“Each mode of individuality today is related to the entirety of the world", says John Berger in "On the properties of the photographic portrait". And, no doubt, personal reflection of Avelino Sala offers a chance of survival, and also hope that relates to a global context. "BlockHouse. On the construction of a space of resistance in times of indolence", the sculptural installation made by Asturian artist to the Gallery Raquel Ponce, takes its energy from a time vacuum, crisis, indolence, in which resurgent reaction movements. It is here and now when art proposes, in the words of the creator, "the construction of this new territory, a new cartography maps," to understand the reality that we live.
We have a kind of metaphorical barricade, "a sort of cultural trench from which we must resist". BlockHouse is also a bunker. In ancient Rome, the legions used to rehearse a strategy of protection called "the turtle", in which the soldiers were overlapping their shields as a shell. This example of primitive bunkerizacion is, next to the blockhouse, the great example of defensive locus, but also, in the words of Fernando R. de la Flor "can attribute them to these structures the possibility of becoming a Center Coordinator for the attack;" the same reason for the strength that holds all idea of rearguard. It happens that the Organization and logistics of a territory may be coordinated - and, beyond that, entirely dominated - since these powerful cells. We should not underestimate this bunker capacity; After all, we know its archaeological precedent, castles, which, while molar buildings of the old regime, held entirely feudal order, and to them the safeguarding of an entire social system was them entrusted.”

The centerpiece is a construction made up of books painted black, in a sort of tribute to resilience from the culture, thinking and rationality. "It's a structure closed, protected, a sort of agora where enabling work in common with a number of agents involved in the creation. Represents the strength, with certain cinematographic evocations of reference to "La Chinoise", 1967, Jean Luc Godard, or the novel Fahrenheit 451, by Ray Bradbury. And he doesn't tell us that the trench, no doubt, has to be intellectual.”