Video-Nou

VII ENCUENTRO INTERNACIONAL DE VIDEO (1977)

• The VII International Video Meeting and Communication Colloquium was held in Barcelona, organized by the Centro de Arte y Comunicación (CAyC), from February 22 to 29, 1977, at the Fundació Joan Miró. Margarita d’Amico, together with Manuel Manzano and thanks to an NTSC video system provided by Antoni Muntadas, led a first video workshop, understanding video as a tool with strong political potential. In the first practical workshop of the VII Encuentro, participants included Xefo Guash, Carles Ameller, Albert Estival, Lluïsa Roca, Luisa Ortínez, Sylvie Poissenot, and Guiomar Eguillor, some of whom were students from the CIPLA course at the Institut del Teatre.

• Margarita d’Amico and Manuel Manzano proposed that volunteers create a short video essay on a topic chosen collectively. The group formed by Xefo Guash, Carles Ameller, Albert Estival, Lluïsa Roca, Luisa Ortínez, Sylvie Poissenot, and Guiomar Eguillor decided to work on the lack of green spaces in the Gràcia neighborhood of Barcelona. The topic responded to local community demands that had long been discussed in spaces such as the Ateneu Llibertàri de Gràcia.

1977_ “Espais verds de Gràcia” – Unknown duration – Work not located

VIDEO-NOU (1977–1980)

1977

• The period in Spain known as El Entusiasmo ("The Enthusiasm") began, when the possibility of anti-capitalist, libertarian, anti-militarist, and ideological freedom-based political change seemed real. This atmosphere, according to members of the collective, provided the energy for numerous works that would take place until 1979, with continuity under the name SVC until 1983—considered the end of this experience, entering the period later known as El Desencanto ("The Disenchantment").

• Video-Nou was formed by Marga Latorre, Luisa Ortínez, Albert Estival, Lluïsa Roca, Carles Ameller, Xefo Guash, Guiomar Eguillor, Genís Cano, and Pau Maragall, who definitively joined after attending a few group sessions. The group aimed to use video as a social tool and to give visibility to invisible realities not covered by official media, with a clear intention to work with video as a social, political, documentary, and educational medium.

• After signing a contract with La Lliga de Catalunya, Video-Nou commissioned the company TRIAC to adapt and equip a bus with an editing table and two TV screens in the windows for video playback.

• In the 1977–78 catalog, Video-Nou described the experience of the Video-bus:

“Political campaign for La Lliga de Catalunya.

The campaign focused on using a Video-bus (a bus equipped to create full video programs: recording, editing, screening) (see graphic), based on the experience carried out by the French Socialist Party in 1976. The campaign took place in the province of Girona over a one-month period.
After preliminary socioeconomic information had been gathered for each region before the campaign began, the group visited one or two towns per day. During the day, a report was created on the town's physical and socio-political characteristics, through street interviews, workplaces, schools, etc. (…)
In general, the video screening became a major gathering event that sparked debates and commentary among residents, going far beyond the political propaganda of a specific party, and focusing instead on issues more related to the life of the community.”

Video-bus (April–May 1977)

• 1977_ “Campanya electoral de La Lliga de Catalunya” I – La Bisbal – 42’ – Work located

• 1977_ “Campanya electoral de La Lliga de Catalunya” II – La Bisbal – 43’ – Work located

• 1977_ “Cunyes propaganda: Josep Mª Figueres i altra gent del partit de La Lliga de Catalunya” – 17’ – Work located

• In 1977, Spain held its first pre-democratic elections after nearly 40 years of fascist dictatorship, and the collective decided to document this historic event by following voters. The video was recorded using a Nivico ½’’ B&W Porta-Pack. The Video-Nou catalog states:

“The video closely follows two voters during the process of the first pre-democratic election.

The second part of the tape is an upward journey along Les Rambles amidst the crowds, featuring early street artisans, anti-election protests, and special riot squads from Valladolid who violently interrupted the recording near Hotel Manila.”
(Work not available)

1977_ “Eleccions polítiques del 15 de juny” – Unknown duration – Work not located

• During the 1977–78 period, Video-Nou produced several works featured in a catalog designed by Carles Ameller. Some of the 1977 works related to their closest friends such as Nazario, Ocaña, Ceesepe, Camilo, or Onliyú, among others. Video-Nou documented the life of the counterculture in Barcelona, where concepts like gender, the politics of the Transition, the supposed democracy, social traditions, the Francoist legacy, and normative sexuality were all questioned.

