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The programme brings together two perspectives on memory, images and collective processes. At 18:30, journalist Francis Pisani will join Ángel Calvo Ulloa in conversation about the experience of Torre Bela, a remarkable example of direct democracy that emerged in the wake of the Carnation Revolution. At 19:15, one of the seminar’s key events will take place: an encounter with Susan Meiselas, one of the most influential figures in contemporary documentary photography. The American photographer will share her experiences in contexts including Nicaragua, El Salvador, Chile and Kurdistan, and reflect on photography as a space for dialogue, memory and the collective construction of narratives.

18:30 Francis Pisani in conversation with Ángel Calvo Ulloa. Torre Bela, a bottom-up cooperative

Just a few weeks after the beginning of the Carnation Revolution (1974), farmers from villages near the Duke of Lafões’ estate in Ribatejo, Portugal, encouraged by a rank-and-file soldier who had recently returned from Angola, occupied the land without the backing of any political party or organisation. The experience soon attracted the attention and support of those seeking change outside traditional structures. Among them were Zeca Afonso, author of Grândola, Vila Morena, the song used as a signal for the start of the 25 April uprising, and Camilo Mortágua, an anti-fascist revolutionary, member of LUAR (Liga de União e Acção Revolucionária) and later an organiser of rural communities in Mozambique, Portugal and Europe.

As an experiment in direct democracy, the group was ultimately unable to withstand the takeover by traditional political and military forces. Seven months after the occupation began, the Duke regained control of the land. Nevertheless, the experience gave rise to a generation of activists who continued working towards the collective right to a better life.

19:15 Encounter with Susan Meiselas

The encounter draws on Susan Meiselas’s experiences as a photographer in contexts as diverse as Nicaragua, El Salvador, Chile and Kurdistan, which have shaped a documentary practice closely connected to the creation of collective visual histories.

A member of Magnum Photos since 1976, Meiselas has developed an influential body of work combining photography, oral history, archival research and community-based practices. From her coverage of the Nicaraguan Revolution to long-term projects such as Kurdistan: In the Shadow of History and A Room of Their Own, her work has consistently explored the relationships between images, memory, power and lived experience.

A key aspect of her practice lies in questioning the role of the photographer as a mere observer and seeking collaborative ways of constructing, sharing and preserving stories. Drawing on her career, Meiselas will reflect on the potential of documentary photography as a shared space for dialogue, memory and the collective construction of narratives.

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Susan Meiselas is a documentary photographer based in New York. She is the author of Carnival Strippers (1976), Nicaragua (1981), Kurdistan: In the Shadow of History (1997), Pandora’s Box (2001), Encounters with the Dani (2003), Prince Street Girls (2016), A Room of Their Own (2017), Tar Beach (2020), Carnival Strippers Revisited (2022) and most recently, 44 Irving Street (2025).

\n\n

Meiselas is well known for her documentation of human rights issues in Latin America. Her photographs are included in North American and international collections. In 1992 she was made a MacArthur Fellow and received a Guggenheim Fellowship (2015). Meiselas received the Henri Cartier Bresson Lifetime Achievement award, along with the Sony Outstanding Contribution to Photography Award in 2025, the first Women in Motion Award from Kering and the Rencontres d’Arles (2019), the Deutsche Börse Photography Foundation Prize (2019), and the Erich Salomon Award of the German Society for Photography (2022). Mediations, a survey exhibition of her work from the 1970s to present was initiated by the Jeu de Paume in Paris and traveled to Fundació Antoni Tàpies, the San Francisco Museum of Modern Art and the Instituto Moreira Salles in São Paulo, among others. Meiselas has been the President of the Magnum Foundation since 2007, with a mission to expand diversity and creativity in documentary photography.

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A journalist by profession and by passion, driven by insatiable curiosity, Pisani began his career in 1968, covering events in Saigon during the Tet Offensive, Paris in May, Prague during the Soviet invasion, and Alabama during the presidential election.

Over the course of nearly 60 years, he has covered revolutions in Cuba, Central America and Portugal, as well as completing a brief reporting assignment in Iran shortly before the return of Ayatollah Khomeini. He lived in Mexico for 15 years, covering what he came to call the “Hurricane Basin”: the southern United States, the Caribbean, northern South America and Central America.

Pisani has always been more interested in the future than the past, driven by the conviction that those who are willing to act can help build a better world for more people. 

After years of covering conventional politics, he moved to Berkeley, California, close to Silicon Valley, where he lived for 15 years. He later embarked on an extensive journey around the world to explore innovation, travelling to more than 30 countries and 50 cities.

His attention then turned to the global urban phenomenon and the challenge of navigating between datapolis and participolis—between smart cities and citizen participation, two dimensions he considers equally indispensable.

More recently, after returning to Paris, Pisani has focused on understanding artificial intelligence and explaining its social and political implications. 

Easily enthused at the beginning of each new direction he pursues, he tends to emerge from it with a less idealistic outlook. Yet one conviction remains intact: understanding tomorrow—which is already here today, although not everywhere to the same extent—is essential if we are to take action and create a better world.

There is, however, one condition: learning to think differently from the mindset that led us to create the world in which we now struggle.

