Agenda of activities. Making of One Way Ticket (Solo andata)

MhiC's news

From 24th February to 5th March , a series of activities will be held on the occasion of the exhibition Making of One Way Ticket (Solo andata) where we will present all the educational projects of this year.

For security reasons, attendance at the presentations is limited to project participants and museum staff, but remember that you can visit the exhibitions in small groups of up to ten people.




Inside the suitcase: Migration, art and experience

Presentation of the exhibition project by the students of 3rds of ESO ‘B’ from IES Barres i Ones.



Inside the suitcase: Migration, art and experience

Presentation of the exhibition project by the students of 3rds of ESO ‘A’ from IES Barres i Ones.


One Way Ticket. Luggage

Presentation of the documentary produced by the MhiC and directed by Maria Chatzi based on the corporal expression workshop coordinated by Elena Ananiadou and carried out by the choreographers Pere Faura and Jumon Erra with the group of recently arrived boys from GEDI.


One Way Ticket. Luggage

Discussion forum about the documentary with the participants of the project.


Blog – Making of One Way Ticket (Solo andata)

Presentation of the exhibition web project curated and created by Lilianna Marín de Mas.



Inside the suitcase: Migration, art and experience

Presentation of the exhibition project by the students of 3rds of ESO ‘C’ from IES Barres i Ones.



Inside the suitcase: Migration, art and experience

Presentation of the exhibition project by the students of 3rds of ESO ‘E’ from IES Barres i Ones.



Inside the suitcase: Migration, art and experience

Presentation of the exhibition project by the students of 3rds of ESO ‘D’ from IES Barres i Ones.

Production: MhiC- Ayuntamiento de Sant Adrià del Besòs .       

Colaboration: Students 3rds of ESO from IES Barres i Ones / Boys from GEDI. Vilafranca del Penedès.

Virtual exhibition. Making of One Way Ticket (Solo andata)

Panel d'exposición: Making of SÓLO IDA. Una exposición en tiempos de pandemia

And on the faces
the squalls emerge, quiet currents
and the leaping of fish that dream of flying

Erri de Luca

In the first days of 2020, we were very excited to receive the boxes with the paintings that would be the main stars of the exhibition Solo Andata (One Way Ticket), by the Italian artist Piero Sacchetto and curated by Lali Bosch. At the same time, a dialogue was established with a series of educational projects created by the boys and girls of 3rd year of ESO from IES Barres i Ones in Badalona and by the group of boys from the CRAE Kirikú and the association A Bao A Qu.

Two months later, the world was confined, but we were looking for ways to keep in touch, generating interactive content and rethinking the/a way to visit the exhibition.

As a result of this long-distance exchange, the exhibition that you can currently visit at the MhiC was born: Making of Solo Andata. An exhibition in times of pandemic. There, we focus on that moment in 2020 when the days stopped because of the confinement, which prevented many people from visiting the museum, but also, where we show the next step of all the projects we exhibited at that time, as well as their evolution and continuity throughout 2021.

Although the exhibition is open to the public according to all security measures, we also want to offer you the possibility of accessing (to its materials) through this blog created ad hoc to the times we are living in.

Scroll down the tabs you will find below and discover the journey of this project. Like a travel log, each one of them will show you the materials displayed in the current exhibition and also others that are unpublished. Read, download, watch and visit the links to enjoy an exhibition in continuous movement.

Reading and travelling are two actions that have always been closely linked, and in times of confinement this statement has become more evident than ever.

Piero’s journey to the MhiC also begins with a reading of poems’ collection of Solo Andata (One Way Ticket) by the Italian writer Erri de Luca. By chance, the book meets the painter, who translates on the canvas words that have a familiar tone for him.

I feel that it speaks of people who, like me, have desires, dream, enjoy, have dreams, cry, tremble, who can be accepted or excluded from their own environment.

Piero Sacchetto on the work of Erri de Luca
Opening speech of Solo Andata (One Way Ticket)
25th January 2020

Thus, begins a back and forth between words and painting. The words are transformed into colours which, as the work progresses, intersect, multiply and acquire different textures. As a result, Piero Sacchetto’s studio is filled, on those days in 2017, with shapeless paintings that speak to us of connections, aromas, memories, landscapes and transitions, the seed of Erri de Luca’s poems.