1977_ “Telediario Montesol-Onliyú” – 20’ – Work located
1977_ “Actuació Ocaña i Camilo” – Presentació – 20’ – Work located
1977_ “Desemadre” – 20’ – Work located

• On June 26, 1977, Video-Nou created a videographic work (currently unlocated), though it is referenced in the group’s 1977–78 catalog and in various documents from the MACBA’s Center for Studies and Documentation.

1977_ “Manifestació Gay” – Unknown duration – Work not located

• Xefo Guash, due to his involvement with the CNT, his friendship with Luís Andrés Edo, and the collective’s connection to Pepe Ribas from Ajoblanco magazine, proposed that the group document the debates at the Saló Diana as part of the Jornades Llibertàries Internacionals, held from July 22 to 25, 1977. It was decided that the debates at Saló Diana would be recorded in the mornings, and in the afternoons the recordings would be broadcast on TVs set up under the arches of Parc Güell. The project was funded with part of the compensation money from La Lliga de Catalunya.

Jornades Llibertàries Internacionals (julio 1977)

Saló Diana
1977_ “Jornades Llibertàries” – 20’ – Work located
1977_ “Jornades Llibertàries. Saló Diana. Crítica a la Societat Industrial i alternatives Llibertàries” – 65’ – Work located
1977_ “Jornades Llibertàries. Saló Diana. Debat sobre Moviment Llibertari i Organització” – 110’ – Work located

Parc Güell
1977_ “Jornades Llibertàries Internacionals. Parc Güell” – 22’ – Work located
1977_ “Jornades Llibertàries Internacionals. Parc Güell” – 16’ – Work located

• After the Jornades Llibertàries Internacionals (July 22–25, 1977), on July 30, some members of the collective traveled to the Canet Rock Festival in Canet de Mar to document it. The video includes appearances by Pau Riba and Orquestra Platería, among others.

1977_ “Canet Rock” – 29’ – Work located

• The group’s interest in the political situation during the so-called Transition led them to document the first legal demonstration held for the Diada de Catalunya.

1977_ “Diada 11 de septiembre de 1977” – Unknown duration – Work not located

• Later, the Comitè d’Artesans de les Rambles requested that Video-Nou document the controversy surrounding the relocation of street vendors to the Plaça Vila de Madrid. The video includes interviews with committee members, vendors, buyers, and passersby. It was recorded with a JVC ½’’ B&W Porta-Pack. The footage is currently unlocated or awaiting digitization.

1977_ “Reivindicació de l’espai a les Rambles per als artesans” – Unknown duration – Work not located

• Pau Maragall and Xefo Guash, together with other team members, took interest in a gas station strike being organized through assemblies at the CNT headquarters at Passatge de la Pau nº8. In October 1977, over four days, Video-Nou documented the assemblies and other material related to the strike, which began on October 21 and lasted until the 26th. It was recorded using a SONY AV ½’’ B&W Porta-Pack in four 30-minute tapes.

“Vaga de benzineres” a Barcelona (octubre 1977)
1977_ “Información sindical y política: Huelga de gasolineras” – 143’ – Work located
1977_ “Huelga de gasolinera 1” – 28’ – Work located
1977_ “Huelga de gasolinera 2” – 39’ – Work located
1977_ “Huelga de gasolinera 3” – 29’ – Work located
1977_ “Huelga de gasolinera 4” – 35’ – Work located

• The group’s connection to the Galería Mec-Mec was established partly due to its proximity to their headquarters on Blanqueria Street. That same year, Ocaña inaugurated the exhibition “Un poco de Andalucía”, which the group documented through a guided tour by the artist himself. Ocaña transformed the gallery into an Andalusian patio and organized afternoon parties where he invited local sex workers, friends, offered gazpacho to attendees, and even installed his bed—moved from the Plaza Real—spending some nights sleeping in the gallery. Video-Nou recorded the exhibition held at Galería Mec-Mec (Assahonadors Street 37) from September 15 to 28, 1977.

1977_ “Un poco de Andalucía” – 20’ – Work located

• Video-Nou collaborated on Xavier Mariscal’s first exhibition, “Gran Hotel”, with a video piece titled “Vida en Común”, documenting the show. The exhibition opened on December 6, where Mariscal transformed the gallery into a hotel, exhibiting drawings, household appliances, comics, gouaches, posters, comic books, cut-out cardboard, silkscreens, photographs, painted glass, hand-knit sweaters (which he called haute couture), papier-mâché objects, fanzines, small magazines, and even served colorful canapés.

