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In Catalan below<\/em><\/p>\n English below<\/em><\/p>\n What is the point of talking about the memory of shanty towns (of the informal city)? How are shanty towns part of European heritage and the city? How to think of a heritage of which there are no material remains? What can we learn from the shacks to better understand the contemporary city?<\/span><\/p>\n These are some of the questions that run through where the city loses its name<\/strong><\/em>, a project involving three European partners: <\/span> We can understand the city as a palimpsest on whose surface the marks of countless human (and non-human) actions throughout history can be seen and in which multiple strata slowly sedimented over centuries accumulate and intersect.<\/span><\/p>\n In recent decades, European cities have undergone profound transformations that in many cases respond to the spatial needs of global capitalism: tertiarization, the construction of large logistics infrastructures, the touristification or gentrification of their historic centers are some examples.<\/span><\/p>\n Shanty towns, as well as their inhabitants, often occupy no more than a footnote in the history of cities (when they are not completely ignored). However, informality, in its multiple manifestations, has not only played and plays a fundamental role in the evolution of the city, but can also offer us keys to imagine another city: <\/span><\/p>\n Faced with the business-driven government of the city and its commodification (as an investment, brand or product to be consumed), can shanty towns and their self-organized ways of living and making the city be a reference for building alternatives? Can the community networks of the shacks serve us to build alternatives to a society in which each individual thinks of himself as if he were not dependent on the rest? <\/span><\/p>\n Finally, it is also worth remembering the struggles of the inhabitants of the informal city (moving away from the stories that represent them only as victims without agency) and denouncing the forms of material, and also symbolic, exclusion that they have historically faced.<\/span><\/p>\n Tuesday, June 11 \u2014 6 to 10 p.m.<\/strong><\/p>\n Ana D\u00edaz Rico Municipal Center<\/strong><\/p>\n Workshop<\/span><\/em><\/p>\n The Bloques Florida were built in the late 1950s to relocate, among others, people from some informal settlements such as Somorrostro or Montju\u00efc. Can we still find the echo of those neighborhoods in the uses of public space and the forms of relationship that occur in the blocks? <\/span><\/p>\n The Ultra<\/strong>–<\/strong>red<\/strong> collective proposes an experience based on listening to understand a neighborhood as overrepresented as it is the opposite.<\/span><\/p>\n \u2014\u2014\u2014\u2014\u2014<\/span><\/p>\n Wednesday, June 12 \u2014 6 to 8 p.m.<\/strong><\/p>\n Bellvitge-Gornal Cultural Center<\/strong><\/p>\n Round table<\/span><\/em><\/p>\n Shantyism can be understood as an emergency housing solution to which social groups such as migrants or the Roma community have historically been forced. Housing estates such as Bellvitge, Gornal or Bloques Florida (originally Bloques On\u00e9simo Redondo) were built as an alternative and introduced a new landscape into the urban fabric. Was it the best solution for everyone? Were other alternatives possible? Can living conditions in informal settlements be dignified?<\/span><\/p>\n With Santiago Cirugeda<\/strong> (Recetas Urbanas<\/strong>), Juana Fern\u00e1ndez<\/strong> and Mercedes G\u00f3mez<\/strong> (Assoc. Lacho Baji Cali<\/strong>), Istvan Szakats<\/strong> (Funda\u021bia AltArt<\/strong>) and Luis Costa<\/strong> (Binaural\/Nodar<\/strong>).<\/span><\/p>\n Collective construction of the Ca\u00f1ada Real Socio-Community Center. \/ Construcci\u00f3 col\u00b7lectiva del Centre Sociocomunitari Ca\u00f1ada Real. \/ Collective construction of the Ca\u00f1ada Real Socio-Community Center. Recetas Urbanas, 2018. <\/span><\/p>\n \u2014\u2014\u2014\u2014\u2014<\/span><\/p>\n Thursday, June 13 \u2014 6 to 8 p.m.