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Ángel Calvo Ulloa (Lalín, 1984) is a curator and writer. He holds a degree in Art History from the USC and a Master's degree in Contemporary Art: Creation and Research from the UVigo. He has been co-curator, together with Marta Mestre, of O Fantasma da Liberdade / Anozero Biennial of Coimbra 2024.  

His most recent curatorial projects include Jordi Teixidor. No-res, at Sala Alcalá 31 (Madrid); Juan Uslé. Ese barco en la montaña, at the Reina Sofía Museum (Madrid); ¿Adónde irá el pájaro que no vuele?, at La Casa Encendida (Madrid); Humores y Espesores, by Rodríguez-Méndez, at the CA2M (Móstoles); El sueño de la cólcedra, by Teresa Lanceta, at the Patio Herreriano Museum (Valladolid); Siron Franco: Pensamento insubordinado (Works, 1961-2023), at MAC Goiàs (Brazil); Nesting in the gesture: some shelves by Alberto, at the Cerezales Antonio y Cinia Foundation (Cerezales del Condado, León); Self-construction. Loose pieces. Juego y experiencia (Game and Experience), by Antonio Ballester Moreno, at Artium (Vitoria-Gasteiz); Complexo Colosso, CIAJG (Guimarães) or, together with Nuria Enguita, Habitación. The F.X. Archive, Laurencic's psychotechnical chekas and the function of art, by Pedro G. Romero, at CA2M (Madrid), MNAC (Barcelona) and La Nau (Valencia). Since 2011, he has also curated exhibitions at institutions such as Caixaforum (Barcelona), MARCO (Vigo), CCEMx (Mexico City), Fundación Luis Seoane (A Coruña), Tabacalera (Madrid), Centro Párraga (Murcia) and EACC (Castellón), among others.

In 2020, co-authored with Juan Canela, he published the book Desde lo curatorial. Conversaciones, experiencias y afectos (From the Curatorial Perspective: Conversations, Experiences and Affections), part of Consonni's Paper Collection.

 

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The Documenting Life symposium will recover anonymous stories to explore, through different voices, how the past can help us understand the present.

 

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The main goal of this programme is to provide support for artistic and creative processes, both technical and conceptual.

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An exhibition by Carla Filipe and Taxio Ardanaz.

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Carla Filipe (b. 1973, Porto) is a multidisciplinary artist whose work critically examines the intersections of art, politics, and collective memory. She studied Sculpture at the Faculty of Fine Arts of the University of Porto, where she also earned a Master's in Contemporary Artistic Practices. Filipe was a co-founder of the independent art spaces Salão Olímpico (2003–2005) and Projecto Apêndice (2006) in Porto.

Her work has been exhibited at major institutions, including the Serralves Foundation (Porto), MAAT – Museum of Art, Architecture and Technology (Lisbon), Museu Coleção Berardo (Lisbon), MNAC – Museu Nacional de Arte Contemporânea do Chiado (Lisbon), Kunsthalle Lissabon (Lisbon), SESC Pompeia (São Paulo). Internationally, she has participated in the 32nd Bienal de São Paulo (2016), the 13th Istanbul Biennial (2013), the 4th Ural Industrial Biennial of Contemporary Art (Russia, 2017) and Manifesta 8 (Murcia - Cartagena, 2011). Other key exhibitions include La Réplica Infiel at CA2M (Madrid), Les Urbaines at MCBA (Lausanne), and Le lynx ne connaît pas de frontières at Fondation Ricard (Paris).

Filipe has been awarded several grants and residencies, including a Calouste Gulbenkian Foundation grant for a residency at Acme Studios (London, 2009), AIR Antwerpen (Belgium, 2014), the Robert Rauschenberg Foundation Residency (Florida, USA, 2015), Krinzinger Projekte (Vienna, 2017), and Peacock & The Worm (Aberdeen, Scotland, 2023). Her works are part of significant public and private collections, including the Serralves Foundation, MAAT/EDP Foundation, António Cachola Collection, Portuguese State Contemporary Art Collection (CACE), Centro de Arte Oliva, Foundation Leschot; PLMJ Foundation, among others.

Filipe received the FLAD Drawing Award in 2023 and in 2024 the best visual arts exhibition award for In My Own Language I am Independente at the Serralves Museum, by SPA, the Portuguese Society of Authors.

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He holds a Bachelor of Fine Arts from the University of the Basque Country and has furthered his training with artists and curators such as Julie Mehretu, Esther Ferrer, Itziar Okariz, Andrés Duque, Miroslaw Balka and Peio Aguirre.

\n\n

His work revolves around the tensions arising between ideology, representation and memory, exploring, through painting, installation and photographic archives, the physical traces of thwarted political projects and other forms of collective resistance. This interest has led him to work in conflict-ridden contexts such as Iraqi Kurdistan, Cuba, China and Mexico.

\n\n

His work is held in various public and private collections and has been exhibited at institutions such as Tabacalera (Madrid), the Museum of Navarre, the Spanish Academy in Rome, San Telmo Museum (San Sebastián), CIAJG (Guimarães) and galleries such as Carreras Múgica (Bilbao), Pelaires (Palma de Mallorca), Nordés (Santiago de Compostela) and Espacio Enhorabuena (Madrid).

