Jardunaldiak memoriaren, irudiaren eta prozesu kolektiboen inguruko bi begirada bilduko ditu. 18:30ean, Francis Pisani kazetariak Ángel Calvo Ulloarekin hitz egingo du Torre Belaren esperientziari buruz, Krabelinen Iraultzaren ondoren sortutako demokrazia zuzenaren adibide berezi bati buruz. 19:15ean, mintegiko une nagusietako bat izango da: Susan Meiselasekin topaketa, argazkigintza dokumental garaikideko figura esanguratsuenetako batekin. Argazkilari estatubatuarrak Nikaraguan, El Salvadorren, Txilen eta Kurdistanen, besteak beste, izandako esperientziak partekatuko ditu, eta argazkigintzak elkarrizketarako, memoriarako eta kontakizunak modu kolektiboan eraikitzeko espazio gisa dituen aukerei buruz hausnartuko du.
18:30 Francis Pisani eta Ángel Calvo Ulloaren arteko solasaldia. Torre Bela, bottom-up kooperatiba (oinarritik sortua)
Krabelinen Iraultza (1974) hasi eta aste gutxira, Lafõesko dukearen latifundiotik gertu zeuden herrietako nekazariek, Angolatik itzuli berri zen soldadu arrunt batek bultzatuta, lurrak okupatu zituzten, inolako erakunde edo alderdi politikoren babesik gabe. Esperientziak berehala erakarri zituen egitura tradizionaletatik kanpo aldaketak sustatu nahi zituztenen arreta eta babesa. Haien artean zeuden Zeca Afonso, apirilaren 25eko matxinada hasteko seinale gisa erabili zen Grândola, Vila Morena abestiaren egilea, eta Camilo Mortágua, iraultzaile antifaxista, LUAR (Liga de União e Acção Revolucionária) erakundeko kidea eta, gerora, Mozambiken, Portugalen eta Europan nekazarien antolatzailea.
Demokrazia zuzeneko esperientzia gisa, taldeak ezin izan zion indar politiko eta militar tradizionalek kontrola hartzeari eutsi. Okupazioa hasi eta zazpi hilabetera, dukeak lurrak berreskuratu zituen. Hala ere, esperientzia hartatik aktibista belaunaldi bat sortu zen, eta guztientzako bizitza hobea izateko eskubidearen alde lanean jarraitu zuen.
19:15 Susan Meiselasekin topaketa
Topaketak Susan Meiselasek argazkilari gisa Nikaraguan, El Salvadorren, Txilen eta Kurdistanen, besteak beste, bizitako esperientziak hartzen ditu abiapuntu. Esperientzia horiek kontakizun bisual kolektiboen sorkuntzarekin estuki lotutako praktika dokumental baten oinarri izan dira.
Magnum Photos agentziako kidea da 1976tik, eta argazkigintza, ahozko historia, artxiboen ikerketa eta praktika komunitarioak uztartzen dituen eragin handiko obra garatu du Meiselasek. Nikaraguako Iraultzari buruz egindako lanetik hasi eta ibilbide luzeko Kurdistan: In the Shadow of History eta A Room of Their Own proiektuetaraino, bere lanak etengabe aztertu ditu irudiaren, memoriaren, boterearen eta bizitako esperientziaren arteko harremanak.
Bere praktikaren gakoetako bat argazkilariak behatzaile huts gisa duen rola zalantzan jartzea da, baita istorioak elkarlanean eraikitzeko, partekatzeko eta gordetzeko moduak bilatzea ere. Bere ibilbidetik abiatuta, Meiselasek argazkigintza dokumentalak elkarrizketarako, memoriarako eta kontakizunak modu kolektiboan eraikitzeko espazio partekatu gisa eskaintzen dituen aukerei buruz hausnartuko du.