<\/strong><\/p>\n Ana D\u00edaz Rico Municipal Center<\/strong><\/p>\n Documentary<\/span><\/em><\/p>\n Entrev\u00edas. Squatters in L\u2019H <\/strong><\/em>is a documentary directed by Sheila and Bibian Escudero<\/strong> that reviews the history of 25 years of occupations in L’Hospitalet with the aim of preserving the memory of the movement. Occupation is one of the possible manifestations of the informal city. What connections can we establish between the squatter movement and the occupation of flats by evicted families or without the possibility of accessing housing? <\/span><\/p>\n Debate with members of the Assemblea de Vallcarca<\/strong>.<\/span><\/p>\n \u2014\u2014\u2014\u2014\u2014<\/span><\/p>\n Friday, June 14 \u2014 6 to 8 p.m.<\/strong><\/p>\n Bellvitge-Gornal Cultural Center<\/strong><\/p>\n Round table<\/em><\/p>\n The informal city is built taking into account only the use value of the land, the need for a roof as a priority. On the contrary, the exchange value governs the transformations of the contemporary city: the land becomes another commodity at the service of accumulation. What role do culture and heritage play in the processes of urban renewal and gentrification? <\/span><\/p>\n With the Can Trinxet Viu<\/strong> platform, the Ultra-red<\/strong> collective and Rub\u00e9n Mart\u00ednez<\/strong> (La Hidra Cooperativa<\/strong>).<\/span><\/p>\n \u2014\u2014\u2014\u2014\u2014<\/span><\/p>\n Saturday, June 15 – 12 to 6 p.m.<\/strong><\/p>\n Pla\u00e7a Blocs Florida<\/strong><\/p>\n Day of activities and popular food in the Pla\u00e7a Blocs Florida organized in collaboration with neighbors of Bloques Florida. Mural intervention in the physical space with Cristina Fraser<\/strong> and Julia Portal<\/strong>. <\/span><\/p>\n The Pomezia school in the Florida blocks (60s). \/ L’escola Pomezia als blocs de la Florida (anys 60). \/ Pomezia school at Florida blocs (60s) <\/span><\/p>\n Associaci\u00f3 Lacho Baji Cali<\/strong>: Association based in the Gornal neighborhood (L\u2019Hospitalet), founded more than 25 years ago to support the Roma community of L\u2019Hospitalet and promote its culture. Juana Fern\u00e1ndez<\/strong> and Mercedes G\u00f3mez<\/strong>, two of its founders, participate in the Municipal Council of the Roma People of Barcelona.<\/span><\/p>\n Rub\u00e9n Mart\u00ednez<\/strong> ( What is the point of talking about the memory of the shanty towns (of the informal city)? How are the shanty towns part of the European heritage and of the city? How to think of a heritage of which there are no material remains? What can we learn from the shacks to better understand the contemporary city? <\/p>\n These are some of the questions that cross We can understand the city as a palimpsest on the surface of which the marks of countless human (and non-human) actions are appreciated throughout history and in which multiple strata slowly sedimented over centuries accumulate and intersect.<\/p>\n In recent decades, European cities have undergone profound transformations that in many cases respond to the spatial needs of global capitalism: tertiarization, the construction of large logistics infrastructures, the touristification or gentrification of their historic centers are some examples.<\/p>\n The shanty towns, as well as their inhabitants, often occupy no more than a footnote in the history of cities (when they are not completely ignored). However, informality, in its multiple manifestations, has not only played and plays a fundamental role in the evolution of the city, but can also offer us keys to imagine another city: <\/p>\n Faced with the business-driven government of the city and its commodification (as an investment, brand or product to be consumed), can the shanty towns and their self-organized ways of living and making the city be a reference for building alternatives? Can the community networks of the shacks serve us to build alternatives to a society in which each individual thinks of himself as if he were not dependent on the rest? <\/p>\n Finally, it is also necessary to remember the struggles of the inhabitants of the informal city (moving away from the stories that represent them only as victims without agency) and denounce the forms of material, and also symbolic, exclusion to which they have historically faced.