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Time zone: Europe/Madrid
If anthropologists are masters of the art of observation, then what kind of art can their observations inspire?
Discover "The Art of Observation", an exhibition featuring editorial illustrations created by artists inspired by short public anthropology articles. The exhibition builds a bridge between academia and art and highlights the transformative power of the two fields, as well as the interdisciplinary collaboration. Behind each article there is often ethnographic research work spanning several years. In a way, it could be said that at the heart of this exhibition there is a cumulative body of work spanning hundreds of years - an atypical endeavour in a world increasingly dominated by speed and quick results. "The Art of Observation" reveals the diversity and depth of human experience in all its complexity and stimulates conversations about social practices and cultural norms. It unravels how anthropology can play a significant role in developing a deeper understanding of the self and the world around us, giving us tools for reflection and human connection.
The articles that inspired the exhibition were published on theanthro.art platform following two calls focusing on inequality and social inclusion and sustainability. Alongside the illustrations you will find short abstracts of the articles and QR codes that link to the platform where you can read the full story or listen to it as a podcast.
The illustrations will be exhibited throughout the Facultat de Geografia i Història building during the EASA2024 conference.
Contact: maria.radan(at)antropedia.com
Organisers: Maria Rădan-Papasima (Antropedia), Rosalie Post (Namla), Corina Enache (Namla)
_________________________
Co-financed by the European Union through the Creative Europe Programme. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.
Co-financed by the Administration of the National Cultural Fund, Romania. The project does not necessarily represent the position of the Administration of the National Cultural Fund. AFCN is not responsible for the content of the project or the way the results of the project may be used. These are entirely the responsibility of the beneficiary of the funding.
Since PrecAnthro was set up in 2016,
our collective managed to put academic precarity at the core of EASA’s agenda,
and some of us have served – and are currently serving – in the EASA executive
committee. We want to take stock of our achievements so far, explore pathways
forward, and – foremost – bring new ideas, energy and people to the PrecAnthro
collective.
Join us
for an informal discussion about the next steps and best strategies to address
the complex precarity-related issues among anthropologists.
When? Tuesday 23 July, 17.00 –
18.30.
Where? Facultat de Geografia i Història, second floor, Room 205
The Maritime Museum can accommodate 1000 delegates, so we are also streaming the keynote into the Aula Magna, 4th Floor, of UB, Facultat de Geografia i Història.
Undoing and redoing Cuelgamuros: Confronting necrotoxicity in the Francoist underworld
Francisco Ferrándiz, Spanish National Research Council (CSIC)
In this talk, I will critically discuss recent developments in the ‘undoing’ and ‘redoing’ of the Valley of Cuelgamuros (formerly known as Valley of the Fallen or Valle de los Caídos), the most conspicuous and astonishingly unresolved Francoist monument in Spain. It is based on a 20-year-long multisite ethnography covering numerous mass grave exhumations containing Republican civilians executed during and after the Spanish Civil War (1936-1939), as well as on following the unfolding afterlives of the exhumed corpses in forensic laboratories, in the media, in ‘dignifying’ political rituals, reburials, DNA sample-taking rituals, demonstrations, book presentations, academic conferences and debates, social networks, and art exhibitions. In time, my research project branched out to incorporate the analysis of the memorial conflicts emerging around the Valley of Cuelgamuros.
The Valley is the most important Francoist memorial, built to commemorate Franco’s victory in the Civil War. It was not an easy project. It took the dictatorial regime almost twenty years to complete, and required a major economic, political, religious and symbolic investment. For sixteen years after its inauguration in 1959, the funerary arrangement in the Valley, key to its overall meaning and memorial power, was presided over by José Antonio Primo de Rivera, the founder of Spain’s Mussolini-influenced fascist party, Falange. In 1975, Francisco Franco was buried in a symmetrical position on the other side of the main altar. The Valley became the major memorial site for Spanish fascists, in the guise of a “reconciliatory memorial.”
Surrounding these two politically charged corpses, the monument has a huge underground necropolis hosting almost 34,000 Civil War bodies brought from all over the country between 1959 and 1983. Indeed, in funerary terms, the Valley continued to be “in the making” long after Franco’s death. The provenance of these corpses is very diverse: individual bodies voluntarily sent by relatives who believed in the memorial project, full military cemeteries transferred when voluntary transports started to dwindle, victims of religious prosecution and, most controversially, an unknown number of kidnapped Republican mass graves.
