Spaces for Memory
THE GARDEN
OF MEMORY
Miranda de Ebro Municipal Corporation in 1931.
Emiliano is the fifth from the right
The Miranda de Ebro Association for Historical Memory is aware of the historic debt that society owes to all victims of Francoism and their families, in particular to the victims from this city. Therefore, wishing to rescue historic truth from oblivion and restore it to the memory of today’s citizens and for future generations, the association wanted, through the monument and the plaques, to pay homage and express its moral recognition to all the men and women who suffered repression from the Francoist regime, in one way or another, for defending freedom.
The monument in homage to the victims who suffered the repression of the dictatorship and the Civil War was inaugurated in the Emiliano Bajo Park on 17th February 2008.
MONUMENT TO
THE VICTIMS
The sculpture composition, the work of sculptor Eugenio Cabello Ibáñez, is based on the work ‘Palo Tras Palo’ (meaning both ‘Stick After Stick’ and ‘Blow After Blow’) by the Miranda artist José Manuel Fuentes Fernández.
The ensemble comprises an assembly of six similar parts which are known as “sticks” and which form part of the work’s title. The sculpture is in carbon steel.
Set on each side of the monument, there are two commemorative steel plaques bearing the names of the men and women from Miranda who were victims of reprisals during the civil war, based on the census of those suffering reprisals drawn up by the Miranda Association for Historical Memory.
The plaques were inaugurated on April 14th 2019 in homage to all those suffered at the hands of the dictatorship for defending the Republic and Democracy.
The Miranda de Ebro Association for Historical Memory is aware of the historic debt that society owes to all victims of Francoism and their families, in particular to the victims from this city. Therefore, wishing to rescue historic truth from oblivion and restore it to the memory of today’s citizens and for future generations, the association wanted, through the monument and the plaques, to pay homage and express its moral recognition to all the men and women who suffered repression from the Francoist regime, in one way or another, for defending freedom.
The monument in homage to the victims who suffered the repression of the dictatorship and the Civil War was inaugurated in the Emiliano Bajo Park on 17th February 2008.
The sculpture composition, the work of sculptor Eugenio Cabello Ibáñez, is based on the work ‘Palo Tras Palo’ (meaning both ‘Stick After Stick’ and ‘Blow After Blow’) by the Miranda artist José Manuel Fuentes Fernández.
The ensemble comprises an assembly of six similar parts which are known as “sticks” and which form part of the work’s title. The sculpture is in carbon steel.
Set on each side of the monument, there are two commemorative steel plaques bearing the names of the men and women from Miranda who were victims of reprisals during the civil war, based on the census of those suffering reprisals drawn up by the Miranda Association for Historical Memory.
The plaques were inaugurated on April 14th 2019 in homage to all those suffered at the hands of the dictatorship for defending the Republic and Democracy.
VISITABLE
REMAINS
OF THE
CAMP
VISITABLE REMAINS OF THE CAMP
VISITORS´
CENTRE
Raimundo Porres Civic Centre
Exterior of Raimundo Porres Civic Centre
Exterior of the bunkhouse and full-size figure of a prisoner
Interior of the bunkhouse and the documentary
‘Ecos de la Memoria’
Ilustration of Concentration Camp
Detail of the camp’s wire fence, and documentation
You can delve deeper into the life of the camp through the photographs shown, which have been compiled from different Spanish and European archives (such as Spain’s General Administration Archive, the Brussels War Heritage Archive or the Brussels Cegesoma Centre Archive), and nine reproductions of illustrations made by prisoners.
The display is rounded off by four glass cases exhibiting a range of documentation: prisoners’ personal files, a list of the garments given to the prisoners, reports of the situation of the centre carried out by foreigners (found in the London Max Center Library), documents to be found in the Municipal Archive of the Miranda City Hall relating to the concentration camp, such as an authorisation for the prisoners to clean the River Bayas to avoid the accumulation of excrement generated by the camp, deliveries of straw for mattresses and feed for animals, a letter authorising receipt of payment for the repair of a tap from which water was collected, etc.
There are also postcards sent by the prisoners to members of their families, some donated by the Miranda citizen Alberto Otal Sáez and others from the Municipal Archive; foreign magazines with studies on the camp; a reproduction of a poem by the Peruvian writer César Vallejo included in his posthumous work España, aparta de mí este cáliz (Spain, Take this Cup from Me), inspired by the Spanish Civil War and dedicated to Miranda-born Pedro Rojas, who fought and died in the war; and a box with a wooden chess set, the lid of which includes a drawing with a scene of everyday life there, made by the prisoner Victoriano Titos Almazán, donated by Alberto Otal.
You can delve deeper into the life of the camp through the photographs shown, which have been compiled from different Spanish and European archives (such as Spain’s General Administration Archive, the Brussels War Heritage Archive or the Brussels Cegesoma Centre Archive), and nine reproductions of illustrations made by prisoners.
The display is rounded off by four glass cases exhibiting a range of documentation: prisoners’ personal files, a list of the garments given to the prisoners, reports of the situation of the centre carried out by foreigners (found in the London Max Center Library), documents to be found in the Municipal Archive of the Miranda City Hall relating to the concentration camp, such as an authorisation for the prisoners to clean the River Bayas to avoid the accumulation of excrement generated by the camp, deliveries of straw for mattresses and feed for animals, a letter authorising receipt of payment for the repair of a tap from which water was collected, etc.
There are also postcards sent by the prisoners to members of their families, some donated by the Miranda citizen Alberto Otal Sáez and others from the Municipal Archive; foreign magazines with studies on the camp; a reproduction of a poem by the Peruvian writer César Vallejo included in his posthumous work España, aparta de mí este cáliz (Spain, Take this Cup from Me), inspired by the Spanish Civil War and dedicated to Miranda-born Pedro Rojas, who fought and died in the war; and a box with a wooden chess set, the lid of which includes a drawing with a scene of everyday life there, made by the prisoner Victoriano Titos Almazán, donated by Alberto Otal.
VISITORS´ CENTRE
Raimundo Porres Civic Centre
Exterior of Raimundo Porres Civic Centre
Exterior of the bunkhouse and full-size figure of a prisoner
Ilustration of Concentration Camp
Detail of the camp’s wire fence, and documentation
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