3 - 17 June 2019
SEMINARS. WE REFUGEES
Exile due to political conflicts is one of the dramas that best characterises the history of the 20th century.The right of asylum was conceived as one of the fundamental pillars of modern European democracies after the Second World War, both to combat totalitarianism and to build an idea of ethical and solidarity-based policy making and, at the same time, to buffer the effects of exile in the lives of people around the world.That is why the right of asylum is also the founding and democratic cornerstone of the European Union (and consequently of all its member countries), which is based on freedom of expression, thought and religious creed.
As an essential part of the project, various discussion and debate spaces will be developed, as well as several workshops and seminars that will take place in June and October.
Before the opening of the exhibition, and with the aim of stimulating an in-depth approach to the diversity of related topics, the CGAC proposes two workshop-seminars.
Reading Experiences.Exile in the Literary Memory of the 20th Century
Led and run by Santiago Olmo, director of the CGAC and co-curator, with Piedad Solans, of the exhibition We Refugees
Dates:3, 10 and 17 June
Opening hours: from 5 pm to 8 pm
Recipients:general public and especially inquisitive people who love reading
The seminar will address how the problem of refugees has been reflected in literature throughout the 20th century through texts, essays, novels and some documentaries.Before each session, participants will be sent a selection of texts, mostly excerpts, so that they can read them and then share their experiences in a discussion and debate group.The article We Refugees, in which Hannah Arendt describes in first person the experience of forced exile, as well as the poem “State of siege” by the Palestinian Mahmud Darwish or Bertolt Brecht’s Refugee Conversations will be the starting points for analysis. The role of exile as the very basis of Roman civilization, through Virgil’s Aeneid or the myths of the founding of Rome, will also be delved into. Historical texts will also be addressed, such as Gaziel's journalistic chronicles, written from the Balkan Front in 1915, or Joseph Roth's texts on anti-Semitism and Eastern Jews; in short, direct testimonies of the impact the First World War and the Russian Civil War had on the creation of a refugee prototype.
Other authors we will also explore, albeit briefly, are Fulvio Tomizza, Günter Grass, Max Aub (especially his work Campo francés, where he recounts in the form of a film script the vicissitudes of the Spanish Republican refugees), Leonardo Padura (whose detective novels have a constant presence of exile and exiled people), Lobo Antunes (with his narrations on decolonisation) or Jean Amery, among others.The screening of documentaries about some little-known cases—such as the expulsion of the Indian community of Uganda by Idi Amin Dada, the population exchanges between India and Pakistan after independence or between Greece and Turkey in 1922—will also be an option.
Santiago Olmo.He is co-curator of the exhibition We Refugees.He has been the director of the CGAC since 2015. Since the eighties, he has worked as an independent exhibition curator and art critic in several specialised media outlets (Lápiz, Artecontexto, Art Nexus).Between 2003 and 2015, he collaborated with the Fondo Fotográfico and Museo de la Universidad de Navarra (Photographic Collection and Museum of the University of Navarra) in several projects.He curated the Biennial of Pontevedra in 2010 and the Biennial of Guatemala in 2012.
Led and run by Matías G. Rodríguez-Mouriño, researcher of the USC and documentary maker of the exhibition We Refugees
Opening hours: from 6 pm to 8 pm
Recipients:general public and especially people who love music
The objective of this seminar is a shared reflection on the music created by groups of refugees and migrants during the 20th and 21st centuries.To get closer to this topic, we will work with notions such as ‘vernacular music’ (what does ‘vernacular’ mean, and above all, who does it refer to?), tradition and colonial ‘ear’ (what do we hear when we listen to these songs?), collective enunciation (where do they emerge from?), deterritorialisation (the theme of territory in contemporary music) or the communal (authorship rights, ‘authorship,’ distribution, etc.).
To address these issues, we will try to identify the historical, identity and technological counterparts that characterise the development of genres such as calypso, rebetika or samba.
We will focus on the ‘vernacular music’ recordings published by the European record companies at the beginning of the 20th century and in the early days of the recorded music industry.
We will talk about the music created today by refugees and the great changes experienced in its circulation (free radios, P2P, etc.), as well as the variants of ‘internal refuge’ that, due to discrimination based on gender or class, occur in our societies, and we will see how that is reflected in music (for example, in the case of the first grime music).
Finally, and with regard to the profound transformation of the distribution conditions of these types of music, we will extract some aesthetic and philosophical conclusions on the possibility of a minor enunciation, closely linked to the liberation projects formulated from these same communities (as is the case of ‘afrofuturism’).In a nutshell, the objective of the seminar is to prepare those attending so they can enjoy more solid relationships with music made by refugees.
Matías G. Rodríguez-Mouriño has a degree in the history of art and a doctorate in philosophy (with a thesis on the aesthetics of Félix Guattari).His publications and interests are focused on contemporary aesthetics from a post-structural perspective, and are particularly linked to issues such as chaosmosis, repetition or the minor, particularly with regard to sound art and soundscapes.He has participated in seminars and congresses in Portugal, Spain and France, and published in magazines such as Fedro, Quintana or philosophy@lisbon.Likewise, he has coordinated the publishing of works by Helena Miguélez-Carballeira, Joel R. Gómez, Igor Lugris or Teresa Moure, and translated Gilles A. Tiberghien and Michel Onfray into Spanish.
REGISTRATION: Anybody interested can register by sending an e-mail to email@example.com.Applications must include the following information: name of the seminar in which you wish to register, full name, e-mail address and phone number.
Registration is free and the registration period will remain open until May 31.