<\/p>\n Tuesday, June 11 – 6 to 10 p.m.<\/strong><\/p>\n Ana D\u00edaz Rico Municipal Center<\/strong><\/p>\n Workshop<\/em><\/p>\n The Blocs Florida were built in the late 1950s to relocate, among others, people from some informal settlements such as Somorrostro or Montju\u00efc. Can we still find the echo of those neighborhoods in the uses of public space and the forms of relationship that occur in the blocks? <\/p>\n The Ultra-red<\/strong> collective proposes an experience based on listening to understand a neighborhood as overrepresented as it is the opposite.<\/p>\n —–<\/p>\n Wednesday, June 12 – 6 to 8 p.m.<\/strong><\/p>\n Bellvitge-Gornal Cultural Center<\/strong><\/p>\n Round table<\/em><\/p>\n Shantyism can be understood as an emergency housing solution to which social groups such as migrants or the Roma community have historically been forced. Housing estates such as Bellvitge, Gornal or the Blocs Florida (originally Bloques On\u00e9simo Redondo) were built as an alternative and introduced a new landscape in the urban fabric. Was it the best solution for everyone? Were other alternatives possible? Can living conditions in informal settlements be dignified? <\/p>\n With Santiago Cirugeda (Recetas Urbanes), Juana Fern\u00e1ndez and Mercedes G\u00f3mez (Assoc. Lacho Baji Cali), Istvan Szakats (Funda\u021bia AltArt) and Luis Costa (Binaural \/ Nodar).<\/p>\n —–<\/p>\n Thursday, June 13 – 6 to 8 p.m.<\/strong><\/p>\n Ana D\u00edaz Rico Municipal Center<\/strong><\/p>\n Documentary<\/em><\/p>\n Entrevies. Squatters in L’H <\/em><\/strong>is a documentary directed by Sheila and Bibian Escudero<\/strong> that reviews the history of 25 years of occupations in L’Hospitalet with the aim of preserving the memory of the movement. Occupation is one of the possible manifestations of the informal city. What connections can we establish between the squatter movement and the occupation of flats by evicted families or without the possibility of accessing housing? <\/p>\n Debate with members of the Assemblea de Vallcarca<\/strong>.<\/p>\n —–<\/p>\n Friday, June 14 – 6 to 8 p.m.<\/strong><\/p>\n Bellvitge-Gornal Cultural Center<\/strong><\/p>\n Round table<\/em><\/p>\n The informal city is built taking into account only the use value of the land, the need for a roof as a priority. On the contrary, the exchange value governs the transformations of the contemporary city: the land becomes another commodity at the service of accumulation. What role do culture and heritage play in the processes of urban renewal and gentrification? <\/p>\n With the Can Trinxet Viu<\/strong> platform, the Ultra-red<\/strong> collective and Rub\u00e9n Mart\u00ednez<\/strong> (La Hidra Cooperativa<\/strong>).<\/p>\n —–<\/p>\n Saturday, June 15 – 12 to 6 p.m.<\/strong><\/p>\n Pla\u00e7a Blocs Florida<\/strong><\/p>\n Day of activities and popular lunch in the Pla\u00e7a Blocs Florida organized in collaboration with neighbors of Blocs Florida. Mural intervention in the physical space with Cristina Fraser<\/strong> and Julia Portal<\/strong>. <\/p>\n Associaci\u00f3 Lacho Baji Cali<\/strong>: Association based in the Gornal neighborhood (L’Hospitalet), founded more than 25 years ago to support the Roma community of L’Hospitalet and the promotion of its culture. Juana Fern\u00e1ndez and Mercedes G\u00f3mez, two of its founders, participate in the Municipal Council of the Roma People of Barcelona. <\/p>\nPRESENTATION<\/strong><\/h4>\n
\n LaFundici\u00f3<\/strong>
\n<\/a> (L\u2019Hospitalet<\/strong>),
\n AltArt<\/strong>
\n<\/a> (Cluj<\/strong>, Romania<\/strong>) and
\n Binaural\/Nodar<\/strong>
\n<\/a> (Nodar<\/strong>, Portugal<\/strong>), who are developing work processes around the past and present of the informal city to analyze the current manifestations of \u201cthe urban\u201d and think about its future.<\/p>\nPROGRAM<\/strong><\/h4>\n
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<\/p>\nPARTICIPANTS<\/strong><\/h4>\n
\n Ultra-red<\/strong>