I let the colours begin to manifest themselves. The colours of damp or sunburnt earth, the red of oxides, of the light that takes different forms from protection to oblivion, of the white that can never be hidden, of the black tar that coats wood and transforms it into a boat...

Piero Sacchetto on the work of Erri de Luca
Opening speech of Solo Andata (One Way Ticket)
25th January 2020

This is how Erri de Luca’s voice mimics in the work of Piero Sacchetto, who sees his works as asking him to begin a journey like the one he has made with the reading of Solo Andata.

Solo Andata, the poet's book is becoming hidden behind my paintings and I am beginning to think that my paintings are also beginning their journey outside the studio.
Today they have crossed borders as only paintings can: in silence. And it is in silence that they hope, like myself, that the gazes of the people who have to look at them will awaken in them as many questions as the reading of Erri de Luca's poems awakened in me one day.

Piero Sacchetto on the work of Erri de Luca
Opening speech of Solo Andata (One Way Ticket)
25th January 2020

Who is who?

Erri de Luca (Naples, 1950)

Writer, journalist, and poet. Before becoming a writer, he had many kinds of jobs: lorry driver, mason, factory worker... He has also self-taught many languages. His first book, Not Now, Not Here (1989), tells the story of his childhood in Naples and has been translated into more than thirty languages. Since then, he has not stopped writing (essays, poetry, theatre...). He is also a mountaineering enthusiast and contributes to national newspapers such as Corriere della Sera.

Piero Sacchetto (Pieve di Cento -Bologna-, 1950)

Painter and humanist. He has based his life on research and the creation of projects related to the field of primary education and pedagogy, focusing these disciplines on the world of the arts and museums. His experience has made him a reference in this field, which has been recognized in different projects and articles in specialized journals. He has also been responsible for directing the creation of various artistic spaces in Bologna and for the realization of theatrical scenographies.

The exhibition Solo Andata (One Way Ticket) works aesthetically and ethically on the motifs linked to migratory movements that force people to leave towns, cities, and countries. For this reason, the exhibition, despite the strangeness of the times in which we live, is also at a migratory point since conceived as an itinerant exhibition, we can currently visit it at the Museu de la Vida Rural – Fundació Carulla in Espluga de Francolí.


The months leading up to the opening were a constant stream of e-mails in which we mixed different reflections and negotiations. The works were traveling from Pieve di Cento (Bologna) to Sant Adrià del Besós (Barcelona), a delicate route that we had to prepare with great care. But, before all that happened, the curator and the museum team worked on the exhibition room where the works would be displayed and, at the same time, we all coordinated together with the educational activities that would be linked to the exhibition… Finally, at the beginning of January 2020, the paintings arrived and so did Piero.

Photos of the production of “Només d’anada” at the MhiC (gener, 2020).

We start the exhibition set-up, and the museum is surrounded by special music: laughter and conversations. The instruments create that, the meeting of the artist with the boys and girls from IES Barres I Ones and the boys from CRAE Kirikú, who are also working in the rooms with their respective projects. Altogether we were weaving a choral exhibition.

One of the e-mails between Lali Bosch and Piero Sacchetto shows us, once the confinement is over, the memories that those first days bring back to them when the exhibition was just an idea.

From: Eulàlia Bosch
To: Piero Sacchetto
R: Do you remember?
September 16, 2020
Dear Piero, The day after tomorrow we will be opening NOMÉS D'ANADA, your SOLO ANDATA, in the Rural Life Museum in L'Espluga de Francolí. By the way, very close to Mont-roig del Camp where Joan Miró spent part of his childhood. Remember that day in your workshop in Pieve di Cento where together we dreamed of the possibility of traveling with your canvases to Barcelona? It was the beginning of the summer of 2017 and everything seemed to us possible, although a bit complicated as well. Do you remember that moment?
From: Piero Sacchetto
To: Eulàlia Bosch
R: Do you remember?
September 17, 2020
Yes Lali, I remember well: the paintings arranged on the table in front of us, waiting for your comments. That's when we started dreaming that the canvases could come out of the studio one day. Then, we didn't know how, when and where they could travel. Why not Barcelona, I remember you said. Dreams are made of time and enclose many surprises although sometimes they just fade away. First the canvases made small steps in Italy outside the studio: they travelled to an art circle, an art gallery and also the regional museum of Piedmontese emigration. Encounters with glances more or less intense and prolonged by curiosity and interest. Suddenly, our dream takes on a new life that has a name and a concrete address: the paintings find shelter in the Museum of the History of Immigration of Catalonia in Barcelona.
E-mails between Lali Bosch and Piero Sachetto before the opening of “Només d’anada” (MhiC, 2020).