1977_ “Vida en Común” – Unknown duration – Work not located

• On December 18 of the same year, 15 environmentalist groups that had gathered days earlier in Torroella de Montgrí organized a demonstration as part of the “Hagamos una ciudad habitable” campaign. They demanded bike lanes and bike parking, promoting bicycles as an abandoned, healthy, and non-polluting vehicle. The collective documented the demonstration in Barcelona. The video “Manifestació de bicicletes” appears on the same tape as Ocaña’s footage in Galería Mec-Mec, although it is unrelated in content.

1977_ “Manifestació de bicicletes” – 13’ – Work located

• As the group became increasingly known within the countercultural scene, they decided to create a summary video called “Collage Video-Nou”, meant to introduce their work to others. The piece wasn’t finalized until 1978, as new material was added progressively.

1977_ “Mitin UGT en Montjuïch con Felipe González y discurso de Joan Raventós” – December 1977 – Unknown duration – Work not located

• The group’s relationship with the Institut del Teatre remained active through their connection with the CIPLA course. At the end of 1977, Video-Nou requested a permanent workspace rather than the intermittent access they had previously had. That same year, the EINA school invited choreographer, mime, and dancer Lindsay Kemp to hold a class with his students, and Video-Nou recorded one of the rehearsals.

1977_ “Assaig de Lindsay Kemp al Teatre Lliure” – December 1977 – Unknown duration – Work not located

• Over the following months, the group recorded several theater rehearsals with the aim of helping actors and actresses evaluate and improve their performances.

1977_ “Ensayo de ‘Precioses de Brie’ de Molière + Taller de video Laborde” – 37’ – Work located
1977_ “Escenas de un ensayo de obra de teatro” (recorded by Núria Font) – 37’ – Work located

• The group’s interest in education—whether in teaching video as a tool for emancipating viewers by turning them into producers, or for critically reading official and homogenized content—led Video-Nou to design several educational programs. In December 1977, part of the collective carried out a project in the nursery school 1 Niuet.

1977_ “Programa didàctic audio-visual per a la Guardería 1 Niuet” – December 1977 – Unknown duration – Work not located

• Their interest in using video in education was also applied at Font d’en Fargas school in Barcelona, encouraging student and teacher participation, based on libertarian and horizontal school models. During the 1977–78 academic year, they created five tapes described in the 1977–78 catalog.

1977_ “Pràctica audiovisual en l’ensenyança” – December 1977 – Unknown duration – Work not located

• The collective continued organizing itself by project. Anyone from the group—or even outsiders who shared the same interests—could join. This organizational and horizontal model allowed many people to come and go, generating a wide variety of projects, though all with a clear desire to use video as a tool for social transformation, documentation, and critical thought.

1978

In 1978, the collective continued to be interested in documenting certain moments of the city's countercultural life. In this way, they began recording some of the performances or rehearsals that took place in Barcelona venues like Sala Zeleste or Saló Diana. The tapes served the artists to analyze their live performances and thus improve their acts.

1978_ "Recital d'en Sisa al Saló Diana" - Runtime unknown - Work not located
1978_ "Recital de Casavella per a Zeleste" - Runtime unknown - Work not located

Video-Nou's interest in education, which we'll later see with initiatives like Escuela de Adultos, began taking shape in primary schools through workshops. This is the case of the work Festa de S. Jordi where in April 1978 they created a 20-minute b/w work, writing in a document:
"This tape is part of the work done at the pilot school of I.C.E Font d'en Fargas *throughout the 77-78 academic year, with the participation of teachers and students. It consists of a report made by a team of children: a camera operator, an assistant, and an interviewer who spoke with parents and people attending the fair for the Diada. Immediately after, we made a report adding voiceover and music to the descriptive images."*

1978_ "Programa didàctic per a Font d'en Fargas" - 20' - Work located

Video-Nou began gaining local recognition for its use of video. They continued producing works focused on urban speculation, which became evident due to the conditions of neighborhoods created by migrants arriving in Barcelona, mainly from southern Spain, in search of work opportunities. Neighborhoods without basic services multiplied in the city's periphery. The collective decided to document urban changes and neighborhood impacts from January to April 1978, funded by Serveis de Cultura Popular.

