Restitucions<\/h1>\n

[\/et_pb_text][et_pb_text _builder_version=”4.16″ text_font=”DM Sans|600|||||||” text_text_color=”#d81e05″ text_font_size=”17px” text_line_height=”2.1em” header_font=”Nhaas 65|600|||||||” header_text_align=”center” header_text_color=”#d81e05″ header_font_size=”60px” header_2_font=”DM Sans|700|||||||” header_2_text_align=”center” header_2_text_color=”#d81e05″ text_orientation=”center” width=”100%” width_tablet=”” width_phone=”” width_last_edited=”on|phone” module_alignment=”center” custom_padding=”|10px||10px|false|true” text_line_height_tablet=”1.7em” text_line_height_phone=”1.2em” text_line_height_last_edited=”on|tablet” header_font_size_tablet=”” header_font_size_phone=”35px” header_font_size_last_edited=”on|phone” header_2_font_size_tablet=”” header_2_font_size_phone=”19px” header_2_font_size_last_edited=”on|phone” locked=”off” global_colors_info=”{}”]<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,1_4,1_4,1_4″ use_custom_gutter=”on” gutter_width=”1″ _builder_version=”4.16″ custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.16″ background_color=”#f6f6f6″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ text_font_size=”13px” text_line_height=”1.4em” text_orientation=”center” custom_padding=”10px|10px|10px|10px|true|true” global_colors_info=”{}”]08.03.2022<\/strong>
\nAriella A\u00efsha Azoulay
\n\u00ab\u00c9s el meu avantpassat, no un
\nb\u00e9 del museu\u00bb, afirma Tamara Lanier<\/em>
\n19 h, presencial i online<\/span>[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ text_font_size=”13px” text_line_height=”1.4em” text_orientation=”center” custom_padding=”10px|10px|10px|10px|true|true” global_colors_info=”{}”]15.03.2022<\/strong>
\nTeresa Ferr\u00e9 Panisello
\nEl llegat oblidat d\u2019Agust\u00ed Centelles.
\nM\u00e9s enll\u00e0 del fotoperiodisme
\nde guerra<\/em>
\n19 h, presencial i online<\/span>[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ background_color=”#f6f6f6″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ text_font_size=”13px” text_line_height=”1.4em” text_orientation=”center” custom_padding=”10px|10px|10px|10px|true|true” global_colors_info=”{}”]22.03.2022<\/strong>
\nNaluwembe Binaisa
\n\u00abLa bellesa a la barriada\u00bb:
\nresist\u00e8ncia i arquitectures de
\nla despossessi\u00f3 a Lagos, Nig\u00e8ria<\/em>
\n19 h, presencial i online<\/span>[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ background_enable_color=”off” global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ text_font_size=”13px” text_line_height=”1.4em” text_orientation=”center” custom_padding=”10px|10px|10px|10px|true|true” global_colors_info=”{}”]29.03.2022<\/strong>
\nYasmine Eid-Sabbagh
\n\u00abEl mat\u00ed no decideix sobre
\nel que queda del dia\u00bb<\/em>
\n19 h, online<\/span>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ custom_margin=”||10px||false|false” custom_padding=”||0px||false|false” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ text_orientation=”center” global_colors_info=”{}”]<\/p>\n

Abril<\/h3>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ use_custom_gutter=”on” gutter_width=”1″ _builder_version=”4.16″ custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ background_color=”#f6f6f6″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ text_font_size=”13px” text_line_height=”1.4em” text_orientation=”center” custom_padding=”10px|10px|10px|10px|true|true” global_colors_info=”{}”]05.04.2022<\/strong>
\nHilde Van Gelder
\n\u00abMar de fons\u00bb. Reclamar el dret
\nde la naturalesa a ren\u00e9ixer<\/em>
\n19 h, presencial i online<\/span>[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ text_font_size=”13px” text_line_height=”1.4em” text_orientation=”center” custom_padding=”10px|10px|10px|10px|true|true” global_colors_info=”{}”]19.04.2022<\/strong>
\nAna Longoni
\nQu\u00e8 ens diuen les fotos
\nque V\u00edctor Melchor Basterra
\nva requisar a l\u2019horror?<\/em>
\n19 h, presencial i online<\/span>[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ background_color=”#f6f6f6″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ text_font_size=”13px” text_line_height=”1.4em” text_orientation=”center” custom_padding=”10px|10px|10px|10px|true|true” global_colors_info=”{}”]26.04.2022<\/strong>
\nMicha\u00ebla Danj\u00e9 \/ Cases Rebelles
\nAturar la reiteraci\u00f3,
\nalterar l\u2019explotaci\u00f3 cont\u00ednua<\/em>
\n19 h, presencial i online<\/span>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ custom_margin=”||10px||false|false” custom_padding=”||0px||false|false” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ text_orientation=”center” global_colors_info=”{}”]<\/p>\n

Maig<\/h3>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ use_custom_gutter=”on” gutter_width=”1″ _builder_version=”4.16″ custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ background_color=”#f6f6f6″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ text_font_size=”13px” text_line_height=”1.4em” text_orientation=”center” custom_padding=”10px|10px|10px|10px|true|true” global_colors_info=”{}”]03.05.2022<\/strong>
\nXavier Ribas
\nEl futur de Xile en les
\nfotografies del salnitre<\/em>
\n19 h, presencial i online<\/span>[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ text_font_size=”13px” text_line_height=”1.4em” text_orientation=”center” custom_padding=”10px|10px|10px|10px|true|true” global_colors_info=”{}”]10.05.2022<\/strong>
\nT. J. Demos
\nLes reparacions fotogr\u00e0fiques
\ni el m\u00e9s-que-hum\u00e0<\/em>
\n19 h, online<\/span>[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ background_color=”#f6f6f6″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ text_font_size=”13px” text_line_height=”1.4em” text_orientation=”center” custom_padding=”10px|10px|10px|10px|true|true” global_colors_info=”{}”]17.05.2022<\/strong>
\nEyal Weizman conversa amb Carles Guerra
\nViol\u00e8ncia colonial i reparacions
\nen el treball de Forensic Architecture<\/em>
\n19 h, online<\/span>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

Restitucions La fotografia en deute amb el seu passatQu\u00e8 podem dir dels arxius que conserven imatges captades en l\u2019\u00e8poca de l\u2019esclavatge, en camps de concentraci\u00f3, de les fotografies que ens parlen d\u2019un patrimoni ancestral destru\u00eft i arrabassat, de viol\u00e8ncia colonial, de persones executades, de desafiaments globals contemporanis i dels \u00e0lbums que documenten l\u2019extracci\u00f3 de recursos […]<\/p>\n","protected":false},"author":12,"featured_media":0,"parent":48338,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-52555","page","type-page","status-publish","hentry"],"yoast_head":"\n