The curator and the artist each working from their ateliers. 


Finally, on 25 January 2020, we opened Sólo de ida. More than two hundred people came to the MhiC to celebrate it: staff, artists, students, family and friends… There was a festive atmosphere in the rooms and in the garden. Little could we have imagined that this would be one of the last times we would interact normally.

On 15 March, the museum had to close its doors, a global pandemic forced us to do so and we had to act responsibly. Piero’s works and educational projects were put on stand by.

Exhibition opening day of “One Way Ticket” on 25 January 2020. The inauguration was attended by all the participants and the musical performance of Guillem Roma and Alessio Arena..

At the same time, the MhiC hosted, within the context of the exhibition, four educational projects, developed by the students of the 3rd year of ESO from IES Barres i Ones and the young people from CRAE Kirikú, with the collaboration of the association A Bao A Qu.


Step by step, we reach the exhibition hall. A metaphor of the journey accompanied in this case by words. These words are a dialogue between the work of Piero Sacchetto and the poetry of Erri de Luca, which the students of the 3rd year of ESO from IES Barres i Ones have unravelled from the poems and paintings of both authors. From a distance, the words unite us as we move along the path.

The boys and girls of IES Barres i Ones at the installation of “Going upstairs, word by word”.


Ahad Abdul, Evan Älvarez, Yanina Araujo, Gift Baidoo, Serek Casado, Ayman Dghoughi, Aryan Dogra, Salman Douas, Jorge Ferrel, Laura García, Yanira González, Paula Gonzálvez, Ali Haider, Victoria Heredia, Anthony Herrera, Zora Latif, Xiao Liu, David Marchal, Mayori Martínez, Lídia Melero, Antonio Morales, Arnaldo Pacheco, Ana Pérez, Eber Ramos, Faraj Sahboun, Jordi Urbina, Rukhma Wlalayat and Hao Zheng. 

Accompanied by teachers Diana Ros and Damiana Moreno.


The pupils of IES Barres i Ones, opened a dialogue with Piero – first by email and then live during the exhibition set-up – from which the audiovisual Camins de mar emerged. The displacements, the emotions, the sea, the sky and the earth will be the first elements shared between the students and the artist.

In the following link you can see it:


Maikol Yordan Aguilar, Olga Aguilera, Lluís Ángel Álvares, Gabriel Amaya, Mounir Bouaouda, Franchesca Curiel, Bilal El Baouti, Ingrid Ferrer, Lucía Galera, Sandra García, Natalia López, Muhammad Asad, David Martínez, Gabriel Norte, Víctor Patón, Óscar Regalado, Jesús Robles, Erika Román and Alexis Solórzano.

Accompanied by the teachers Irene Lop, Damiana Moreno, José Ángel Prieto and the filmmaker Maider Fernández Iriarte.


Cartographies of emotion, also produced by the 3rd year ESO students of IES Barres i Ones, establishes very real stories on a map of an indeterminate place. The students collected testimonies of people close to the them and created a map with an emotional cartography that links with coloured threads different emotions of what migration entails.

The boys and girls of IES Barres i Ones at the installation of “Going upstairs, word by word”. “Cartographies of emotion”.

In the following legend you will find the relationship between each colour and its emotion:

Click on the different boxes and find out what story and emotion is behind each one.


Year of birth: 1965
Years lived in the country of origin: 26

“...Going to another country you don't know what awaits you, but you must do it.”

Year of arrival: 1991
Reason for migration: economic and security

“At that moment you don't think about what it will be like on arrival, you just feel nostalgic”


Year of birth: 1945
Years lived in the land of origin: 7

“my father was unemployed. It was the post-war period and there was no work but a lot of need”

Year of arrival: 1952
Reason for migration: economic

“My mother, having just arrived in Barcelona, with no home or work and small children, did have difficulties”

Elena Cabeza

Year of birth: 1969
Years lived in her homeland: 28 years

“The customs are not very different, but I still make some recipes.”