After a brief introduction to the complex making of the monument and its multiple frictions with emergent memory cultures in twenty-first-century Spain, my talk focuses on the tortuous ‘undoing’ of its necropolitical layout. This funerary unmaking is part of a refashioning of the monument in the context of what in Spain is currently called “democratic memory.” As an anthropologist specialized in memory politics in Spain, I have been heavily involved in the always too slow process of undoing and redoing the monument. Within the ethnographic framework outlined above, I was able to develop an ethnography of power where I simultaneously became a transformative agent. In 2011, I was a member of a governmental ‘expert commission’, appointed to resignify the monument, including disassembling its most controversial necropolitical aspects. The key recommendation was the need to ‘undo’ Franco’s burial in the monument. In the period 2020-2023, I served as a senior advisor to the government on memory politics. In this position, my main task was to provide ideas to adapt the monument to a “democratic memory” framework. I also became part of a highly specialised forensic team in charge of exhuming a number of bodies buried in its crypts.
Major feats have already been achieved: Francisco Franco was exhumed in 2019 – causing considerable commotion – and Jose Antonio Primo de Rivera – more discreetly – in 2023. In June 2023, after a convoluted judicial, political and technical process, and amidst accusations of necrophilia and profanation, an exhumation started in the crypts to search for 160 bodies claimed by relatives, exposing all the contradictions and shadows still lingering in the monument. In the process, the increasingly toxic monument became first and foremost necrotoxic.
Bio
Francisco Ferrándiz is Senior Researcher at the Spanish National Research Council (CSIC). He has a Ph.D. in social and cultural anthropology from UC Berkeley (1996). His research focuses on the anthropology of the body, violence and social memory. Since 2002, he has conducted research on the politics of memory in contemporary Spain, analyzing the exhumations of mass graves from the Civil War (1936‒1939). He is presently Principal Investigator (PI) of the research project The Politics of Memory Exhumations in Contemporary Spain, funded by the Spanish Ministry of Science and Innovation. His main books on this topic are El pasado bajo tierra: Exhumaciones contemporáneas de la Guerra Civil (Anthropos 2014), and, as edited volumes, Necropolitics: Mass Graves and Exhumations in the Age of Human Rights (University of Pennsylvania Press 2015, with A.C.G.M Robben) and Memory Worlds: Reframing Time and the Past (special issue Memory Studies, 2020, with M. Hristova and J. Vollmeyer). He is currently working on a book on the memory process in 21st Century Spain, and on another more specific on the controversies around the Valley of the Fallen, both based on his twenty year-long ethnographic research.
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If anthropologists are masters of the art of observation, then what kind of art can their observations inspire?
Discover "The Art of Observation", an exhibition featuring editorial illustrations created by artists inspired by short public anthropology articles. The exhibition builds a bridge between academia and art and highlights the transformative power of the two fields, as well as the interdisciplinary collaboration. Behind each article there is often ethnographic research work spanning several years. In a way, it could be said that at the heart of this exhibition there is a cumulative body of work spanning hundreds of years - an atypical endeavour in a world increasingly dominated by speed and quick results. "The Art of Observation" reveals the diversity and depth of human experience in all its complexity and stimulates conversations about social practices and cultural norms. It unravels how anthropology can play a significant role in developing a deeper understanding of the self and the world around us, giving us tools for reflection and human connection.
The articles that inspired the exhibition were published on theanthro.art platform following two calls focusing on inequality and social inclusion and sustainability. Alongside the illustrations you will find short abstracts of the articles and QR codes that link to the platform where you can read the full story or listen to it as a podcast.
The illustrations will be exhibited throughout the Facultat de Geografia i Història building during the EASA2024 conference.
Contact: maria.radan(at)antropedia.com
Organisers: Maria Rădan-Papasima (Antropedia), Rosalie Post (Namla), Corina Enache (Namla)
_________________________
Co-financed by the European Union through the Creative Europe Programme. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.
Co-financed by the Administration of the National Cultural Fund, Romania. The project does not necessarily represent the position of the Administration of the National Cultural Fund. AFCN is not responsible for the content of the project or the way the results of the project may be used. These are entirely the responsibility of the beneficiary of the funding.
Based in Barcelona, Joan Bestard Camps has been an active presence in European anthropology ever since the days of EASA’s foundation. Aside from his dedication to our association, he has made significant contributions to a number of central debates that cut across our discipline: on kinship and family, on household and personhood, on assisted reproduction and reproductive health, on art and anthropology, on nationalism and European integration, among others. This session aims to provide an overview of his lifetime contribution to European anthropology.