Projecte Can Serra (1978)

TAPE 1. The process of speculative construction in Can Serra and neighborhood interventions. This tape was created through conversations with members of the neighborhood association, searching for photographs and documents, and interviews with affected people who had directly participated in struggles against partial plans, to recover the little available space for collective services and uses. This tape was shown on several occasions in the neighborhood, particularly during the painting of a mural on a local factory, using a television set installed in the street.

1978_ "Urbanismo" (Projecte Can Serra) - 65' - Work located

TAPE 2. Intervention in a protest issue: the arrival of the metro to the neighborhood. Facing the planned metro extension to the neighborhood, they requested information and plans of the route and wanted to demand safety measures from the beginning. The collective's work consisted of gathering opinions from people in Can Serra about the problem and more extensively from the neighboring Pubilla Casas area, where homes were severely affected by the metro's path with strong neighborhood mobilization around the issue. Two days of filming and simple editing resulted in a tape that was shown 9 times in 2 weeks at various neighborhood assemblies, in the local market, outside schools, and in bars. In all cases, it sparked discussions and major mobilization around the problem.

1978_ "¡Que viene el metro!" - 25' - Work located

TAPE 3. Reflected the lifestyle change for many migrants and their vulnerability in their new urban existence after moving from rural areas. The adult school's own students and teachers presented different courses, their usefulness for urban life, working methods, and personal experiences. This tape was used to promote the school and was accompanied by posters and a radio program.

1978_ "Escuela de adultos" - Runtime unknown - Work not located

TAPE 4. Began with an audiovisual montage of regional festivals remembered by neighborhood elders and also showed recent neighborhood celebrations. The tape included a roundtable about organizing neighborhood festivals and community participation.

1978_ "Las fiestas del barrio" - Runtime unknown - Work not located

After the Can Serra experience, Video-Nou wrote in their catalog compiling 1977-78 works some key points about the project, considering it a prototype for future projects of similar nature:
"At the neighborhood association's request, the work pace accelerated significantly, so in the first phase we couldn't finish all planned tapes or hold as many screenings as desired. Both the neighborhood association and Video-Nou lacked time for necessary reflection during production and editing, and for critical discussion of screened tapes in assemblies."

During May 1978, the collective continued recording video performances from the countercultural scene. In this case, it was the group Lole y Manuel at Teatre Romea and Pau Riba at Sala Zeleste. Video-Nou described the works in their 1978 catalog:
*"Nuevo día (May 78). Recording of gypsy flamenco theater 'Nuevo día' by Lole y Manuel at Teatre Romea, with collaboration from the Montoya family and advice from Celestino Coronado. The flamenco group viewed the tape at Video-Nou's space. Equipment used: SONY CV ½'' b/w. Duration: 2 tapes of 45min."*

1978_ "Nuevo día" - Runtime unknown - Work not located

*"Pau Riba at Zeleste (May 78). Recording of a comeback performance by the singer. Equipment used: SONY CV ½'' b/w. Duration: 2 tapes of 45 min."*

1978_ "Pau Riba a Zeleste" - Runtime unknown - Work not located

The recently reestablished Generalitat began centralizing some neighborhood movements that had been clandestine during the Dictatorship. Spaces called Ateneus, illegal under Franco, were legalized. Barcelona City Council began developing a Neighborhood Plan and institutionalized Ateneus, attempting to replace them with today's Centres Cívics. Video-Nou started planning how to document the struggle of Ateneus and related issues that would later lead to conflicts with the City Council.

Video-animació a l'Esplai del barri de Ribera (June 1978)

TAPE 1. Served as Video-Nou's introduction to the Esplai. It recorded an entire afternoon on May 23, 1978 featuring a baking contest and presented the Esplai's history, organization, and activities through interviews with participants and non-participants.

1978_ "Concurs de repostería" - Runtime unknown - Work not located

TAPE 2. Described different spaces and activities at the Esplai during Video-Nou's work: baking contest, party with dancing, musicians and actors on June 3, puppet-making, and exhibition of seasonal works. Mixed with interviews about the topic, possibilities of self-organization, Esplai's functioning, potential changes, relationship with La Caixa, and the activities coordinator, plus a proposal for a Sant Joan festival organized by elders who weren't sure they'd be allowed to do it. Also included two interviews with the coordinator and caretaker about their tasks and relationship with users. Video-Nou wrote: "This tape was very useful in the coordinators' discussions."

