Cacotopia is the first piece performed jointly Avelino Sala and Daniel G. Andújar, fits in with the line of work that both carry out criticism and reflection on current socio-political systems and societies. The methodology is part of a way of doing that in some ways characterizes the authors, who have conducted an iconographic investigation exempting them from the obligation of creating images on multiple occasions. I.e., they track and investigate the so-called iconosphere in order to rescue images that form part of our collective imagination. Enrolled in what Nicolas Bourriaud coined as strategies of audiovisual postpodruccion, they are able to isolate the image, removed and given a new place within the narrative that they create in order to create new meanings. It is in this sense that we speak of a working nature Duchampian which houses the idea of audiovisual readymade.  
On this occasion addressed the issue of the cacotopia, (for which is worth remembering the own etymology of the word: "caco", the worst, and "topos", place). Jeremy Bentham coined the word in 1818, but was his disciple John Stuart Milll who gave place to its synonym dystopia. Dystopia is as opposed to the utopia and comes to be a kind of perverse utopia in which society and evolution are broadly opposed to the of an ideal society. Dystopia refers to a fictitious company located in a near future where the consequences of manipulation and despotic totalitarianism carried out by the State lead to uncontrolled chaos.

The piece is divided into five chapters that are considering different ways of thinking the contradiction inherent in the word. The first four made from material coming from some of the cinematic classics that dealt with the issue and the fifth constructed from real images on the latest demonstrations and social demands originating in Athens, London, Rome or Barcelona.
Following the own tour of the concept we enter double reading presenting the piece. The narration allows us to situate ourselves in a timeless space that is easily recognizable. Present, past and future are erected as a stigma of the contemporary through a radical investigation in the etimologico and sociological. Approaches that reopen discussions opened in century XVI Tomás Moro, Hannah Arendt and his visionary ideas of society and some of the latest theories of Slavoj Zizek on capitalism and the death.

colaboración con Daniel Garcia Andujar