical memory, by the circular streets, evokes the social landscape of the film and it Pone as regards the social Emerging from the countries evidenciando them the similarity of the mechanisms of subsistence and social exclusion. It can use multiple formas carry and was the catalyst of different events: Device as small mobile multimedia, such soporte of a video projector and utilizando Outdoor speakers for communicating y sus actividades difundir.
George Aligué have owned Pujals, Mihaita Catalin Balan, DimaNicolae Alexandra and Jordan Juan Segarra, alumnos Institute of Lacetània tutorizados by the professor Peter Maria Izquierdo.
The project displaced Application Notice # 3: FIES includes various witnesses and documents (poems, letters, drawings, statements and official documents) about the conditions in which prisoners live under the regime fies (stands for Special Monitoring Internal Files). It consists of a series of measures used by the Spanish prison authorities, which are based on intensive surveillance and control, in order to obtain more information from prisoners who belong to this regime, within which there are different categories. Applied since 1996, and in 2009 was declared null and void by a court of law the Supreme Court. In 2011 the Ministry of the Interior amend certain sections of the Prison System legalizing it again. Against their rules are driven by an open struggle prisoners and organizations that support them. Núria Güell invited prisoners under fies one to write a poem, a short story or a drawing to participate in this project about the "institutional torture" to which they are subjected.
As part of the process of the project, every day of these poems sent to the address of the responsible staff legalized political regime fies after the Supreme Court declared invalid. Meanwhile, delivered personalized information, with some examples of the material received journalists and responsible section of media justice officials and the Ombudsman, inviting them to a press conference where he worked a exFIES and a lawyer. Each step of this action inspired by the torture methods applied to white prisoners under the regime fies.
The term Architectures for Dignity encompasses all those human constructions, independently produced, and designed to meet neglected collective needs; strategies offering dignity, empowerment and emancipation to marginalised communities. Within this conceptual framework, Viuda De: develops an intentionally broad and heterogeneous work of research. One of the concretions within this project is Temples: an analysis and visualisation of two realities contained within the city of Sabadell; central and peripheral-zones but also social and cultural, architecturally joined together by two contrasting iconographic repertoires : the use of classical historicism in the city centre, and the use of the most eclectic and fake references in peripheral districts. However, these iconographic repertoires have historically been used ideologically, drawing legitimacy from an appeal to Greco-Roman antiquity as the origin of Western civilisation against eccentric cultural and historical realities which have returned, often in opposition to classicism.