Decorados de la exposición ‘El metro, las afueras, el parking y el cine’

The usual way of feeling the presence of the city in the cinema does not deserve an extensive commentary: the spectator sits in his armchair, the lights go out and there, in front of him, on the magical screen, lights and shadows are projected. The human eye (consciousness) flies over the rooftops, descends into the sewers, penetrates the intimacy of the apartments, dazzles in the mundane halls or permeates with the misery of the suburbs. But the body does not move from its seat. This is how cinema has participated in its own way in the great collective schizophrenia of the modern world: the gaze and the mind can be anywhere, but with the certainty of comfort, immobility and physical security for those who have paid for their tickets. The success of cinema as a spectacle, never surpassed by other art forms throughout history, owes much, surely, to this “duplicity”...