Year of arrival: 1991
Reason for migration: for love and work

“My childhood was very happy. I went to a small school and we played in the country”

Hafida Laamim

Year of birth: 1974
Years lived in the land of origin: 26

“I just want my daughters to have a good education”

Year of arrival: 2000
Reason for migration: to improve my life

“I remember the sea and my friends, how we used to walk on the sand and the sea would take our sandals away”

Ibrahim Zarrougui

Year of birth: 1979
Years lived in his homeland: 24

“Wanted a better life and to live well, a good future”

Year of arrival: 2003
Reason for migration: voluntary

“I felt bored, very lost and lonely when I touched this land for the first time.”


Year of birth: 1990
Years lived in her land of origin: 27

“... I met very friendly people and it was easy for me to adapt”

Year of arrival: 2017
Reason for migration: work

“The difference is that there I lived with my family and here I didn't”

Eliane Rodrigues Kramer

Any de naixement: 1979 Anys viscuts a la seva terra d’origen: 32

“És sortir, donar la cara i no tenir mandra”

Any d'arribada: 2011 Motiu migratori: millorar la situació dels seus fills

“Tot i que Barcelona és la meva llar, Brasil sempre serà la meva terra"

Maryan Taidi

Any de naixement: 1983 Anys viscuts a la seva terra d’origen: 18

“Soc una persona molt oberta, simpática i no em va costar gens adaptar-me”

Any d'arribada: 2002 Motiu migratori: millorar en general

“Tots tenim dret a canviar, tenir un futur millor”

Carlos Ponce

Any de naixement: 1978 Anys viscuts a la seva terra d’origen: 21

“És molt trist saber que quan arribaràs estaràs sol, però a la vegada et fa més fort”

Any d'arribada: 2011 Motiu migratori: per amor i per cercar noves oportunitats

“L'alegria de que et deixin passar. un immigrant sempre està pensant en això"

Manuela Díaz Sieiro

Any de naixement: 1943 Anys viscuts a la seva terra d’origen: 14

“...soc de Galicia, provincia d'Ourense”

Any d'arribada: 1960
Motiu migratori: millorar la vida

“...m'agrada molt la gent de Catalunya”

Montse López

Year of birth: 1982
Years lived in the land of origin: 7

“I am very happy to remember my childhood and all the journey I have made here”

Year of arrival: 1989
Reason for migration: Family wanted to improve

“...It's not easy, but I'm making an effort to learn the language..."

Carlos Contrera

Year of birth: 1979
Years lived in his country of origin: 11

“”There are mixed feelings, I want to be in my country but now it can't be”

Year of arrival: 2007
Reason for migration: for security

“Now I am grateful to be here, which is where I have formed my family”

Eduardo Gallego Mora

Year of birth: 1976
Years lived in the land of origin: 38

“Everything that has happened to me has happened there”

Year of arrival: 2014
Reason for migration: for work

“I came on my own and it was an adventure"

Isaac Bascope

Year of birth: 1982
Years lived in the land of his birth: 20

“This is one of the toys from when I was a child. They were fashionable and there were many types of them"

Year of arrival: 2007
Reason for migration: To escape poverty.

“At the beginning it was very painful and I had to make a lot of effort, but it was worth it”


Els i les alumnes de 3r d’ESO de la promoció 2019-2020 de l’IES Barres i Ones de Badalona acompanyats pels docents del centre. 


Within the project “Photography in progress” of the association A Bao A Qu and with the support of the photographer Mònica Rosselló, the group of young migrants of the CRAE Kirikú carried out the exhibition From Africa, we discover Barcelona, which, like the rest of the activities, was part of Solo Andata.

Click HERE to see the making of the project, as well as a video of the opening day of the exhibition.

The boys of Kirikú-EduVic at the installation “From Africa, we discover Barcelona”.

With their gaze, recently arrived in the city, and photography as a graphic testimony, these young people help us discover Barcelona from different perspectives (Bogatell beach, Montjuïc from the formal purity of the Miró Foundation, the Carmel batteries…). Images that link up again with the work of Piero Sacchetto: sea, sky, sand, ochre and blue….

“We’ve seen the dimension of the city of Barcelona, what is north, south, east and west. We have seen many beautiful things: high mountains above the city, the snow of the Pyrenees, the blue sea, parks, museums... From Montjuïc, we saw the airport with many planes arriving and leaving. And beautiful birds flying in front of us very fast. We also saw a big boat for tourists. The view of the sky, the sea, the sun and the horizon was breathtaking.”
“We learnt a lot of things: framing, focusing, optics, panoramic photography... We learnt to work as a team: it was exciting how we taught and helped each other. We were all very happy and focused on the work.”