\n<\/a>: Sound art collective founded in 1994 by AIDS activists. Originally based in Los Angeles, it has expanded with members in North America and Europe: artists, researchers and organizers of different social movements, including the struggles of migration, anti-racism, participatory community development and HIV\/AIDS politics. <\/span><\/p>\n
\n Santiago Cirugeda (Recetas Urbanas)<\/strong>
\n<\/a>: Architect and activist founder of the Recetas Urbanas studio, his work is characterized by promoting collective construction processes. In his practice he often takes advantage of legal loopholes to intervene in the built environment, self-construction and the reuse of materials. <\/span><\/p>\n
\n Funda\u021bia AltArt<\/strong>
\n<\/a>: Organizes innovative artistic projects based on new technologies, urban exploration, exhibitions, courses for artists and cultural managers, animation and film workshops, public screenings and debates. AltArt projects address issues of contemporary urban life: identity in the virtual environment, public space, collective memory and mentality, urban social rituals. <\/span><\/p>\n
\n Binaural \/ Nodar<\/strong>
\n<\/a>: Founded in 2007, it is an association dedicated to field research of sound and video, to situated residencies of sound and multimedia artists and to social research, most of its activities took place in the rural areas of the Gralheira and Caramulo massifs.<\/span><\/p>\n
\n Can Trinxet Viu<\/strong>
\n<\/a>: Neighborhood platform created in 2018 to demand the conservation of the old Can Trinxet factory in the Santa Eul\u00e0lia neighborhood (L’Hospitalet) as industrial and working-class heritage, and its rehabilitation as a social, cultural and community-managed memory center.<\/p>\n
\n La Hidra Cooperativa<\/strong>
\n<\/a>): Doctor in Political Science and Public Policy. He investigates the relationship between community practices and public policies. La Hidra Cooperativa is a political company that dedicates its work to urban transformation, with the aim of joining the set of professional and social practices that want to guarantee the right to the city. <\/span><\/p>\n
\n[Catal\u00e0]<\/h5>\n
<\/h4>\n
PRESENTATION<\/h4>\n
\n where the city loses its name<\/em>
\n<\/strong>, a project in which three European partners participate: LaFundici\u00f3<\/strong><\/a> (L\u2019Hospitalet<\/strong>), AltArt<\/strong><\/a> (Cluj<\/strong>, Romania<\/strong>) iBinaural\/Nodar<\/strong><\/a> (Nodar<\/strong>, Portugal<\/strong>)<\/span>, which develop work processes around the past and present of the informal city to analyze the current manifestations of \u201cthe urban\u201d and think about its future.<\/p>\nPROGRAM<\/h4>\n
PARTICIPANTS<\/h4>\n
\n
\n
\n Ultra-red<\/strong>
\n <\/a>
\n <\/span>
\n<\/i>: Sound art collective founded in 1994 by AIDS activists. Originally based in Los Angeles, it has expanded with members in North America and Europe: artists, researchers and organizers of different social movements, including the struggles of migration, anti-racism, participatory community development and HIV \/ AIDS politics. <\/p>\n
\n Santiago Cirugeda (Recetas Urbanas)<\/strong><\/a>:<\/span>
\n<\/i> Architect and activist founder of the Recetas Urbanas studio, his work is characterized by promoting collective construction processes. In his practice he often takes advantage of legal loopholes to intervene in the built environment, self-construction and the reuse of materials. <\/p>\n
\n Funda\u021bia AltArt<\/strong><\/a>:<\/span>
\n<\/em> organizes innovative artistic projects based on new technologies, urban exploration, exhibitions, courses for artists and cultural managers, animation and film workshops, public screenings and debates. AltArt projects address issues of contemporary urban life: identity in the virtual environment, public space, collective memory and mentality, urban social rituals. <\/p>\n
\n Binaural \/ Nodar<\/strong><\/a>:<\/span>
\n<\/em> Founded in 2007, it is an association dedicated to field research in sound and video, residencies for sound and multimedia artists, and social research. Most of its activities take place in the rural areas of the Gralheira and Caramulo massifs.<\/p>\n