{"id":3567,"date":"2026-02-04T17:08:03","date_gmt":"2026-02-04T17:08:03","guid":{"rendered":"https:\/\/obliquo.art\/?post_type=canela_portfolio&p=3567"},"modified":"2026-05-12T19:44:46","modified_gmt":"2026-05-12T19:44:46","slug":"democracia","status":"publish","type":"canela_portfolio","link":"https:\/\/obliquo.art\/en\/canela_portfolio\/democracia\/","title":{"rendered":"DEMOCRACIA (15 ABR – 12 MAY 2026)"},"content":{"rendered":"
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15 APR – 12 MAY 2026<\/h3>\n\n\n\n

OBLIQUO presents Subtexts<\/em> by the collective DEMOCRACIA. The exhibition, curated by Mario Guti\u00e9rrez Cru, is presented with the support of PROYECTOR.<\/p>\n\n\n\n

\u201cPolitics is not the art of consensus, but the management of conflict.\u201d This statement\u2014central to much contemporary political thought\u2014can be read as one of the conceptual axes of Subtexts<\/em>. The project is grounded in the idea that democracy is not sustained by harmony, but by the visibility of antagonisms, differences, and disputes that cannot and should not be neutralized.<\/p>\n\n\n\n

In the performing arts, subtext refers to what lies beneath words and determines their meaning. Subtexts<\/em> transfers this notion to urban space, understanding the city as an apparently coherent text constructed by the discourses of political and economic power, beneath which heterogeneous social realities unfold: communities, languages, desires, and conflicts that rarely gain access to channels of public representation.<\/p>\n\n\n\n

The project began in 2009 as a public art intervention in Cartagena (Murcia) and has since been developed in different locations\u2014Manresa, Palma de Mallorca and Lyon\u2014sharing a common premise: to work in contexts where migrant communities form a significant part of the social fabric yet remain scarcely represented within public space. In each case, DEMOCRACIA intervened in the usual supports of urban communication\u2014billboards, bus shelters and advertising panels\u2014by inserting messages in the languages of these communities, occupying the same devices reserved for hegemonic discourse in order to introduce a presence that destabilizes the apparent homogeneity of the visual environment.<\/p>\n\n\n\n

For its presentation at OBLIQUO, Subtexts<\/em> is reactivated through a new site-specific proposal in the Lavapi\u00e9s neighbourhood, paradigmatically diverse and multicultural. On this occasion, the project adopts an audiovisual format, shifting the intervention into the medium of video. This displacement from physical advertising structures to moving image does not alter the core strategy of the work: camouflage within the communicative ecosystem of advertising. The piece adopts the visual codes and formal language of promotional media, infiltrating its logic in order to introduce a content that subtly disrupts its habitual function.<\/p>\n\n\n\n

The conflict is not archived; it is displaced and reinscribed.<\/p>\n\n\n\n

\u201cSlavery grows without limit when it takes the appearance of freedom.\u201d The phrases that structure Subtexts<\/em> draw from a tradition of critical political thought, yet they do not operate here as illustrative slogans or calls for adhesion. Their effectiveness lies in the friction they generate: for some they are fully legible; for others, an opaque presence that interrupts the illusion of consensus.<\/p>\n\n\n\n

As Chantal Mouffe has argued, \u201cevery democratic society is traversed by relations of power and conflicts that cannot be eliminated.\u201d Subtexts<\/em> embraces this premise and rejects the idea of public space as a neutral ground. The introduction of a non-hegemonic language does not seek integration or translation, but rather the recognition of disagreement as a constitutive condition of the democratic.<\/p>\n\n\n\n

Far from any complacent multicultural gesture, the work raises uncomfortable questions: who has the right to speak in public space, and in which language? Which forms of life are recognized as legitimate, and which are relegated to the off-frame? In doing so, Subtexts<\/em> shifts attention from representation to the very structure of communication and its mechanisms of exclusion.<\/p>\n\n\n\n

The practice of DEMOCRACIA, developed collectively since 2006, is explicitly situated at the intersection of art and politics. Their work understands art not as a space of symbolic reconciliation, but as a tool of confrontation capable of exposing the fissures of dominant discourse. Subtexts<\/em> does not propose solutions or images of reconciliation; rather, it insists on the need to assume conflict as an essential condition of any radical understanding of democracy.<\/p>\n\n\n\n

\u201cFreedom must be for everyone or for no one.\u201d In this statement, which runs through the project like a persistent echo, Subtexts<\/em> finds its political core: a reminder that democracy is not measured by the neutrality of its spaces, but by their capacity to host what unsettles, destabilizes, and challenges the existing order.<\/p>\n\n\n\n