The city as a concept, reality and Image at the beginning of the 21st century, is no longer the modern city of our parents, because the changes in work and its exploitation that have taken place in it, are deeply enough to talk about another po of city, in which, the expectations of those who suffer them, or from “unemployment” aspire to suffer them are not met, and therefore, it is necessary to analyze and discuss the convenience and ways to transform it.
What’s going on? How have we lost the present, who has taken it from us?Critical thinking reproaches our society for being sunk in a present with nuo, tight with itself, with little memory of the past, no project for the future.From this perspective, the problem is that we live in the short term, in the immediate, with the present as the only possible horizon. Above all, the unemployed, those over 50 and the young. Collectors who make use of the propaganda in the “lampposts”, to try to take something to eat in their mouths.
However, others tell us that what we need is to recover the historical sense, because only the past gives light to the present and the conditions of hope, for openness to other possible futures.How do we explain this to these groups? Are we sure, that our problem is to be installed in the present? If a huge amount of people go to therapy today to help them recover the ability to live here and now, because their head does not stop traveling between the pending and possible, deliveries to finish, mails to be answered …It is well known that social inequality, injustices and lack of freedoms have also accompanied cities since their inception and that very few have been moments when the opposite has shone fully in their streets, squares and homes. It is also known that these splendid moments have been brief, and not only that, but without exception they have ended badly.
It's been a while since we've gotten used to seeing lamp posts, kiosks, columns or any urban support, those badly written ads of people offering their services, Pinto floor for 400 euros, English courses, motorcycle sales and rental of plaza de "parquin", are just some of the most common ads that decorate the urban furniture of the city, a practice too common among citizens, but that is pi as a lack within the municipal rule, which says, verbatim that "Any act that dirties, damages or deteriorates lampposts, statues and decorative elements is not allowed.
Some luminaries hardly have free space where to stick a poster, massive propaganda support."The crisis has multiplied the billboards everywhere. In what neighborhoods it is almost impossible to find a free space in a visible area ". Spanish woman of 45 years with reports is offered for home help. Girls offers to work for hours cleaning, elderly care at home or hospital, homework.
They cover lampposts, signs, containers, telephone booths, bus stops and facades of buildings to sell or rent flats or parking spaces; but those who paper the city trying to close a deal are not always par cular. The economic crisis and the need to give a quick and, if possible, profitable exit to real estate, has notably increased the number of posters that can be seen throughout the city and that take advantage of the most visible places to attract attention of the interested public.In spite of the illegality of using urban furniture as a support for these advertisements.
The crisis has led advertisers to seek, on the one hand, the greater publicity of their business; on the other, that advertising is free. But history does not stop here. Any event is announced with giant billboards hung from lampposts. Any site serves as a billboard for shops or restaurants. Any wall is the victim of papers and posters announcing various products.The traffic lights and streetlights are filled with posters: rooms for rent, sale of used high school books, cleaning by hours. And there, in the midst of the maelstrom of offers radas, «Free Wifi, 30 euros», putting eyes on you. Because it is wifi, the creed of our time, and because it is free and that sounds as seductive as it is unlawful.
That said, and seeing the mechanisms of marketing and advertising, we set ourselves as a challenge and to provide a vision that is dissimilar, but complementary, the transfer of the image of a support to a different one as a surface of symbolic skin.In this transit one image takes us to another but on a different surface, endowing it with a new meaning, what we might call a second skin, but not, with the concern of finding the same codes or the reason for their new symbolism, but their transformation .
Of course, try to create a dialectical and visual dialogue with its predecessor, which encourages these other views, with the need to re-examine from that other perspective, and knowing that this is what its definitions are.In the work process, we can see, the use of situations, texts and images, modifying and recontextualizing, various elements to build new readings, to provoke distortions in the story, and thus generate counter-discourses.
Through logics of work such as filing and appropriation, since the images have an owner, in this case the one that pastes the posters in the lampposts, in order to raise questions that directly appeal to the construction of history and production of the speech. Hybridizing, the relationship between contexts and processes, between society and action.Likewise, without forgetting the critical nature of reality, the relationships that occur in specific places and the political tensions that occur in everyday contexts when rethinking art, after knowing these different forms of planning. As the interest, to review and tense the idea of what is possible, what can be or what could have been.
With the friction that occurs when dialoguing different narratives, what is lived, what is told and what is documented, thus expanding its limits, and contributing other directions to the story, through the idea of expanding or unfolding, bending or shrinking.
The street lamps or gas tubes, among other means or support, from which we have extracted the images or resources (we could call the skin), have been mutating for the passage of time, although some images (advertisements) have been repeated throughout of the days, since their authors, were replacing them as they disappeared, or were swallowed by others. It is also true that in the end, we focused more on a few streets, this is due to the fact that in certain neighborhoods the images were larger in size due to their social condition.
They are not the same ads in Marchalenes, that in Ciscar Street, nor the same luminaries, nor the same institutional cleaning.But yes, we can raise those benefits in some areas and deficiencies in others, at our convenience.In fact, you can see its location, by means of a Qr code with the geolocation of these, given its longitude and latitude.The images will be transferred to a transparent material, with possibilities of deformation, to grant them new support, and meaning, within the same territory that simultaneously inhabits and is inhabited.
We transfer them to a transparent support, which theoretically should make them more visible, but paradoxically when passing the light, the opposite happens, we must force the view to see them, as happens with the shape, deformation. But in turn, the paradigm arises whether the images and texts in their original location, that is, in the lampposts, suffer these same vision conditions? Do we pass them and see them? Do we really look at them? Probably not.
We will try to transfer, by means of the transfer of some images that we began to compile giving way to an electronic device (manual scanner), some concerns that have been raised about the city and its individuals.
On this occasion we approach the concept of the city, its individuals and the form that some of them have, to give visibility to their concerns or the challenges posed by life, leaving the formal circuits that these cities pose, to achieve their objectives. We will change the support and location of some images that belong to some de-terminated social layers, when looking for life in this consumer society.
Where we can observe or move through them to the history of life that some of these individuals tell us through their advertisements.It does not mean the same thing in the streetlights, its location could be said natural, that hung in an exhibition hall, a Bank or a church ...We, on the other hand, only give a sentimental and aesthetic look to the merchandise through the advertising universe.