1978_ "Activitats de l'Esplai al barri de La Ribera" - Runtime unknown - Work not located

TAPE 3. Began with images of elders in characteristic neighborhood locations, with voiceover explaining the social situation of neighborhoods and elders' relationship with society and context. It described a day in elders' lives through all-day interviews, home interiors, neighborhood changes, housing activities, pensions, working elders, family relationships, societal relationships, and how they're treated and socially considered.

1978_ "Vida quotidiana dels vells als barris de Casc Antic i La Ribera" - Runtime unknown - Work not located

TAPE 4. Work aimed at preserving neighborhood history through elders' stories, memories, recollections, and contributed photographs and graphics from participants. The work didn't have a socio-political focus but rather documented personal histories, daily lives and evolution, trying to highlight key neighborhood events, disappeared trades, popular festivals, and social life. Video-Nou wrote: "This tape remained unfinished on June 30 because the work period ended and many elders left for trips organized by the Esplai or with relatives."

1978_ "Recuperació de la historia dels barris del Casc Antic i La Ribera" - Runtime unknown - Work not located
1978_ "Entrevista a vecina de Pla de Palau" - Runtime unknown - Work not located

The collective developed an interest in neighborhood demands, the replacement of self-managed Ateneus with municipalized Centros Cívicos, creation of neighborhood associations, and protests for facilities and improvements in so-called peripheral neighborhoods that would continue until the end of their first and second phases. The works they developed beginning in 1977 demonstrated the collective's interest in the city's urban organization and its class structure as an industrial city, with clear privileges for bourgeois families compared to working-class migrants from southern Spain. Although officially the first Centre Cívic was inaugurated by Mayor Narcís Serra in 1982 (documented by Servei de Vídeo Comunitari, showing neighborhood complaints), the first attempts to municipalize and centralize neighborhood groups began in 1977 to replace Ateneus with Centros Cívicos, as seen in "Centre Cívic Canyelles (Projecte Ateneus)".

Projecte Ateneus (July 1978)

Canyelles
1978_ "Canyelles (Projecte Ateneus)" - 39' - Work located
1978_ "Feedback Canyelles I (Projecte Ateneus)" - 25' - Work located
1978_ "Feedback Canyelles II (Projecte Ateneus)" - 6' - Work located
1978_ "Centre Cívic Canyelles (Projecte Ateneus)" - 21' - Work located
1977_ "Vídeo Comunitari. Feedback Canyelles (Projecte Ateneus)" - 25' - Work located

Video-Nou began the Ateneus project in the Polígono Canyelles, writing in their 1977-78 catalog:
"Canyelles Civic Center
a. First test tape, without previous script, about some center activities, which served to explain the work's objectives and the video equipment's functioning and possibilities, with immediate replay.
b. After various discussions with people from the center, two tapes were recorded with street interviews, shops, homes etc., using the neighborhood's history and life as a common thread.
c. Recording of a tape with Civic Center members about ongoing activities."

Nou Barris
About the 9barris Ateneu project, Video-Nou wrote in their 1977-78 catalog:
"After preliminary discussion meetings about the work to be done, we proceeded to record two tapes about the Ateneu's history and functioning with members of the management committee, identifying problems that had led to the prevailing apathy at that time. Additionally, together with the responsible architect, we recorded a tape about the remodeling project and space utilization.
This collected material was screened at the Ateneu's space, with participation from members of other Ateneus we had worked with. The meeting also served to establish contacts and coordination possibilities between them."

1978_ "Debate Asfáltica (Projecte Ateneus)" - 7' - Work located
1978_ "Entrevista a vecino sobre el Ateneu Nou Barris (Projecte Ateneus)" - Runtime unknown - Work not located
1978_ "Entrevistas a vecinxs sobre la ocupación de una fábrica para el uso del Ateneu Nou Barris (Projecte Ateneus)" prompted by the intention to dismantle it for replacement with an asphalt plant - Runtime unknown - Work not located
1978_ "Registro de una reunión formada por vecinxs contra la planta asfáltica (Projecte Ateneus)" - Runtime unknown - Work not located

La Sedeta
No material is currently found about this. However, Video-Nou wrote in their 1977-78 catalog about the La Sedeta Ateneu project:
"In several preliminary meetings, we presented the project and explained the video equipment's functioning. We jointly discussed and developed a script. We recorded two tapes about La Sedeta's occupation history and current activities. We edited the material and finally held several screenings of the completed tapes at the Ateneu's space, with technical limitations due to available equipment."