"},"relationships":{"caracteristicas":[]}}],"convocatorias":[{"pid":426804,"esPrincipal":true,"estado":"Abierto","tipoAcceso":"Gratuito","fecha":"2026-10-17","fechaFin":"2026-10-17","hora":{"time":"18:30"},"horaFin":{"time":"21:00"},"textoHora":null,"textoFecha":null,"relationships":{"lugar":{"name":"1 Aretoa"},"idioma":[{"name":"ES"},{"name":"EN"}],"node__tbk_actividad":[{"backgroundColorHover":null,"textColorHover":"000000"}]},"plazas":120,"fechaOriginal":null,"horaInicioOriginal":null,"fechaFinOriginal":null,"textoFechaOriginal":null,"textoHoraOriginal":null}],"subactividades":[],"autores":[],"invitados":[{"id":13929,"title":"Susan Meiselas","status":true,"descripcion":{"processed":"Susan Meiselas New Yorken bizi den argazkilari dokumentalista bat da.
\n\nCarnival 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), and Carnival Strippers Revisited (2022) eta, berrikiago, 44 Irving Street (2025) lanen egilea da. Meiselas ezaguna da Latinoamerikan giza eskubideekin lotutako prozesuak dokumentatzeagatik. Bere argazkiak Ipar Amerikako eta nazioarteko bildumen parte dira. 1992an MacArthur beka lortu zuen eta 2015ean Guggenheim beka bat.
\n\nMeiselasek hainbat erakunderen sariak jaso ditu: hala nola, Henri Cartier-Bresson Lifetime Achievement Award; Sony Outstanding Contribution to Photography Award (2025); Kering and the Rencontres d´Arles-en Women in Motion Award (2019); Deutsche Börse Photography Foundation Prize (2019) eta Alemaniako Argazki Elkarteak ematen duen Erich Salomon Award (2022). Mediations, 70eko hamarkadatik gaur egunera arte bere lana biltzen duen erakusketa, Parisko Jeu de Paume Galerian aurkeztu zen lehen aldiz, eta, ondoren, Antoni Tàpies Fundaziora, San Frantziskoko Arte Modernoaren Museora eta São Pauloko Moreira Salles Institutura joan zen, besteak beste. Meiselasek Magnum Fundazioaren Lehendakari titulua du 2007tik, argazkigintza dokumentalean aniztasuna eta sormena zabaltzeko xedearekin.
"},"cargo":null,"path":{"alias":"/susan-meiselas","langcode":"eu"},"relationships":{"media":{"internal":{"type":"media__image"},"relationships":{"imgSrc":{"uri":{"url":"/sites/default/files/2026-07/susan_meiselas_photo_by_meryl_levin_1.jpg"},"sizes":[{"xl":null,"l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":"https://cms.tabakalera.eus/sites/default/files/styles/breakpoint_1920/public/2026-07/susan_meiselas_photo_by_meryl_levin_1.jpg?itok=CeqvUkVT","l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":"https://cms.tabakalera.eus/sites/default/files/styles/breakpoint_31360/public/2026-07/susan_meiselas_photo_by_meryl_levin_1.jpg?itok=W98J8z6U","m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":null,"s":"https://cms.tabakalera.eus/sites/default/files/styles/breakpoint_376/public/2026-07/susan_meiselas_photo_by_meryl_levin_1.jpg?itok=xJhVzac8","rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":"https://cms.tabakalera.eus/sites/default/files/styles/breakpoint_769/public/2026-07/susan_meiselas_photo_by_meryl_levin_1.jpg?itok=2pyyiQDP","s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":null,"s":null,"rrss_l":"https://cms.tabakalera.eus/sites/default/files/styles/thumb_rrss_large/public/2026-07/susan_meiselas_photo_by_meryl_levin_1.jpg?itok=5cJSJOkq","rrss_s":null},{"xl":null,"l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":"https://cms.tabakalera.eus/sites/default/files/styles/thumb_rrss_small/public/2026-07/susan_meiselas_photo_by_meryl_levin_1.jpg?itok=pHC8WPeq"}]}},"imgMetas":{"alt":""}}}},{"id":14076,"title":"Francis Pisani","status":true,"descripcion":{"processed":"Kazetaria lanbidez eta pasioz, eta jakin-min aseezinak bultzatuta, Pisanik 1968an abiatu zuen bere ibilbidea, Saigonen (Teteko Ofentsiba), Parisen (Maiatza), Pragan (sobietarren inbasioa) eta Alabaman (presidentetzarako hauteskundeak) gertatzen ari zenaren berri emanez.
