Barcelona

”Winds know what maps have forgotten” is a hands-on, immersive workshop where sound, maps, and imagination meet. Participants inhabit a large floor map of the Mediterranean to create wind-inspired soundscapes, stories and speculative narratives.

La Bissaperie is a collective invocation of Frantz Fanon's memory through a shared reading of his texts and the preparation of bissap, a hibiscus flower drink. I propose a friendly and horizontal meeting place focused on the revolutionary ideas of the thinker and a platform for people to connect with their identity, heritage and community.

In our time of fake news, disinformation, and political manipulation, the difference between truth and lies seems increasingly unclear. Artificial intelligence can distort our perceptions, and social media encloses us in bubbles that destroy the very idea of a shared reality. In this world, what place does fiction occupy—the old craft of telling stories that never happened? Can novels contain more truth than reality as we see it? The Colombian novelist Juan Gabriel Vásquez proposes a conversation about our relationship with invented stories in an increasingly uncertain world.

“Pulso y Horizonte” is an instrumental project led by Pedro Javier González, one of the most respected guitarists on the contemporary Spanish music scene. Flamenco, jazz, world music and improvisation converge in an open, celebratory proposal inspired by the Mediterranean, where rhythmic pulse and collective dialogue shape a vibrant and highly communicative musical experience.

The Drought: An Oasis is a contemporary flamenco performance that brings together dance, live guitar, and flamenco singing (cante) to explore themes of water, drought, and migration. Originally created in Southern Spain, this new version of the piece is now presented in Catalonia, while keeping its strong Andalusian roots.
The show reflects on the historical impact of Francoist hydraulic policies, including the Badajoz Decree, and on the migration of Andalusian working-class communities who moved to Catalonia to work in industry and construction. These histories are translated on stage through flamenco music and movement. Some of the lyrics are sung in Catalan, alongside Spanish, as a symbolic gesture that connects flamenco with the linguistic and cultural reality of Catalonia and Barcelona. On stage, the performance features flamenco dance, live guitar, and cante, combined with a strong visual dimension. The final part of the piece takes the form of a “final de fiesta” inspired by Rumba Catalana, bringing collective energy, rhythm, and celebration to the stage.

The concept is centered on Disco Atlas’ own artistic project, in which he invites artists to join as surprise guests. By collaborating with Gnawa musicians—specifically emerging performers rather than established Maâlems—Disco Atlas highlights how the music he plays can organically merge with live instrumentation. The aim is to demonstrate that this sound is flexible, alive, and open to reinterpretation through live performance, creating a unique and spontaneous experience each time.

Walking through the port and its surroundings based on a reflection on the sea as a forgotten space and its limits. The breakwater at sea and on land. The itinerary will unfold in dialogue with the notions of the artist and photographer Alan Sekula, maritime ex-votos, and urban transformation.

A visual and sonic symphony that immerses us in the mysteries of the deep sea, while also becoming an ode to imagination and creation. Based on a film by the artist Rosa Tharrats aboard a ship on an expedition with the Schmidt Ocean Institute, the performance includes a soundtrack created in situ, in a process of dramatic and musical improvisation led by musician Mau Boada (Esperit!), singer Clara Enrich-Genestar, and poet Gabriel Ventura.

On this occasion, Ikram Bouloum reappropriates her technique as a selector to present "Grief and grievance: listening as learning", a listening session in which she traces a journey through different musical genres and sound archives, entering into dialogue with her referents and opening up space for new superpositions to address questions of poetic belonging.