Ateneu Llibertari de Sants
The Ateneus project led the collective to reflect on information needs and precarious tools, noting in their 1977-78 catalog:
*"Considerations about the experience:
Despite severe time constraints (one month), equipment limitations, and the dispersion of simultaneous work in four neighborhoods, we fulfilled the goal of using video as a tool for internal dynamization and Ateneus' consolidation within neighborhoods. In this sense, we began training interested people in video.
Through joint screenings of all tapes, we also strengthened relationships between selected Ateneus with proposals for continued mutual information, coordination, and joint development of a document about the video experience and its perspectives.
An important conclusion was recognizing the need and interest for each neighborhood to have basic video equipment allowing certain self-sufficiency - a portable kit - and a trained group to use it (through workshops).
The project's second phase - creating a summary tape and its distribution - remains unfinished (February 79)."*
The intensity and precariousness of this work marked the limits of operating as the only social video group. The later Servei de Vídeo Comunitari initiative could continue the work with better resources. Video-Nou published a dossier titled "Intervenció video en els Ateneus" with detailed explanations of work done between June and July 1978.

The collective frequently documented neighborhood life through projects like Ateneus or Video-animació al barri de La Ribera, recording events in places of interest. This included documenting the Sant Joan festival in La Salut neighborhood in June 1978. The tape showed dance preparations and was played on TVs in nearby bars during the celebration, all recorded with a Porta-Pack SONY ½'' b/w. The work appears in the collective's 1977-78 catalog.

1978_ "Revetlla Popular de Sant Joan al barri de la Salut" - June 1978 - Runtime unknown - Work not located

The collective settled in El Born neighborhood for its headquarters and relationship with the area, a countercultural hub along with spaces like Sala Zeleste or Mercat del Born, where the CNT's Sindicato de Espectáculos had managed to stage the protest play Don Juan Tenorio in November 1976, attracting people linked to music, poetry, and performance. Thus, Mercat del Born, despite ongoing disputes between the City Council and protesting neighbors (as Mayor Porcioles (1957-73) had wanted to turn it into a parking lot during his last term), became a reference point for Catalan counterculture. Video-Nou documented some poetry-related activities at Mercat del Born:

1978_ "Poetes al Born I" - 33' - Work located
1978_ "Poetes al Born II" - 33' - Work located

From the same year, we find some recorded poetry recitals showing a party in El Born neighborhood and a presenter's speech at the Festival (1978). The video also includes a recording of a German documentary about Durruti taped directly from television, featuring Federica Montseny and Manuel Hernández. The collective explains they often recorded from TV screens to compile material for potential video resources.

1978_ "Recital de poesía amb Marina Rossell, Ovidi Montllor, Toti Soler i altres" - Runtime unknown - Work not located
1978_ "Actuació de diversos cantants i poetes no identificats" - Runtime unknown - Work not located

In 1978, the collective finally completed their Collage, with scenes from their 1977-78 works:

1978_ "Collage Video-Nou" - 42' - Work located

Various people approached the collective for consultations about video technology and socio-community audiovisual work. This is how Julián Álvarez appeared, requesting material and advice for his work "Bellvitge-Bellvitge" (1978), inspired by the collective's methods. Julián later collaborated occasionally with Servei de Vídeo Comunitari.

From December 8-26, 1979, the CNT's V Congress was organized in Madrid. Xefo Guash, due to his CNT connections, and other collective members attended the Congress aimed at reorganization after the famous Caso Scala in 1978:

1978_ "Miting V Congreso CNT I. Madrid" - 49' - Work located
1978_ "Miting V Congreso CNT II. Madrid" - 50' - Work located

In December 1978, C.O.A.C. commissioned a work divided into 2 parts. A 1980 document lists them as:
*"Jocs Urbanístics 1. Study about architectural knowledge and the city's representation for children aged 4-13. Produced at the Architects' Association stand at the Children's Fair. An idea by J. Ma Muntanyola, produced by C.O.A.C. Dec 78 40 min. ¾''C."*
and below:
"Jocs Urbanístics 2. Second document produced in December 79."