Ia 60 urteko ibilbidean, Kubako, Erdialdeko Amerikako eta Portugalgo iraultzen berri eman du, eta Iranen ere erreportaje labur bat egin zuen Khomeini aiatola itzuli baino lehentxeago. 15 urtez Mexikon bizi izan zen, eta berak «Urakanen Arroa» deitu zion eremuaren berri eman zuen: AEBetako hegoaldea, Karibea, Hego Amerikako iparraldea eta Erdialdeko Amerika.
Beti interesatu izan zaio gehiago etorkizuna iragana baino. Izan ere, ez du galdu nahi dutenek jende gehiagorentzako mundu hobe bat eraikitzen lagun dezaketelako itxaropena. Politika konbentzionalaren berri ematen urteak eman ondoren, Berkeleyra (Kalifornia) joan zen bizitzera, Silicon Valleytik oso gertu, eta 15 urte eman zituen bertan. Ondoren, berrikuntza aztertzeko munduan barrena bidaia luze bati ekin zion, 30 herrialde eta 50 hiri baino gehiagotara eraman zuena.
Geroago, mundu mailako hiri-fenomenoarekiko interesa piztu zitzaion, baita datapolis eta participolis delakoen artean nabigatzeko erronkarekiko ere; hau da, hiri adimendunen eta herritarren parte-hartzearen arteko harremanarekiko, biak ala biak ezinbestekoak baitira.
Berriki, Parisera itzulita, adimen artifiziala ulertzen eta haren ondorio sozial eta politikoak azaltzen jardun du. Bere ibilbideak hartzen duen norabide berri bakoitzaren hasieran erraz liluratzen bada ere, hurrengo bideari ekiterako ikuspegi ez hain idealista izan ohi du. Hala ere, bere uste sendoak bere horretan dirau: etorkizuna ulertzea —gaur egun dagoeneko hemen den etorkizuna, leku guztietara neurri berean iritsi ez bada ere— ezinbestekoa da mundu hobe bat eraikitzeko.
Baldintza batekin: gaur egun zailtasunez bizi garen mundua eraikitzera eraman gintuen pentsamoldetik bestelako modu batean pentsatzea.
"},"cargo":"Kazetaria","path":{"alias":"/francis-pisani","langcode":"eu"},"relationships":{"media":{"internal":{"type":"media__image"},"relationships":{"imgSrc":{"uri":{"url":"/sites/default/files/2026-09/francis_pisani_deg231202.jpg"},"sizes":[{"xl":null,"l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":"http://cms.tabakalera.eus/sites/default/files/styles/breakpoint_1920/public/2026-09/francis_pisani_deg231202.jpg?itok=udE2WMIF","l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":"http://cms.tabakalera.eus/sites/default/files/styles/breakpoint_31360/public/2026-09/francis_pisani_deg231202.jpg?itok=60lI50pc","m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":null,"s":"http://cms.tabakalera.eus/sites/default/files/styles/breakpoint_376/public/2026-09/francis_pisani_deg231202.jpg?itok=iRf6pn22","rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":"http://cms.tabakalera.eus/sites/default/files/styles/breakpoint_769/public/2026-09/francis_pisani_deg231202.jpg?itok=uda-pyNA","s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":null},{"xl":null,"l":null,"m":null,"s":null,"rrss_l":"http://cms.tabakalera.eus/sites/default/files/styles/thumb_rrss_large/public/2026-09/francis_pisani_deg231202.jpg?itok=2mfG8IWK","rrss_s":null},{"xl":null,"l":null,"m":null,"s":null,"rrss_l":null,"rrss_s":"http://cms.tabakalera.eus/sites/default/files/styles/thumb_rrss_small/public/2026-09/francis_pisani_deg231202.jpg?itok=hNXoAUiW"}]}},"imgMetas":{"alt":""}}}},{"id":1803,"title":"Ángel Calvo Ulloa","status":true,"descripcion":{"processed":"\n\n
Ángel Calvo Ulloa (Lalín, 1984) komisarioa eta idazlea da. Artearen Historian lizentziatua (USC) eta Arte Garaikideko Masterra: Sorkuntza eta Ikerketa UVigon. O Fantasma da Liberdade/Anozero 2024ko Coimbrako Bienaleko komisarioa izan da, Marta Mestrerekin batera.
