DELFINA (THE LETTER)
2015
«My father was on CNT. He is used to work in Moreda´s factory. He was not a miner but it was the greatest fighter for the miners. Helping the one that has nothing, save from death and prison many people, and especially to help the poor, to the miners, was the passion of my father. The miners were, then, slaves, and had to earn a living in the bowels of the Earth with very little benefit. They were very badly paid and he long struggled for them and their rights.»

That tells this gijonesa of 89 years in this audiovisual piece with a firm voice.
In her case, the complaint as a flag, because 'Delfina (the letter)' embodies the objective of this group of creators, which is none other than «denounce through their artistic practice». As well collect Iván de la Nuez in his book ' floods. Of the wall to Guantanamo: artistic invasions in political borders ', art takes the word: «as policy is ever more distant from the life, the most recent political art assumes, then, duty to approach it by any path. Art with life».Because, although the artists of the group Sala belong and live in countries recognized in democracy, «called attention to the fact that that's no guarantee of any welfare or fundamental right». And that, regardless of latitude, "social or cultural issues are relegated to the background. What prevails is always in defense of the wealth of a few and the clumping of power in small areas.
Delfina history continues in one of those trips, when Andrés Avelino Sala embarks on the 'Galerna' merchant, whose life in the service of the Republic lasted very little, because on October 15, while traveling at night, was intercepted by a fleet of national vessels and captured and taken to the port of Pasajes.
That was the end: «the men took them for a ride that never returned. Halts a such 'Antoñico', civil guard, cutting them their ears, live, with the nose to the wall. Thus the letter put it. Already reach you the time that monster with tricorne". That put. «And never was anymore news about him.»