Workshops
University of Alicante
Three participatory research spaces focused on exploring visual methodologies, image production, affects, memory, mobile archives, photography, irreversibility, and collective creation.
The workshops offer a practical approach to visual research, inviting participants to experiment with materials, images, narratives, and visual devices as forms of social knowledge production.
Limited places
As places for the workshops are limited, those interested in participating must send an email to j.ortega@ua.esindicating their full name and the number and title of the workshop or workshops they wish to attend. Places will be allocated strictly in order of receipt of requests until the available capacity is reached.
Affective Speculations: Weaving Desire into Visual Research
It proposes exploring the manifestations of affects as research material in the artistic-ethnographic process. Drawing on auto-fiction and speculative narratives, each participant will create an image from their own portraits and selfies, allowing for an analysis of bodily itineraries in relation to the visual.
Towards the end of the workshop, a collective montage of the productions will be proposed, to inquire into the aspects of desire that appear in the speculative, also sharing materials from Latin American and Spanish-speaking feminist thinkers.
Resume
Alma Scolnik She is an artist, a visual arts educator, and a researcher. Her current work focuses on collaborative art-based methodologies applied to memory processes concerning recent violence in Argentina's history. She is part of the UNSAM's Intimate Cartographies in Community project, where she is completing her Master's thesis.
Claudia Ricca She is an artist, researcher, educator, and local activist from Buenos Aires. Her artistic practice encompasses walking and writing about the loss of access to the commons, migration, decoloniality, and gender. She is a member of the artistic collective Lagunaries.
France
SNAP: One Camera, One Shot—Affection, Irreversibility, and the Production of Visual Knowledge
Invite to a live encounter with SNAP—Sovereign Narrative Action Protocol—a participatory visual methodology developed by Stephanie Fanfan for use with incarcerated women in postcolonial prison contexts, currently being piloted in French Guiana and Brazil.
Part of a methodological bet: Polaroid photography, as a tactile and irreversible object, cannot be stored on a server or deleted, so it belongs entirely to its creator. A Polaroid camera will circulate around the room, and each participant will take a single photograph of something significant to their identity.
With the developed photographs in hand, participants will narrate to the collective not the image, but the story it holds—functioning as both a methodological demonstration and an affective inquiry.
Resume
Stephanie Fanfan is a doctoral candidate in Criminology at Université Paris Cité, under the supervision of Dr. Corinne Rostaing (Centre Max Weber, Lyon 2) and Dr. Sergio Grossi (John Jay College, New York). Her doctoral thesis examines the process of incarceration and reintegration of women in France and its overseas territories. She is the founder of the SNAP Protocol and Exit Lab. Prior to her doctorate, she directed Beyond Bars Akademia at Pollsmoor Prison, South Africa. She is the recipient of the 2025 Rachel Tanur Memorial Prize in Visual Sociology (ISA, First Prize).
United Kingdom
Overwriting Mobile Files: Tracing Smartphone Photographs in the Collective Memory
Tactile workshop that invites participants to select, trace, and rematerialize personal photographs taken with smartphones, transforming them into collective palimpsests: superimposed drawings where individual images accumulate into a shared visual memory.
Based on The SIM Project's co-design workshops in ten countries, where smartphone images emerged as portable belongingness forms for people experiencing forced displacement, offering a counterpoint to extractive visual systems.
The palimpsest becomes a bodily record where touch, memory, and image converge: here, memory and belonging are not stored, but practiced.
Resume
Liz Hingley is an artist and anthropologist with a deeply collaborative practice that moves between disciplines and mediums to investigate the rituals that mediate care and creativity among humans, non-human species, and beyond-human networks. She is the author of five books, including Under God and Sacred Shanghai, and has received awards such as a grant from the Getty Foundation. In 2017, she founded The SIM Project, a collective mobile archive selected for the London Design Biennial 2025 and exhibited at the Victoria and Albert Museum.