Unfolding Penelope
The project establishes a divergent parallelism in between the wife of the Senegalese migrants’ and Odysseus’ Penelope.
Parallelism due the similarity in the long periods waiting for their husbands return home. Divergence because here these woman take the enunciation power, explaining us how they deal with their reality and how negotiate with the social pressure surrounding them, that like in the Odysseus, would love relegating them into a second term.
Further form the videos the project produced a theather piece in collaboration with the Senegalese Company Copin’Arts, which was premiered in the Sahel Ouvert Festival at Mboumba. (Senegal)


Video. Single Channel. Stereo. 20’.
Work carried out thanks to the OSIC, Artistic Research Grant. Shoot in Senegal.
Link to Teaser: https://vimeo.com/207770688

Ever Folding
If in Unfolding Penelope, the protagonists unfold their stories, to let us know our prejudices regarding the otherness are build upon the deviated stereotypes of the Colonial gaze. Ever Folding goes the other way around. Everything folds in a infinite and continuous fold. Denying the viewer any voyeuristic possibility. If to see is to know, and to know is to master, here we are not seeing and not mastering, thus breaking and disturbing the colonial gaze.


Video. Single Channel, Stereo. 3’4’’. Shoot in Senegal.


Moi, Un Noir
Moi, un Noir. Reloaded, is a tribute to Jean Rouch, and provides an update / re-interpretation of Moi, un Noir, the film the French anthropologist made in 1957. While the original film was directed to satisfy eager curiosity of the western gaze for knowledge about otherness from the safe distance of a film, Reloaded tries to minimize cultural differences and avoid the exotic, particularly in reference to corporeality. The film seeks to work through two gazes simultaneously and not meet either of them. To the Western viewer, the pleasure of voyeuristic security is denied, showing lives that do not differ from their own, thus confronting them to consider whether as citizens they exercise that power position that legitimizes cultural difference as a producer of inequalities. Non-Western viewers are urged to consider colonization as a historical period that is not closed, which like the capitalism that generated it is undergoing continuous mutations, allowing it to change its surface while maintaining the dynamics of domination and exploitation imply in it. We invite them to consider that, while it is true that the West offers the possibility of economic improvement, there is a high emotional and psychological cost for it. Under these assumptions, the film plunges into the daily lives of the main characters, into their thoughts and reflections on their experiences as black, Muslim and immigrant subjects in contemporary Europe.


Video Estereo monocanal. 65'35''. Tarragona 2015
Mostrado: Tansmissions, Tarragona 2015.
Biennal de Valls 2015.
Premio Guasch-Corantny 2015

Link al Teaser: https://vimeo.com/135340525


VideoVan is a relational project experience and reflects on the cinema as a vehicle of enunciation from a traveling projecting van in the Raval district. The screening program is curated by various neighbourhood organizations so that each is self-represented by the chosen film. VideoVan uses the curatorship of the filmic sessions as a pretext to conduct a "preventive mediation", establishing relationship dynamics among different social groups in the neighbourhood, to challenge stereotypes and encourage confrontation between being ”one self" and "other" at the same time, which the filmic gaze enables. The work process includes mediation and dialogue with organizations and collectives trough workshops, meetings and communication devices.
The project reinforced the idea that consensus is not necessary to mediate in case of conflict, what is essential is to accept and recognize the other as interlocutor valid. Curating has worked to bring partnerships, finding common ground and allowed to break the prejudices coming from the ignorance of the other.
Participating associations: Immigrant Space Raval, Raval Merchants Association Green, Prostitutes Indignades and AVC Mesa del Raval.
Selected documentaries: The dream is over. Maria noise. 2014 .// Los Sures. Abu Ali. 2008 .// The batalett. Femmes de la Medina. Dalila Ennadre. 2002 // Brand Barcelona.Sonia Trigo. 2006. With the collaboration of Onvi Archives.


Relational project. Translocations Production Grant.
(ID_Idensitat andArts Sta Mònica)
Shown at: Translocacions. Arts Sta. Mònica, Barcelona. 2015



Global Happiness
Audio-visual research, using archive files, upon the hermeneutic neoliberal loop relating to the negative feelings of the contemporary subject, which favour its uprising, des-contextualization and it’s consideration as pathologies, setting up new paradigm frames as patient / consumer, settling/ commodity, enabling also its use as a social control tool.

Video installation. Three videos and a poster. Variable size.
Shown at: El Gran Angular, San Andreu Contemporani, Fabra & Coats, Barcelona, 2015 Play-it, Museo Carmen Thyssen, Málaga, 2016