\n\n

 

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Ángel Calvo Ulloa (Lalín, 1984) is a curator and writer. He holds a degree in Art History from the USC and a Master's degree in Contemporary Art: Creation and Research from the UVigo. He has been co-curator, together with Marta Mestre, of O Fantasma da Liberdade / Anozero Biennial of Coimbra 2024.  

His most recent curatorial projects include Jordi Teixidor. No-res, at Sala Alcalá 31 (Madrid); Juan Uslé. Ese barco en la montaña, at the Reina Sofía Museum (Madrid); ¿Adónde irá el pájaro que no vuele?, at La Casa Encendida (Madrid); Humores y Espesores, by Rodríguez-Méndez, at the CA2M (Móstoles); El sueño de la cólcedra, by Teresa Lanceta, at the Patio Herreriano Museum (Valladolid); Siron Franco: Pensamento insubordinado (Works, 1961-2023), at MAC Goiàs (Brazil); Nesting in the gesture: some shelves by Alberto, at the Cerezales Antonio y Cinia Foundation (Cerezales del Condado, León); Self-construction. Loose pieces. Juego y experiencia (Game and Experience), by Antonio Ballester Moreno, at Artium (Vitoria-Gasteiz); Complexo Colosso, CIAJG (Guimarães) or, together with Nuria Enguita, Habitación. The F.X. Archive, Laurencic's psychotechnical chekas and the function of art, by Pedro G. Romero, at CA2M (Madrid), MNAC (Barcelona) and La Nau (Valencia). Since 2011, he has also curated exhibitions at institutions such as Caixaforum (Barcelona), MARCO (Vigo), CCEMx (Mexico City), Fundación Luis Seoane (A Coruña), Tabacalera (Madrid), Centro Párraga (Murcia) and EACC (Castellón), among others.

In 2020, co-authored with Juan Canela, he published the book Desde lo curatorial. Conversaciones, experiencias y afectos (From the Curatorial Perspective: Conversations, Experiences and Affections), part of Consonni's Paper Collection.

 

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HU /هُو. Bailad como si nadie os viera (Dance as if no one were watching you) is an installation by Oliver Laxe inspired on the creative world of his film Sirāt

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Born in Paris in 1982, Oliver Laxe is the son of Galician emigrants. When he was six years old, his family returned to Galicia. After studying film in Barcelona, he moved to Tangier, Morocco, where he self-produced and shot Todos vós sodes capitáns [You All Are Captains], which won the FIPRESCI Prize at the Cannes Directors’ Fortnight in 2010.

\n\n

In 2016, he received the Grand Prix at the Cannes Critics’ Week for Mimosas, shot in the Atlas Mountains. After returning to Galicia, he directed O que arde [Fire Will Come], filmed in the heart of the Ancares, which won the Jury Prize in the Un Certain Regard section at the 2019 Cannes Film Festival. Fifteen years after his first premiere at Cannes, and having screened films and won awards in all its sections, Laxe made his Competition debut in 2025 with Sirāt. The film, which won the Jury Prize at the Cannes Film Festival, has cemented its international success, earning widespread acclaim from both critics and the industry, as well as multiple nominations for the Academy Awards, the Golden Globes and the Goya Awards. 

\n\n

In addition to his work as a filmmaker, Laxe is a member of the Ser Association, an initiative based in Os Ancares that promotes the revitalisation of rural areas through cultural, agricultural and community development projects. He also promotes rural development strategies linked to heritage restoration and repopulation, working closely with local development groups. 

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An exploration of the two cultural lifelines of Debris Stevenson, the sonic-seam between Bass Culture and Neuroqueerness.

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Debris Stevenson is a playwright, grime-poet, multi-disciplinary artist, neurodivergent academic and professional raver whose work explores the intersectional, unexpected, and unjust.

\n\n

Debris has been writing, moving and making for 20 years, she’s performed in over 30 countries, designed academic poetry modules at The University of Nottingham and raised over £300K with her community interest company The Mouthy Poets where she taught thousands of young people from Nottingham to across the world. 

\n\n

Debris’ debut grime-musical POET IN DA CORNER (Royal Court) toured nationally in 2020. Her play MY BROTHER’S A GENIUS (Theatre Centre, Theatre Sheffield, National Youth Theatre) toured schools and theatres nationally in spring 2026. And her co-adaption of CYRANO DE BERGERAC (Royal Shakespeare Company) alongside Simon Evans, starring Adrian Lester will transfer to London’s West End (Noël Coward Theatre) this summer after a sell out 5* run at the RSC.

\n\n

Debris is currently completing a fully funded practice-based PhD studentship titled ‘The Write to Rave’ on the intersection between grime, storytelling and neurodivergence at Oxford
\nBrookes University. 

\n\n

When Debris isn’t writing, creating or studying she can be found dancing at carnivals, parties and prides around the world for the likes of Red Bull Music Academy, The Heatwave and sometimes, just for fun. 

\n\n

www.debrisstevenson.com
\n@debrisstevenson

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