\n
\nBere azken proiektu kuratorialen artean Jordi Teixidor nabarmentzen da. No-res, Sala Alcalá 31 (Madril); Juan Uslé. Ese barco en la montaña, Reina Sofia Museoan (Madril); ¿Adónde irá el pájaro que no vuele?, La Casa Encendidan (Madril); Humores y Espesores, Rodriguez-Mendez, CA2Men (Mostoles); El sueño de la cólcedra, Teresa Lanceta, Patio Herreriano Museoan (Valladolid); Siron Franco: Pensamento insubordinado (Trabalhos, 1961-2023), MAC Goiàsen (Brasil); Anidar en el gesto: unas estanterias de Alberto, Antonio Cerezales eta Cinia Fundazioan (Cerezales del Condado, Leon); Autoconstrucción. Piezas sueltas. Antonio Ballester Morenoren Juego y experiencia, Artiumen (Vitoria-Gasteiz); Complexo Colosso, CIAJG (Guimarães) edo, Nuria Enguitarekin batera, Habitación. El Archivo F.X., las chekas psicotécnicas de Laurencic y la función del arte,, CA2Men (Madril), MNACen (Bartzelona) eta La Nauren (ValentziHabitación.a). 2011z geroztik, hainbat erakundetan komisario lanak egin ditu, besteak beste, Caixaforumen (Bartzelona), MARCOn (Vigo), CCEMx-en (Mexiko Hiria), Luis Seoane Fundazioan (A Coruña), Tabacaleran (Madril), Centro Párragan (Murtzia) eta EACCn (Castelló).
\n
\n2020an, Desde lo curatorial. Conversaciones, experiencias y afectos, liburua argitaratu zuen Juan Canelarekin batera. Consonniren Paper Bildumaren barruan.
Bizitza dokumentatzea mintegiak kontakizun anonimoak berreskuratuko ditu, hainbat ahotsetatik abiatuta, iraganak gure oraina ulertzen nola laguntzen digun aztertzeko.
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\n
\nBere lana erakunde garrantzitsuetan erakutsi da, besteak beste, Fundación Serralves (Oporto), MAAT – Arte, Arkitektura eta Teknologia Museoa (Lisboa), Museu Coleção Berardo (Lisboa), MNAC – Museu Nacional de Arte Contemporânea do Chiado (Lisboa), Kunsthalle Lissabon (Lisboa) eta SESC Pompeia (São Paulo). Nazioartean, São Pauloko 32. biurtekoan (2016), Istanbulgo 13. biurtekoan (2013), Uraletako Arte Garaikideko 4. Industria Biurtekoan (Errusia, 2017) eta Manifesta 8an (Murtzia - Cartagena, 2011) parte hartu du. Beste erakusketa aipagarri batzuk La Réplica Infiel CA2M-en (Madril), Les Urbaines MCBA-n (Lausana) eta Le lynx ne connaît pas de frontières Fondation Ricard-en (Paris) dira.
\n
\nFilipek hainbat beka eta egoitza jaso ditu, horien artean Calouste Gulbenkian Fundazioaren beka bat Acme Studiosen (Londres, 2009), AIR Antwerpen (Belgika, 2014), Robert Rauschenberg Fundazioaren egoitza (Florida, AEB, 2015), Krinzinger Projekte (Viena, 2017) eta Peacock & The Worm (Aberdeen, Eskozia, 2023). Bere lanak bilduma publiko garrantzitsuen parte dira
\n
\nFilipek FLAD Marrazki Saria jaso zuen 2023an eta, 2024an, arte plastikoen erakusketarik onenaren saria Serralveseko Museoan \"In My Own Language I am Independente\" lanagatik, SPAk (Portugalgo Egileen Elkarteak) emana.
Arte Ederretan lizentziaduna da Euskal Herriko Unibertsitatean, eta bere prestakuntza zabaldu egin du Julie Mehretu, Esther Ferrer, Itziar Okariz, Andrés Duque, Miroslaw Balka eta Peio Aguirre artista eta komisarioekin.
\n
\nIdeologiaren, irudikapenaren eta memoriaren artean sortzen diren tentsioen inguruan egiten du lan, eta pinturatik, instalaziotik edo argazki-artxibotik, proiektu politiko etenen arrasto fisikoak eta erresistentzia kolektiboko beste forma batzuk aztertzen ditu. Interes horrek bultzatuta, gatazkak zeharkatutako testuinguruetan lan egin du, hala nola Kurdistan Irakiarrean, Kuban, Txinan edo Mexikon.