João Pina-Cabral (Org.) - Research Professor, Institute of Social Sciences, University of Lisbon (Portugal) and Emeritus Professor of Social Anthropology, University of Kent (UK). The Iberian Casa: Life, History, and Art
Roger Sansi - Senior Lecturer, University of Barcelona (Spain). Joan Bestard and art
Stephan Palmié - Norman and Edna Freehling Professor of Anthropology, University of Chicago (USA). Joan, Me, and
the Ghost of Fernando Ortiz
Gemma Orobitg Canal - Professor of Social Anthropology, University of Barcelona (Spain). Working through paradoxes: learning from Joan Bestard
Carles Salazar Carrasco - Professor of Social Anthropology, University of Lleida. Ethnography, kinship, religion and beyond: the social anthropology of Joan Bestard
Maitane Ostalaza Porqueres - Professor of Spanish Contemporary History, (U. Perpignan, France). Family, Nation and Modernity: Joan Bestard and Enric Porqueres, cross dialogues
Gerard Horta Calleja - Senior Lecturer, University of Barcelona (Spain). Joan Bestard: in the beginning was life
Jeanette Edwards - Emeritus Professor of Social Anthropology, University of Manchester (UK). ‘What’s in a
relative?’: lots
Guillermo Martín-Sáiz - Lecturer, Durham University. Joan and the Theory of Practice
Ramon Sarró (in absentia) - Professor of Social Anthropology, University of Oxford (UK). Only connect – Through Joan Bestard, for example
Joan Bestard Camps - Emeritus Professor of Social Anthropology, University of Barcelona (Spain). A brief response
Led by María Inés Plaza Lazo, Founder of Arts of the Working Class, María Berrios, Director of Curatorial Programmes and Research at MACBA, and artist Michael Hart.
A workshop organized in collaboration between ANTART (Alex Ungprateeb Flynn (UCLA), Giuliana Borea (Newcastle University) and Francesca Cozzolino (EnsAD)) and MACBA for EASA2024
Arts of the Working Class is a multi-lingual street journal on poverty and wealth, art and society. Published every two months, street sellers earn money directly and vendors keep 100% of their sales. As a medium and platform, the newspaper creates special and sustainable connections between artists, workers, academics, urbanists, cultural and social institutions from different countries and languages and the most vulnerable members of society; those deeply affected by extreme poverty and disabled of participating of the kind of agency given to groups and individuals in the safe space of the academic field. This pursuit not only creates new ways of communicating and behaving around and through art, but also of direct redistribution and more sustainable dissemination of cultural capital: being space –material, immaterial– for participation in content production, discussion and dissemination.
Participants of this workshop are invited to consider the terminologies and methodologies of their academic research to the end of entering into dialogue with research practice beyond the academy. What would that look like? How might we flip the coin to consider an anthropological and curatorial revision of art into meanings and systems from the streets? Led by AWC, María Berrios, and Michael Hart, the workshop proposes ways to do and undo research in a manner which constructs dialogue with people informally working on the streets.
Maximum capacity - 60 people
More information on the Arts of the Working Class project: https://www.artsoftheworkingclass.org/
María Inés Plaza Lazo is the founder, editor and publisher of Arts of the Working Class (AWC). She develops curatorial and communication strategies for others, individuals and institutions. She grew up in Guayaquil, Ecuador, and lives and works between the streets of Berlin and the world. Together with Paul Sochacki, she founded AWC, a street journal on poverty and wealth, art and society, which they edit and publish with Alina Kolar. AWC contains contributions by artists and thinkers from different fields and in different languages. Its terms are based upon the working class, meaning everyone, and it reports on everything that belongs to everyone. Anyone who sells this street journal earns money directly. Vendors keep 100% of the sales.
As a sociologist, editor and curator, María Berríos’ work focuses on contemporary art and culture in Latin America, with a special interest in collective cultural experiments and Third World movements during the 1960s and 1970s. She is cofounder of the editorial collective vaticanochico and has been invited as a guest lecturer to many academic, cultural and independently managed institutions in Europe and Latin America. Her most notable curatorships include Desvíos de la deriva at the Museo Nacional Centro de Arte Reina Sofía (2010) with Lisette Lagnado, El cuerpo del arquitecto no es el de un solo hombre at MAVI (2017) with Amalia Cross, the 11th Berlin Biennale (2020-21) alongside Renata Cervetto, Agustín Pérez Rubio and Lisette Lagnado, and En la selva hay mucho por hacer, Museo de la Solidaridad Salvador Allende (2022-2023). Berríos currently serves as director of Curatorial Programmes and Research at MACBA.