1978_ "Jocs Urbanístics 1. Informe de J. Muntanyola pel Col·legi d'Arquitectes de Barcelona" (December 78) - 40' - Work located
1979_ "Jocs Urbanístics 2. Informe de J. Muntanyola pel Col·legi d'Arquitectes de Barcelona" (December 79) - 40' - Work located

1979

The collective began experiencing instability due to the volume of unpaid work that had to be balanced with personal and professional lives. The organization remained very organic, with work distributed through self-management principles. The decline also stemmed from lacking economic resources to purchase materials, forcing them to use available tools until completely worn out. Lluïsa Roca and Joan Úbeda visited various Barcelona institutions to collect and reuse video tapes.

In March 1979, the Primeres Jornades de Video Comunitari were organized at the Colegio de Arquitectos de Catalunya, launching activities with support from l'Institut del Teatre.

In May 1979, they produced "Barreres arquitectòniques, criteris de disseny per la seva eliminació i participació dels usuaris" commissioned by the Col·legi d'Arquitectes:

1979_ "Barreres arquitectòniques, criteris de disseny per la seva eliminació i participació dels usuaris" – 40' – Work not located

The collective's interest in urban and social transformations grew, initiating works that would continue until their final phase. Early explorations for "Terrenys Renfe-Meridiana" included:

1979_ "Imatges del paissatge urbà de la Meridiana" – Runtime unknown – Work not located
1979_ "Entrevistes a veïns sobre la construcción de les vies del tren a la Meridiana" – Runtime unknown – Work not located

Members continued documenting neighborhood cultural life, like "Tamborinada 79", described as:
"Report on the children's festival at Pueblo Español organized by the Coordinadora de espectáculos infantils en los barrios. May 79, 30 min. ½'' b/w."*

1979_ "Actuació de la compañía Circ Cric i espectacles infantils" – Runtime unknown – Work not located
1979_ "Tamborinada al Poble Español i actuació de Tortell Poltrona i Maria Laffitte" – Runtime unknown – Work not located

Video-Nou's decline began due to unsustainable workloads and personal/professional conflicts. While some members wanted to continue, others withdrew. The group explored forming a cooperative and seeking municipal funding, causing ideological tensions. Over several months, Video-Nou transitioned into Servei de Vídeo Comunitari (SVC), aiming to institutionalize for financial support.

In March 1979, Video-Nou drafted "Estructura y funciones de la Comisión de Orientación de S.V.C", proposing:
"An Orientation Committee with subsidizing entities, collaborators, and SVC users to guarantee programmatic and financial oversight. This structure proposal serves as a discussion base before final approval."

In December 1979, during their transition to SVC, they created "Imatges i fets" for the Col·legi d'Arquitectes' 1929 International Exhibition commemoration:
*"40 min. ¾'' b/w tape. Like Barreres arquitectòniques, this adult-targeted work could model didactic tapes for children."*

1979_ "Imatges i fets" – 40' – Work not located

SERVEI DE VIDEO COMUNITARI (1980-1983)

1980

These years marked El Desencanto (The Disenchantment), which Carles Ameller described as:
"Institutions absorbing social initiatives to curb autonomy; associative movements in crisis; exacerbated individualism uncritically embedded in capitalism."

In early 1980, Video-Nou formally became Servei de Vídeo Comunitari, though some independent works persisted:

1980_ "Eleccions al Parlament de Catalunya" (Co-production with Col·lectiu Equinocci) – 53' – Work located
1980_ "La CECA. Trobada Nacionalistes d'Esquerra de Catalunya" – 32' – Work located

Xefo Guash left, opposing SVC's institutional turn. Pau Maragall documented personal collective events, like concerts at La Miranda, a squat in Vallcarca:

1980_ "Teddy's a La Miranda" – 32' – Work located

Educational projects continued, like "Taller de Video en el 1er Congrés Jovenil Escolar" with I.C.E. and Facultad de Pedagogía:
"Three teams of ten children each used portable cameras to record workshops and interviews. Demonstrated remarkable technical ease, suggesting highly creative children's workshops."

1980_ "Taller de Video en el 1er Congrés Jovenil Escolar" – Runtime unknown – Work not located

The Barcelona City Council commissioned works, while SVC maintained independent critical projects:

1980_ "Vida als barris" – 31' – Work located
1980_ "Festa al carrer Tuset" – 32' – Work located
1980_ "Pescando entre la caca" (Co-production with Ou Dur) – Runtime unknown – Work not located
1980_ "Assagis teatrals + Univesitat Catalana d'Estiu + continguts diversos" – 29' – Work located

Post-agreement with the City Council, SVC produced pedagogical works about urban life. New members joined: Maite Martínez, Esteban Escobar, Joan Mallarach, Francesc Albiol, Núria Font, Josep Mª Rocamora.