\n
\nBere obra hainbat bilduma publiko eta pribatutan dago, eta hainbat erakundetan izan ditu erakusketak, hala nola Tabacaleran (Madril), Nafarroako Museoan, Erromako Espainiako Akademian, San Telmo Museoan (Donostia), CIAJGen (Guimarães) eta Carreras Múgican (Bilbo), Pelairesen (Palma), Nordesen (Santiago de Compostela) eta Espacio Enhorabuena (Madril) galerietan.
\n\n
Ángel Calvo Ulloa (Lalín, 1984) komisarioa eta idazlea da. Artearen Historian lizentziatua (USC) eta Arte Garaikideko Masterra: Sorkuntza eta Ikerketa UVigon. O Fantasma da Liberdade/Anozero 2024ko Coimbrako Bienaleko komisarioa izan da, Marta Mestrerekin batera.
\n
\nBere azken proiektu kuratorialen artean Jordi Teixidor nabarmentzen da. No-res, Sala Alcalá 31 (Madril); Juan Uslé. Ese barco en la montaña, Reina Sofia Museoan (Madril); ¿Adónde irá el pájaro que no vuele?, La Casa Encendidan (Madril); Humores y Espesores, Rodriguez-Mendez, CA2Men (Mostoles); El sueño de la cólcedra, Teresa Lanceta, Patio Herreriano Museoan (Valladolid); Siron Franco: Pensamento insubordinado (Trabalhos, 1961-2023), MAC Goiàsen (Brasil); Anidar en el gesto: unas estanterias de Alberto, Antonio Cerezales eta Cinia Fundazioan (Cerezales del Condado, Leon); Autoconstrucción. Piezas sueltas. Antonio Ballester Morenoren Juego y experiencia, Artiumen (Vitoria-Gasteiz); Complexo Colosso, CIAJG (Guimarães) edo, Nuria Enguitarekin batera, Habitación. El Archivo F.X., las chekas psicotécnicas de Laurencic y la función del arte,, CA2Men (Madril), MNACen (Bartzelona) eta La Nauren (ValentziHabitación.a). 2011z geroztik, hainbat erakundetan komisario lanak egin ditu, besteak beste, Caixaforumen (Bartzelona), MARCOn (Vigo), CCEMx-en (Mexiko Hiria), Luis Seoane Fundazioan (A Coruña), Tabacaleran (Madril), Centro Párragan (Murtzia) eta EACCn (Castelló).
\n
\n2020an, Desde lo curatorial. Conversaciones, experiencias y afectos, liburua argitaratu zuen Juan Canelarekin batera. Consonniren Paper Bildumaren barruan.
HU /هُو. Bailad como si nadie os viera (Egin dantza inor begira ez balego bezala) Oliver Laxeren instalazio bat da, Sirāt filmaren unibertsotik sortua.
"},"path":{"alias":"/oliver-laxe-huhuwa-bailad-como-si-nadie-os-viera","langcode":"eu"},"internal":{"type":"node__tbk_actividad"},"tipoEvento":"exposicion","year":null,"esPasado":false,"mostrarEnlaceAgrupacion":true,"enlaceAgrupacionTexto":null,"convocatoriaAbierta":false,"textoConvocatoria":null,"fechaInicioConvocatoria":"2026-05-21T15:00:13+02:00","fechaFinConvocatoria":"2026-05-21T15:00:13+02:00","formExterno":null,"relationships":{"formInterno":null,"basesConvocatoria":null,"autores":[{"id":573,"title":"Oliver Laxe","status":true,"descripcion":{"processed":"1982an Parisen jaioa, galiziar emigranteen semea da Oliver Laxe. Sei urte zituela, familia Galiziara itzuli zen. Bartzelonan zinemagintza ikasi ondoren, Tangerrera (Maroko) joan zen, eta han autoekoiztu eta filmatu zuen Todos vós sodes capitáns; Canneseko Errealizadoreen Hamabostaldian FIPRESCI Saria eskuratu zuen 2010ean.
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