Below you can see the current set-up of From Africa, we discover Barcelona.


Omar El Farouk, Abdourhaman Jallow, Basiru Jallow, Malang Kamaso, Souleymane Ndong, Fally Saine, Malan Souane and Moussa Sowe.

With the accompaniment of Sergi López (educator SPE Kirikú), the photographer Mònica Roselló and Núria Aidelman, Laia Colell and Agnès Sebastià (A Bao A Qu).

When we reopened the museum in May, the works remained silent and the tour of the rooms — now with masks and hydroalcoholic gel – gave us a different perspective of the whole exhibition. We missed the works, the projects, and we appreciate them in a different way. We look at the details and remember the days of exchanges and hugs. With this sentiment in the back of our minds, we wrote to Piero about our impressions, and he replied with another letter.

Visit to the exhibition Solo Andata (Només d’anada), by Piero Sacchetto.

Imma Boj (Director of the MhiC)

6 May 2020:

On 6 May we returned to the MhiC after more than 50 days in confinement. The situation caused by the pandemic does not yet allow us to return to normality and, therefore, this is a brief visit to the museum to collect some documents and review the space.

The museum is closed and silent and the exhibition hall, with the work of Piero Sacchetto, takes on a different look. We have not opened the spotlights or the windows. The light, from this midday sun in springtime, slips into the space through the Mallorcan blinds and the skylights in the ceiling, creating a domestic effect as if it were the warm and cosy living room at home… at home again…

I make a general tour, remembering Piero’s story, as if rereading a familiar, beloved and wise book.

I look for the detail, that which in previous readings I neither saw nor felt, but I know that it is present in each work, in each brushstroke and texture…

Dear Imma, dear MhiC

Your heartfelt account of your solitary visit to the exhibition of my paintings was really moving. It was as if, with your steps, the movement returned to the exhibition hall, to your delicate hands when you welcomed my painted spaces and, as hosts, you looked for the most suitable place for each of the canvases. Your footsteps have also brought me back to that particular opening day with so many people, of all ages, so full of life. Your words bring me back to the thick sound of voices that from the ground floor reached the paintings hanging upstairs. Hugs, gestures of encounter, small movements and moments of stillness with our eyes on the colours of the paintings. Some spoke of the colours of the sand, others of bright blue, others of lives, of bets, of destinies?

Only one way: towards that empty space that envelops everything without making any distinction or towards that light mixed with water and blue?

Today the room is empty and silent as it was yesterday and the day before. The stories rest, even if they don’t have an end, but let’s not lose sight and let’s not leave the empty and silent space of a place born to talk for a long time!

Pieve di Cento. Bologna. 7 May 2020.


As we have seen, the epistolary exchanges (in this case digital) between curator and artist are a good testimony to see how ideas evolve and how an exhibition is shaped. Also, of how the production of the exhibition has changed due to the current security measures.

It is obvious, then, that the production of the exhibition before and after the confinement has been very different. Without travel and without being able to share space directly with the works and with the people who are part of this process, but they have arrived at the second port of this journey: The Museum of Rural Life.

In the following emails, small fragments of intimacy between Lali Bosch and Piero Sacchetto, you will discover the change of perspective on the exhibition as seen by its creators, from its conception at the MhiC to its current location at the Museu de la Vida Rural.

Because of the measures against the pandemic, the visits have changed, as have the openings, but the works, pure and perennial, continue to convey their message.

September 17, 2020 -From Lali to Piero
As I prepare my words for the inauguration at the Rural Life Museum, I cannot help but think of that first day at the Museum of the History of Immigration in Sant Adrià del Besòs... The opening at the MHIC was fascinating: so many diverse people, so much effort... For me it was the first time that an entire museum was anticipating the arrival of the exhibition with activities of all kinds. The cartographies of the local students, the profile of Barcelona as a reception city provided by the young newcomers to the city, the verses of Erri de Luca translated into other languages and learned by heart, the refuge of the garden holding the colours of your paintings... All this was growing before our eyes like a big hug to receive the wooden boxes that you had made for your paintings to travel... The day we all came face to face was lightning and thunder at the same time. Will you send me the picture you think most representative of that day?
September 18, 2020 - From Piero to Lali
Dear friend,
Accompanied by your words I go back, and, in a couple of steps, I find myself on that day in January: Inauguration of ONE WAY TICKET. I face the discovery (as the etymology of the word inauguration says today) of an intense message of motivations and complex meanings that is taking shape. I internalize it to the point that everything that happens to me ends up speaking in my name, surprising me even myself. I feel the breath of an effervescent laboratory of thoughts that takes shape and voice and welcomes me, along with all the participants in this encounter. It is a movement that, rhythmically, sings its particular melody; it rises from the ground floor and mixes with the sounds of the words that seek and find. In the garden of the museum even the gestures speak while the faces give and receive smiles. As I say goodbye, I take them with me: I feel good among them and my paintings will soon know it…
Mails between Lali Bosch and Piero Sacchetto before the opening of “One Way Ticket” at the Museu de la Vida Rural. . 