Michael Hart is an American photographer and producer living in Barcelona, Spain. He was born in New Orleans, Louisiana in 1981 and grew up in a suburb of Fort Worth, Texas. Hart’s photography has been published in Artforum, The Boston Globe, Contact Quarterly, El Pais, The Guardian, Haaretz, The Juilliard Journal, Les Inrockuptibles, The Movement Research Performance Journal, The New York Times Style Magazine, PAJ: A Journal of Performance and Art, Time Out NYC, The Village Voice, Volt Magazine, and the Wall Street Journal. Since 2008 he’s been touring internationally, working as the assistant to American Choreographer Trajal Harrell, producing performances and performance exhibitions at The Barbican Centre, CCS Bard Galleries, Centre National De La Danse, The Hammer Museum, MoMA, MoMA PS1, Montpellier Danse, MUDAM Luxembourg, Museu de Arte do Rio, New York Live Arts, Palais De Tokyo, Sala Hiroshima and The Walker Arts Center. In Barcelona he produces performances and events at Espai Erre, Espacio Práctico, Sala Hiroshima, Monkey Town: Barcelona, La Poderosa.
A night of creative anthropological performance and experimentation. Please register in advance as audience numbers are limited.
Anthropology Curated Walking Tour "Barcelona: Ciutat de Negrers?" (Barcelona: Slave Traders' shade looming upon the city's past), lead by Associació Antropologies.
"Barcelona, ciutat de negrers" is a urban tour meant to bring about the dialogue and provide reflective tools on the contradictions posed by the city's urban heritage. Historical context, images' symbolic reading, and the heritage discourses will underline the course of the tour, as an useful educational device informing the way the city gets perceived.
Where to meet - download PDF with instructions.
(Des)control sexual y aberraciones de género: sexualidad, castigo e insumisión en el Raval de Barcelona (led by Livia Motterle, anthropologist and activist, in Spanish).
¿Quiénes eran las mujeres encerradas en el ex convento cárcel de calle Egipcíaques? ¿Qué papel tuvieron las trabajadoras sexuales en la Semana Trágica? ¿En qué calle se encontraba la primera editorial y bar-feminista de Catalunya y de España? ¿Quién era la Vampira del Raval? ¿En qué antros del Raval solía encontrarse la comunidad queer? El recorrido propuesto nos llevará por aquellas callejuelas que esconden historias de sangre, resistencias, barricadas, puños levantados e insumisiones. Mapeando el espacio urbano según las huellas del placer, comprenderemos cómo han operado a lo largo de la historia los dispositivos de violencia urbanística y de género en el Raval de Barcelona, así como las prácticas de resistencia puestas en marcha por las mujeres “mal inclinadas” y las disidencias sexuales.
Duration: 2 hours
Capacity: 20
Payment:
In person/cash 15€.
Where to meet - download PDF with instructions.
Photo: Marta P. Santos
If anthropologists are masters of the art of observation, then what kind of art can their observations inspire?
Discover "The Art of Observation", an exhibition featuring editorial illustrations created by artists inspired by short public anthropology articles. The exhibition builds a bridge between academia and art and highlights the transformative power of the two fields, as well as the interdisciplinary collaboration. Behind each article there is often ethnographic research work spanning several years. In a way, it could be said that at the heart of this exhibition there is a cumulative body of work spanning hundreds of years - an atypical endeavour in a world increasingly dominated by speed and quick results. "The Art of Observation" reveals the diversity and depth of human experience in all its complexity and stimulates conversations about social practices and cultural norms. It unravels how anthropology can play a significant role in developing a deeper understanding of the self and the world around us, giving us tools for reflection and human connection.
The articles that inspired the exhibition were published on theanthro.art platform following two calls focusing on inequality and social inclusion and sustainability. Alongside the illustrations you will find short abstracts of the articles and QR codes that link to the platform where you can read the full story or listen to it as a podcast.
The illustrations will be exhibited throughout the Facultat de Geografia i Història building during the EASA2024 conference.
Contact: maria.radan(at)antropedia.com
Organisers: Maria Rădan-Papasima (Antropedia), Rosalie Post (Namla), Corina Enache (Namla)
_________________________
Co-financed by the European Union through the Creative Europe Programme. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.
Co-financed by the Administration of the National Cultural Fund, Romania. The project does not necessarily represent the position of the Administration of the National Cultural Fund. AFCN is not responsible for the content of the project or the way the results of the project may be used. These are entirely the responsibility of the beneficiary of the funding.
State of the Arts, Jonas Tinius, Cambridge, 2023) And "The Trouble with Art" ( Sansi& Tinius, Routledge, 2024).
