Éxodo, untitled.

 

 

On the eleventh of September, a convoy of musicians, artists and shepherds left the vicinity of Cuenca, and began walking towards number 26 on Calle Santiago Estévez, in the Carabanchel district of Madrid. The journey lasted ten days. Accompanied by two donkeys pulling wagons loaded with clay and rosemary, the convoy produced a number of votive sculptures throughout the journey.

This piece evokes foregone paradises and humankind’s most important capacity: adaptation, the kind that is sustained by the collective imagination. The work is a social sculpture and a fabric of affections in expansion. It reflects on the transformation of rural and urban territory, and the mingling of the land, the cities, and their peripheries.

Adopting the form of an outer-ring romería*, Éxodo produced a sentimental journey that carries with it the mother matter of the new neighborhoods. This lived fiction has assembled a collective narrative that integrates the lives of those who suffered the great migratory trauma of the fifties.

*A romería is a pilgrimage where citizens are welcome to join and take part in the vagrant music, dance and other festive activities, usually to celebrate a local saint.

 

 

 

 

Sacks.

Half a tone of clay in white plastic sacks.

Imagen proyecto Éxodo

 

 

Imagen proyecto Éxodo

Leandro, Nohales.

 

 

Imagen proyecto Éxodo

Cold front.

Troughout the journey the cold front fell all over the territory.

In Orihuela, the floods were even more severe. In Arganda del Rey a current swept through the city.

It started raining on the 10 and stopped on the 21st. It rained intensely on the 14th, 15th, 16th, and all night on the 20th and 21st.

There was some sunshine as well.

Imagen proyecto Éxodo

 

 

Imagen proyecto Éxodo

Industrial facilities.

A man watches us pass by, standing under the half- lifted gate on the threshold of a metal shed.

He owns one utility vehicle that is parked outside on the road. Inside, there is a truck.

On the outer wall of the shed, a cone in the guise of a funnel, and under it, rubbish and rubble.

There is a tidy display of metal scraps resting against the foundations of the construction.

 

 

Alcázar del Rey.

 

 

Juanita, Fuentidueña del Tajo.

 

 

 

Abandoned village.

Walking through Cuenca’s highlands, we passed through abandoned villages and towns, farm infrastructure, huts for tools, shacks. The walls are made of stone.

 

 

Cornfield, Valle de San Juan.

 

 

Imagen proyecto Éxodo

 

Milana, Fuentidueña del Tajo.

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