Finally, in September, the exhibition migrates to Espluga de Francolí: new population, new faces, new room and new educational projects that transform the way of living Piero’s work.

Exhibition opening day on September 18 al the Museu de la Vida Rural. 
September 19, 2020 - From Lali to Piero
Dear Piero, we are still going!
Your virtual presence at the Museum of Rural Life last night was a more than exciting moment. It was raining outside. In the hall the mayor, the education councillor and the director of the Museum received the exhibition with great affection. Then your voice, recorded at Pieve di Cento, came clearly through the clouds around us. The silence was absolute. A few seconds passed between your last sentence and the applause that followed. Such was the emotion you aroused. Then it was my turn to present your work. I felt I had to improvise because my heart was full of that breath that was born in your studio when I saw the paintings for the first time. The night ended very late and full of best wishes. I hope that the pandemic will allow you to come to the closing party. What are you up to now? Which colours are filling your studio today?
September 20, 2020 - From Piero to Lali
Two inaugurations of my paintings so close together are really "a lot", but I know well that we are talking about shared thoughts charged with an always questioning energy that I am grateful for in my heart. I feel at ease, like "at home", even though the pandemic keeps me geographically away from the museum. I told you about it in the video I sent you so that you could take part in the opening. My paintings really seem to cross an already familiar threshold and to be able to perceive again that rumour of thought that we can both recognize now. At this point, it would be annoying and crude if I did not know how to give space to the silent words that, although they are not pronounced, inhabit the conscience and, with the appropriate flexibility, can make it permeable to the changing reality of which we are part.
Impressions between Lali and Piero the morning after the opening of at the Museu de la Vida Rural.

In May we reopened, and shortly afterwards – at the end of June – we returned the works to their boxes to embark on a new journey. Of the six months that the exhibition was supposed to be open to the public at the MhiC, we were only able to have it for three months and little more… If it is true that the situation was very extraordinary, we were left with the aftertaste of having done precious and very valuable work that we hadn’t the opportunity to share and communicate as it deserved.


But Piero wanted to give a gift to the museum: two pieces that will remain as part of the permanent collection of the MhiC, as well as the route drawn on painter’s tape that has been left on the floor of the exhibition hall and which, like a piece of contemporary archaeology, reveals to us what happened in that place a little over a year ago.


This action led us to create the exhibition that you can now visit at the MhiC, Making of One Way Ticket. An exhibition in times of pandemic.

Non title. From the series “Solo Andata” (2017)
The current exhibition “Making of One Way Ticket” at the MhiC. 


Apart from including the memory of how Piero’s exhibition came into being and where it has gone, we also make clear all the educational projects that were carried out at that time and how they have evolved.

We have recovered the words of Going upstairs, word by word, which you will find again on the steps leading to the exhibition hall; as well as the film Sea Ways, the montage of which has been placed in suitcases.

The current installations of “Going upstairs, word by word” and “Sea Ways” at  Making of One Way Ticket. 

You will also find, when entering the exhibition hall, on your left, the photographic montage of the project From Africa, we discover Barcelona, made by the children of the CRAE Kirikú, as well as the making of how they developed the workshop between the end of 2019 and the beginning of 2020.

The current installation of “From Africa, we discover Barcelona” as part of the exhibition “Making of One Way Ticket” at the MhiC. 

As for Cartographies of Emotion, the project has matured and acquired new dimensions, becoming a fully-fledged exhibition project with a more definitive montage that will allow it to embark on a journey of knowledge throughout the territory, just as the works of Piero Sacchetto have done.

The current installation of “Cartographies of Emotion” is made of wood. 


As we did with Sólo de ida, the current exhibition also shares space with new educational projects conceived in a migratory key.

