The dialogue with the history from a perspective committed to grant to the totalitarian symbology new meanings through the intervention, photography, or the idea of "object" found.

This is the background of the intervention which Avelino Sala opens on the facade of the theatre of Laboral, the project "the enemy is within, shoot over us". With three specific interventions, one in Eagle, one on top of the balcony and a third at the entrance of the theater, where it will be screened a video, Avelino Sala provides a new perspective on history.

This process recovers images that to some extent or they go unnoticed or generated revulsion or controversy. The imperial Eagle is one of those symbols, absorbed into our cities, vestiges of a past memory that has redirected toward new meanings, or simply, is still there. Cities such as Porto, Madrid, Gijón and many others maintain vigilant symbols, which perhaps exercise silent guardians of our time, and are watching us in silence.

Avelino Sala has raised a public artwork in which, by means of textual supplements, raises the possibility of an art of memory.The neon with the phrase "the enemy is within, shoot over us," is like those epigrams that are offered to those who are stopped at a tomb. Writing functions here as a "poetic weapon": it's know to manipulate the visual and narrative material as a montage of quotes that makes reference to the real story.

With its intervention in the labor wants to reinvent the art of memory which is neither celebration nor submission to official speeches. It is building a (historical) memory, but mostly leave open the channel for the narration from the present of what's so baffling as that phrase. It is not intended to make an archaeology or fix the documents of the past, but on the contrary, confront what has been with today.