The city is not a destination, it is an urgency. It is made of a million elements in unstable combination. A game of magnets for children: in one position it attracts; in another it repels. The elements are sometimes abducted by the decorations of the centre or shot out against the outskirts of the place and the story. Cities are not spaces, nor architecture, nor demography, nor even the literary interpretation of the lives of their inhabitants. Cities are the very tension of everything that explains us, of contradictions and interests. The sum and subtraction of the species. The city is the traces of the stories and almost all of them end up in Miguel Mosquera’s pieces, recovered, reconstituted, reorganized, stirring to make a portrait of the city from the least presumable arguments. A place without shop windows. Everything has a double meaning and Miguel Mosquera patiently and ironically rummages through the multiplied combinations. He relocates the heads and tails of the coin, the verso and verso of the banknotes because where there is a horizon there is a political landscape.
On the verso are represented the everyday pieces that wear extraordinary finery under the illuminated urn. In the verse the credulous can be certain that there is no art with malice, but clumsy ideas and each mast holds different sails and each sail resists contrary winds. There are the cities seen from the waste converted into constructible matter, turning chance into a cause to recycle each landscape: in the end we are in an era of reinterpretations. On the obverse side of Miguel Mosquera’s works we can see the result of each sign within the painting and each painting within the world. The signs are so varied that the spectator may think that the forest of crossed messages does not allow the paper trees to be seen. The artist is not oblivious to the circumstance and therefore uses each verse to prove the constancy of his aesthetics: objects are not forced to find their place; each place is the place. He is reinventing the craft of metaphors, but this time they do not lie.
On the other side, things are not as they seem. There is us with our lies in the form of apologies, stories, speeches, escapes and all the narrative that generates the denial of reality. We make the city build itself from signs and force Miguel Mosquera to reveal the code. To displace the big words in favour of small gestures. And to retell the story. The reverse side is the revision of what has been told, applying lucidity in the procedure: we are obliged to rethink everything from a position of mistrust. From irony, because we can respect tradition, but not convention. We are obliged to rethink not because it is our rebellious spirit but because it is the lying spirit of the times.<\/p>","protected":false},"excerpt":{"rendered":"
Miguel Mosquera recapitulates Ourense in Ourense. Between 1980 and 2022, even numbers for an odd situation. He opens the Dodo Dad\u00e1 gallery with the double meaning of archive and revelation.<\/p>\n","protected":false},"author":51,"featured_media":352449,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[191],"tags":[],"class_list":["post-352539","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fatiga-ocular-en"],"acf":[],"post_template":"reportaxe","post_subscription":"no","pretitle":"","content_extract":"The city is not a destination, it is an urgency. It is made of a million elements in unstable combination. A game of magnets for children: in one position it attracts; in another it repels. The elements are sometimes abducted by the decorations of the centre or shot out against the outskirts of the place...","reading_data":{"word_count":"480","reading_seconds":"115","reading_time":{"minutes":1,"hours":0,"seconds":55},"reading_string":"1'55''","reading_human":"2 minutos"},"announcement":{"finishdate":"","finishdate_text":""},"opinion":{"subject":"","subject_info":[]},"event_info":{"startdate":"","starttime":"","enddate":"","endtime":"","entertainer":null},"interview":{"interviewed":""},"phototext":{"text_author":"","text_photo":""},"video":{"video_source":""},"promotion":{"action":"default","action_data":""},"categories_list":[{"name":"Eye strain","id":191,"slug":"fatiga-ocular-en","parent":0,"template":"default"}],"visible_author":"Camilo Franco","_links":{"self":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts\/352539"}],"collection":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/users\/51"}],"replies":[{"embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/comments?post=352539"}],"version-history":[{"count":1,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts\/352539\/revisions"}],"predecessor-version":[{"id":352578,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts\/352539\/revisions\/352578"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/media\/352449"}],"wp:attachment":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/media?parent=352539"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/categories?post=352539"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/tags?post=352539"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}