Let's move forward dancing. Baggages

If last year we developed this objective through the photographic gaze, this year we are doing it with the exploration of the body through dance. A new group of young migrants worked for six weeks with the choreographers Pere Faura and Jumon Erra, and the documentary filmmaker Maria Chatzi, who recorded the whole process. The result is the audiovisual piece One Way Ticket. Baggages.

Creation and body expression sessions with Pere faura and Jumon Erra. 

During this time the group has danced, exchanged thoughts, photographed and participated in the recording of images. The main theme has been “the party” and the memory that this implies in the dances, meals and interactions typical of each of the children’s countries of origin.

Inside the suitcase. Migration, art and experience

When we start a journey, the suitcase is a link between what we leave behind and what we will find at the end of the road. A container of objects that make the journey and the arrival easier, of clothes that cover us, of memories that we carry from one place to another in the hope of not feeling lonely once we arrive at our destination. The suitcase is the house, the weight of the things we believe to be ours, the selection of objects we want to keep close to us, that bind us in one way or another and make our journey lighter.


To create Inside the suitcase. One Way Ticket, a project included in the “Migracions” cycle – as Cartographies of Emotion – the pupils began by working, among other aspects, on the different migrations throughout our history, the differences between migrant and refugee, the causes and reasons for migration.

The starting point was their immediate environment, for which they began by carrying out research activities, such as their family tree, geolocation and an interview with a person in the student’s environment who has experienced a migration process. The key question in this interview was “If you had to repeat the journey now, what would you put in your suitcase? The answers were very varied. Some were more focused on the symbolic and sentimental (family, memories…) and others spoke of reasons for leaving (economic, lack of security…).

Once these aspects had been explored, and taking into account the works of different artists, the themes that emerged from the research were represented through objects, images, drawings or interventions based on the main object: the suitcase. This exercise has helped the students to rethink their ideas about artistic language and migration, and to become more aware of the diversity of their context.

The MhiC presents a selection of the artistic suitcases that the students have prepared, accompanied by an infographic that explains the meaning of the work and the development of the theme they have worked on.

And in parallel, as in each edition of the “Migrations” project, the students of the computer science cycle are working on a website where they can see all the interviews that have been carried out and the artistic suitcases exhibited in the museum.

Boys and girls from 3rds ESO from IES Barres i Ones preparing materials for tha installation at class.  
The boys and girls of the 3rd year of ESO of the IES Barres i Ones during the exhibition assembly at the MhiC.
The finished works of the boys and girls of 3rd ESO of IES Barres i Ones.

Inauguration of educational projects: 25/02/2021

The boys from Gedi during the inauguration on 25 February 2021.
Visit of the boys and girls from IES Barres i Ones – March 2021

You can visit the website of the project Dins la maleta clicking on the following link:

The itinerant and therefore transformative nature of each of the projects presented generates an inertia. At each step, we initiate new dialogues and interactions, new looks and movements.

The confinement led us to rethink the exhibition, but also how we communicate and the concepts of distance and affection. So, we started a participatory project that continues to nourish the MhiC from different geographical points. A virtual exhibition under the name of Correspondències de confinament, which brings together different stories of those extraordinary days.

With recipes, photographs, thoughts… we thus made visible a heritage that, thanks to the virtual world, we could share with everyone and create together.


You can participate by sending your story to 

Despite the awareness of the terrible world around us, even our
silent complicity in the face of misfortune, for Erri de Luca, who
still believes in the sacredness of words, poetry still remains,
capable of transforming all the tragedies of humanity into singing.

Fernando Valverde
One Way Ticket's prologue
Emory University (2016)

#Mhic  #MakingOfSoloAndata #Nomesdanada


MAKING OF ONE WAY TICKET (SOLO ANDATA) . An exhibition in times of pandemic.

Curated by LALI BOSCH about PIERO SACCHETTO’s artwork.

