The image is shocking: four sub-Saharan migrants perched on a fence, as if they were trying to access Melilla. There are, however, four dolls (dolls) of the municipal falla of Valencia, which are mounted on the perimeter fence of the Town Hall square that delimits the space where the male. If the technical skill with which they have been created may initially make one think that they are real, the idea of decontextualizing the image to raise the problem of illegal migration at the epicenter of the festivities has generated controversy. So much so that the creator who designed the falla, the renowned urban artist Escif, has come out to give explanations, make self-criticism and ask for an apology “in light of the discomfort aroused by part of the migrant group.”
The group of Afro-descendant and African people Uhuru Valencia has criticized on its Instagram account this “insane, insensitive and ridiculous action that not only seeks to undervalue what a migratory journey as dangerous as the one shown entails, but is full of stereotypes, prejudices and fetishism.” “Not to the spectacularization failure of institutional racism!”, he points out, in line with other anti-racist and migrant support groups, who have also felt offended by the dolls. Several sub-Saharan migrants tried on Saturday night to remove the dolls from the fence of the male because they consider them a provocation or an offense. Agents of the National Police prevented this and explained to them that, in reality, the direction of the failure is the opposite and there were no riots or arrests, according to local media.
Los dolls They have been made by the Fallero artist Pere Baenas, but they were designed by Escif, a committed Valencian artist, who usually criticizes social inequalities, the destruction of nature or the exploitation of people in his work, as evidenced in the enormous mural once morest child labor that he painted in front of the Primark store in Valencia and that for a few months has been discussed regarding whether it should be preserved and pardoned. Given the avalanche of reactions and criticism for the dolls, Escif has published a statement on its Instagram account, headed by a quote from Belgian artist Francis Alÿs, whose work arises from the space shared by art, architecture and social practices: “He who does something makes a mistake. “He who does nothing is wrong.”
The statement says: “I feel obliged to issue a statement of reflection and self-criticism that allows adding another layer of context to the project presented and a firm apology to the affected community… Failures have traditionally been a space for criticism social committed to the reality of each moment; a mirror in which the uncomfortable truths that challenge us as a society have been reflected; an open speaker in which to show our shames and contradictions… Although this has traditionally been the faults, the truth is that in recent years, this essential aspect has progressively diminished, leaving more room for a precious display of skill and technical production.
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Then, the only Spanish urban artist that Banksy cited and included in his film Exit Through the Gift Shop (2010) explains that their bet was to make “a beautiful and monumental falla, without abandoning satire and social criticism.” Graduated Two doves, one branch, “shows two doves facing each other over an olive branch and ironically addresses the contradiction that comes with waging war in the name of peace.” “Accompanying the main figure,” Escif continues, “there are 9 scenes that, in one way or another, point out some of the contradictions that plague us as a society: a ninja turtle trapped in a piece of plastic that holds soda cans; two prehistoric men trying to make a fire with a mobile phone; or some migrants jumping the fence of the male”.
And he concludes: “I firmly subscribe to the premise that no human being is illegal and I hope that this incident can help keep open the debate regarding our participation and responsibility around policies that attack the integrity and rights of any person. Art is a fiction that brings us closer to reality.
His statement has provoked a response on his own account, like that of the musician Amy Gueye: “I can see an apology camouflaged in an explanation whose main mission is for people to empathize with your good intentions, diverting the focus of attention from where it really should be. , in how violent it is for black people to encounter something like this. There was no need for so much fuss. How might you not have consulted this before doing it with anyone black? Have you spoken to a migrant person, someone who has experienced a similar situation? What do the world’s wars have to do with it… I understand the intentions, but if you really want to do things right, it cannot be done from a white man’s perspective, because this is what happens. We do not want to continue seeing this failure, we do not want to read, once more, an empty statement without any kind of sense in which oootra “Maybe a white man is not able to understand what he has done, much less do we want to see it burn.”
There are also numerous comments both on that network and on others, supporting Escif: “For me, it is the most powerful scene I have seen in the Municipal Falla. My congratulations. I hope everyone understands it” or “It’s a brave complaint. Congratulations as always! [Es una denuncia valiente. Enhorabuena, como siempre]”.
Escif comments that the failure was chosen “a year ago by an independent jury not directly linked to any political party.” A year ago, the Valencia City Council was governed by Compromís and the PSPV-PSOE. After the elections on May 28, the mayor is María José Catalá, from the PP, with the support of Vox, which is also part of the Government.
Escif was the designer of the 2020 falla La meditadora that depicted a woman in a reflective position. By adding a huge mask to her face, she became one of the symbols of the coronavirus pandemic.
