Continuing with the reflection on the idea of ‘Whose street is it, anyway?’, the artist presents the work, Altar Contemporáneo/Contemporary Altar (2018). In this work, DosJotas presents an altar that imitates the multitude of altars that populate the Guadalquivir metropolis and in which the central saint has been replaced by the text of Article 16 of our Constitution. Article 16 refers to ideological and religious freedom. In this way, he jokes ironically about the state of the supposed secularism of the city government that recently took the activists of the group, Coño Insumiso (Innocent Pussy) to trial. In the gallery, the installation is accompanied by the documentation of Capirotes (Hoods) action (2018), in which the artist installed the omnipresent Nazarene hoods on different street bollards.
Seville, leisure circuit for tourists and sleepy city dedicated to the contemplation of its own navel is also one of the main venues of the National Festival: Bullfighting. This is especially true during the Feria de Abril, when the Maestranza Bullring offers its best offerings for locals and strangers alike. In DosJotas’ opinion, this festival, which became the quintessential archetype of what is Spanish, is representative of what is most retrograde in our culture. This is evident in his piece Fiesta Nazional (2018), in which the artist intervenes on a bullfighting cape by writing the title of the piece on it.
If until now tourism and the city’s dedication to the generation of economic value have been the focus of the exhibition Topical Actions – Atopic, the artwork Spanish Dream (2017) reflects upon how these phenomena influence the working class, in particular the youth who during the last decade have tried to join the labor market. Spanish Dream, made and exhibited for the first time in Cartagena during the Festival Mucho Más Mayo within the program (Re)lecturas, is organized along two axes: the emigration of the population in search of better opportunities and tourism or construction as the only careers really accepted. Here, at 13ESPACIOarte, DosJotas exhibits photographic documentation of the project – which consisted of the creation of objects such as towels with logos and advertising marquees with slogans – along with the installation of a storefront in the form of a beach shop that incorporated these objects.
This atmosphere of the “country for sale” through the exploitation of its clichés, exporter of cheap qualified labor, and the creator of underemployed people in at home, is made explicit in the artwork, Menu of the Day/Daily Specials (2018). This creation consists of the realization of a blackboard that imitates those used by tapas bars to announce their specials to passers-by. On the blackboard, instead of the menu, is a comparative table of the average prices for a cup of coffee, a beer, a kilo of potatoes, a subway ticket, a cinema ticket and the minimum salary in various European countries – Spain, France, Germany and England.