A project from:

Museu de la Vida Rural-Fundació Carulla de l’Espluga de Francolí

Museu de la història de la immigració de Catalunya de Sant Adrià del Besós

Educative Project coordination:

Elena Ananiadou – MhiC

Jordi Vilalta – MhiC
Lilianna Marín de Mas – Edition and communication
Maria Chatzi – Documentalist

Pere Faura – Actor & coreograher

Jumón Erra – Actor & director

Equip de professors de 3er de l’ESO – IES Barres i Ones

Paco de Haro – GEDI Coop. De iniciativa Social

Núria Aidelman, Laia Colell, Mònica Rosselló, Agnès Sebastià – A Bao A Qu

Guillem Roma & Alessio Arena – Musicians

With the collaboration of:

Departament de Cultura de la Generalitat de Catalunya. Servei de Museus

Diputació de Barcelona. Oficin de Patrimoni Cultural

IES Barres i Ones

GEDI Coop. De iniciativa Social

SPE Kirikú – Cooperativa EDUVIC

Associació A Bao A Qu – Fotografía i Cinema en curs

Project Director:

Imma Boj – MhiC’s Director

Documental Només d’anada. Equipatges

SÓLO IDA. Equipajes portada

MhiC presenta

Les memòries habiten en els cossos… I des dels cossos surten i ens acompanyen en els nostres camins.

El Museu d’història de la immigració de Catalunya, incorpora en el projecte expositiu “Només anada”, de Lali Bosch i Piero Sacchetto un taller d’expressió corporal i creació visual, que mira cap a les memòries festives d’un grup de joves migrats a Catalunya.

L’assaig recull imatges d’aquestes festes i els seus viatges, per a trobar les seves parades compartides, els seus elements comuns… els espais, les trobades, les abraçades, els colors, els sabors i les músiques.

Exposició virtual. Making of Només anada

*La versió en català aviat estarà també disponible al públic.

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© Museu d’Història de la Immigració de Catalunya, 2021

GEDI. Coop. Centre L’Illot Grand

Cinematografia: Maria Chatzi

Expressió corporal: Pere Faura, Jumon Erra

Producció web i comunicació: Lilianna Marín de Mas

Coordinació: Elena Ananiadou

Direcció de projecte: Imma Boj


Amb el suport de:

Ajuntament de Sant Adrià de Besòs

Servei de Museus, Departament de Cultura, Generalitat de Catalunya.

Espai Avinyó. Museus (Im)possibles

Imatge amb Logo de l'Espai Avinyó.

MhiC Recomana

‘Museus (Im)possibles’. L’exposició: el que no està vist

Espai Avinyó inicia el cicle Museus (Im)possibles, com a un espai per repensar els relats expositius en relació amb la diversitat cultural i per construir espais alternatius de pedagogia intercultural.

El cicle s’inicia amb una activitat al voltant de l’exposició William Kentridge. El que no està dibuixat organitzada pel CCCB, conduïda per Francisco Godoy Vega, historiadorx de l’art i membre del col·lectiu Ayll.  El conjunt de sessions mira els discursos expositius i la seva relació amb relats colonialistes i la possibilitat de construir una memòria històrica alternativa.

Més informació: BCN Acció Intercultural (enllaç)

Horaris i llocs

Xerrada: dimecres 3 de febrer · 18 h · Plataforma Zoom

Visita a l’exposició: del 4 al 10 de febrer · CCCB

Taller: dimecres 10 de febrer · 17 h · CCCB

Inscripcions i més informació: 

La xerrada introductòria, la visita a l’exposició i el taller formatiu, va dirigit especialment a artistes, professionals i personal tècnic vinculats amb la creació artística i gestió cultural de la ciutat. Generarem un espai de diàleg i de treball, amb l’objectiu d’identificar algunes claus a tenir en compte a l’hora de visitar, interpretar o muntar exposicions que promoguin narratives transformadores en relació amb la diversitat cultural.

*Cal inscripció prèvia enviant un mail a explicant la teva relació amb l’àmbit cultural.

*Places limitades


Francisco Godoy Vega, xilè radicat a Madrid, Doctor en Història de l’Art i Cultura Visual (UAM, 2015). Membre del col·lectiu Ayllu, co-director i docent del Programa Orientat a Pràctiques Subalternes (POPS). Ha estat professor del Departament d’Història i Teoria de l’Art de la UAM (2013-2017) i investigador del MNCARS (2009-2011, 2014-2016).

Ha publicat els llibres de poesia La revolución de las ratas (2013) i La enfermedad del sudaca (2018). Entre les publicacions teòriques es troben Desmentir la falsa división entre Historia y Geografía (2020), La exposición como recolonización (2018), Devuélvannos el oro (ed., 2018), Multitud marica. Activaciones de archivos sexo-disidentes en América Latina (ed., 2018) i No existe sexo sin racialización (ed., 2017).