An unidentified member created "Dracs", reptile footage with caricatured voiceover, likely a equipment test preserved for future use:

1980_ "Dracs. Imatges de reptils" – 9' – Work located

Council commissions included visibility campaigns like "Jo estimo Barcelona":

1980_ "Jo estimo Barcelona, per això no embruto" – 13' – Work located

SVC moved from Institut del Teatre to Vía Layetana nº 6, operating as a cooperative with economic participation shares. They established a videotheque at the former Centro Dramático de la Generalitat.

1981

The City Council's pedagogical commissions continued:

1981_ "L'Alcohol" – 33' – Work located
"Youth activities in Barcelona: music, sports, casales, dance. Features Enric Truñó (Youth and Sports Councilor) and scenes from Parque de la Ciutadella."

1981_ "Tot allò que un jove voldria saber sobre Barcelona..." – 14' – Work located
"Municipal financial policy and investments. Includes Narcís Serra in council chambers, Merçè Sala on services, Pasqual Maragall on investments."

1981_ "D'on venen i on van els diners de l'Ajuntament" – 19' – Work located
"Barcelona's budget origins and allocations."

1981_ "Medi ambient a Barcelona: contaminació atmosfèrica" – 12' – Work located
"Pollution sources, legislation, and municipal action. Shows factory emissions, traffic controls, and Felip Solé i Sabarís."

1981_ "Medi ambient a Barcelona: radiacions ionitzants" – 14' – Work located
"Radiation applications and dangers. Features Eduard Rodríguez (CSIC) and Valldellós Nuclear Plant."

1981_ "Métodos anticonceptivos" – 19' – Work located
"Contraceptive methods guide for women, produced by Torre Llobeta Family Planning Center."

1981_ "Museus de Barcelona: coneguem els nostres museus" – 40' – Work located
"Museum services: conservation (Picasso's Menina), restoration, education (children's visits), libraries."

1981_ "Natació especial: l'aigua, un estímul educatiu" – 16' – Work located
"Swimming benefits for disabled children. Interviews Jordi Ponces (Arcángel San Gabriel Center director) and parents."

Collaborators like Conxa Rodà, Isabel Parera, Lali Romà joined through municipal connections. Esteban Escobar became a cooperative member.

Urban critiques resurfaced in "Terrenys: Renfe-Meridiana", documenting displacement for Olympic preparations:
"Shantytown residents, masía owners, and architects discuss the Renfe lands development. Shows demolition excavators and new housing blocks."

1981_ "Terrenys: Renfe-Meridiana" – 26' – Work located

1982

On August 2, SVC officially registered as a non-profit civil association with 100,000 pesetas shares from Escobar, Rocamora, Roca, Martínez, Font, and Maragall.

Council works included:

1982_ "Ciutat Vella: el cor de Barcelona" – 09' – Work located
"Resident opinions on district improvements under Mayor Pasqual Maragall."

1982_ "Inauguració Centre Cívic Guinardó" – 75' – Work located
"Narcís Serra's inauguration speech, children's workshops, Banda Municipal performance, and traditional dances."

1982_ "Los jóvenes de barrio" – 40' – Work located
"Canyelles neighborhood youth on infrastructure lacks. Commissioned by Utrecht Sociological Institute for Mexico's 1982 World Sociology Congress."

1983

Final council projects included:

1983_ "Seleccions de barri" – 40' – Work located
"Neighborhood football tournaments promoted by Narcís Serra and Enric Trunyo."

Internal conflicts escalated. Minutes record Esteban Escobar's disrespect and methodological disputes. Maite Martínez became cooperative president before leaving for Madrid.

A final countercultural gesture documented Enric Casasses' poetry:

1983_ "Recital de poemes d'Enric Casasses" – 29' – Work located
1983_ "Servei de Vídeo Comunitari" – 7' – Work located

The collective dissolved due to ideological clashes, exhaustion, and Escobar embezzling a UAB conference payment. Members transitioned to TV3 (Albert Estival, Lluïsa Roca, Joan Úbeda) or academia (Carles Ameller, UB Fine Arts Faculty).