With an educational background in the Fine Arts and Anthropology’s fields, Ro Caminal develops her artistic practice exploring the world of re-presentation, hybridizing undisciplined between both fields. She has participated in numerous collective exhibitions; Post-it City, Casual Cities. (CCCB, Barcelona), A Dilemma (Arts Santa Monica, Barcelona), Wide Angle (Fabra and Coats, Barcelona), Translocacions (Arts Santa Monica, Barcelona), International Biennial of Video of Puebla. (Mexico), TIVA 16 International Video Art Exhibition Of The National Museum of Taiwan (Taiwan), Woman are who look. (Kino Palais, Buenos Aires). The Art of Getting Lost in the City (Gudran, Alexandria) or The 1 International Biennial of Lagos (Nigeria), Chouftouhonna (Tunis), Transformer Malta or Salam London (Mint Works, London). Her films have been screened at various festivals like Kinotheca (Wien), Migrant Film Festival (Lubjbijana), CineMigrante (Barcelona) or SFP Sharjah Film Platform (Sharjah, AUE).
Dystopian Concrete, proposes the production of an experimental film, this time focused on the post-independence Egyptian context, which takes as its central axis the parallelism between the ambivalent personality of Gamal Abdel Nasser and his social housing construction program, analysing the role that the aestheticization of politics held in the scopes, failures and contradictions of the Egyptian socialist system, whose urban and social and political sequels shape the reality of contemporary Egypt. Anchored in the historical period after 2 G.M. and the newly acquired Egyptian sovereignty, going through Nasser’s rise as one of the main leaders of the N.A.M. and the collapse of the Socialist System in the 70s until today, the conceptual framework of the project reflects on the role of art and architecture in the construction of the image of the new independent Egypt, through the analysis of its construction program and distribution of social housing, a program that met a triple objective, both social, political and propaganda; Decently housing the population that attracted by industrialization processes reached the big cities; legitimizing Nasser in power after having reached him through a coup d’etat, and projecting abroad the image of a strong Egypt, a modern country, whose leader could lead, not only Egypt, but also the entire Arab world and the Countries Not Alienated.
Dystopian Concrete adopts an interdisciplinary methodology, between Visual Anthropology and artistic research, which through the re-significance of archives and the use of micro-stories, wants to document the role of art and architecture in the great narratives that supported the socialist state utopia Egyptian and show the ambiguous effects that these urban dystopias generated.