Anthropology Curated Walking Tour "Barcelona: Ciutat de Negrers?" (Barcelona: Slave Traders' shade looming upon the city's past), lead by Associació Antropologies.
"Barcelona, ciutat de negrers" is a urban tour meant to bring about the dialogue and provide reflective tools on the contradictions posed by the city's urban heritage. Historical context, images' symbolic reading, and the heritage discourses will underline the course of the tour, as an useful educational device informing the way the city gets perceived.
Capacity: 20
Where to meet - download PDF with instructions.
(Des)control sexual y aberraciones de género: sexualidad, castigo e insumisión en el Raval de Barcelona (led by Livia Motterle, anthropologist and activist, in Spanish).
¿Quiénes eran las mujeres encerradas en el ex convento cárcel de calle Egipcíaques? ¿Qué papel tuvieron las trabajadoras sexuales en la Semana Trágica? ¿En qué calle se encontraba la primera editorial y bar-feminista de Catalunya y de España? ¿Quién era la Vampira del Raval? ¿En qué antros del Raval solía encontrarse la comunidad queer? El recorrido propuesto nos llevará por aquellas callejuelas que esconden historias de sangre, resistencias, barricadas, puños levantados e insumisiones. Mapeando el espacio urbano según las huellas del placer, comprenderemos cómo han operado a lo largo de la historia los dispositivos de violencia urbanística y de género en el Raval de Barcelona, así como las prácticas de resistencia puestas en marcha por las mujeres “mal inclinadas” y las disidencias sexuales.
Duration: 2 hours
Capacity: 20
Payment:
In person/cash 15€. Registration link
Where to meet - download PDF with instructions.
Photo: Marta P. Santos
If anthropologists are masters of the art of observation, then what kind of art can their observations inspire?
Discover "The Art of Observation", an exhibition featuring editorial illustrations created by artists inspired by short public anthropology articles. The exhibition builds a bridge between academia and art and highlights the transformative power of the two fields, as well as the interdisciplinary collaboration. Behind each article there is often ethnographic research work spanning several years. In a way, it could be said that at the heart of this exhibition there is a cumulative body of work spanning hundreds of years - an atypical endeavour in a world increasingly dominated by speed and quick results. "The Art of Observation" reveals the diversity and depth of human experience in all its complexity and stimulates conversations about social practices and cultural norms. It unravels how anthropology can play a significant role in developing a deeper understanding of the self and the world around us, giving us tools for reflection and human connection.
The articles that inspired the exhibition were published on theanthro.art platform following two calls focusing on inequality and social inclusion and sustainability. Alongside the illustrations you will find short abstracts of the articles and QR codes that link to the platform where you can read the full story or listen to it as a podcast.
The illustrations will be exhibited throughout the Facultat de Geografia i Història building during the EASA2024 conference.
Contact: maria.radan(at)antropedia.com
Organisers: Maria Rădan-Papasima (Antropedia), Rosalie Post (Namla), Corina Enache (Namla)
_________________________
Co-financed by the European Union through the Creative Europe Programme. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.
Co-financed by the Administration of the National Cultural Fund, Romania. The project does not necessarily represent the position of the Administration of the National Cultural Fund. AFCN is not responsible for the content of the project or the way the results of the project may be used. These are entirely the responsibility of the beneficiary of the funding.
Room 313
Antoni Miralda and Stephan Palmié
Since 2019, the Barcelona/Miami based multidisciplinary artist Antoni Miralda and the University of Chicago anthropologist Stephan Palmie have been collaborating on a project aiming to illuminate the aesthetics and politics of one of the most omnipresent, but least understood “worldly goods,” the humble Maggi bouillon cube. Originating in a food-centered performance event that Miralda originally held in Miami’s Little Haiti, the project aims to tell the story of Maggi’s seasoning’s rise to global prominence, illuminate its various local uses, explore bodies of knowledge about Maggi cubes – both as a product and brand but also as a cultural icon: all documented in a rich visual archive including product packaging, posters featuring the cubes, historical advertisements and war time propaganda, billboards in Africa displaying gendered images, cookbooks that include Maggi cubes as an ingredient in their recipes, Cubist art incorporating the Maggi cube, works by the Dakarois artist Adji Dieye, and photographic work that Miralda created for the project, as a personal reinterpretation of the genre of still life incorporating a Maggi cube as a part of the composition. The event will include a cocktail created by master coctelero Javier de las Muelas of Dry Martini.
CAPACITY LIMITED TO 40 ATTENDEES
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