O espírito de época ten esa característica do fermoso, aniña no sentir da fronteira. Nese gume, nesa tensión, sempre escapa da cousa concreta, non ten lugar, por iso nos fala ao lonxe, difuso, melancólico, dende o pasado.
Un movemento político que aspire á hexemonía non se pode conformar con ser aquela esquina pura, intocable e cómoda coa predisposición do taboleiro. Se queres gañar tes que ir con todo e a por todo. Non te podes conformar cos aplausos gostosos dos teus.
Invocar os dereitos humanos xera nalgúns un sorriso de esguello, de ironía, nas conversas onde se confunde a política real coa morte do futuro. Estamos tan pasados de voltas que a impaciencia fronte o real aniquila calquera proceso de transformación democrática.
Din que a arcadia primeira dos artistas é o lugar onde sempre nace a creación de xeito constante. Picasso vive cinco anos en Galicia a finais do século XIX. Unha cidade aínda industrial onde aquel neno pasaba o tempo entre cores, costa e mar. O pintor nunca deixaría Galicia na súa cabeza, igual ca xente da súa época como a actriz María Casares. A súa casa e el mesmo foron nexo entre a Galicia do exilio e aquela Galicia da cultura e das artes que procuraba un luminoso máis alá para o seu país.
Manuel Gallego Jorreto é capaz de falar na linguaxe da pedra, da madeira, da luz e da ausencia como elementos construtivos
O neoliberalismo que traballa detrás do veludo converteu o público en organismo incomparecente: sen axudas, sen financiación, infindos tempos de espera e, no último lugar, o risco da morte.
A Coruña de entre 1880 e 1955 é a cidade-bisagra do progreso, do modernismo e do contacto co mar, mais tamén do ebulir e da forza dun proletariado en auxe. Imaxinamos ás Casares Quiroga, habitantes prodixiosas dunha urbe que quería ser tamén prodixiosa, con calidade democrática de vida e, aínda embaixo do réxime ditatorial, vizosa na súa proposta urbana.
Que ironía, aquelas ideas xermoladas nos 1980 como «valedoras da democracia» andan a dicirlle á democracia que, de non saír elas, antes perder a democracia que perder o poder.
Ese medo da doutrina liberal é tamén o medo que ve miña avoa todos os días pola televisión. Medo á okupación. Á inmigración. A Cataluña. Incluso ás caídas de infraestruturas nos lindes entre Galicia e Asturias. A política do medo deulle medo á miña avoa, tan social, tan cristiá.
Escápaseme, porén, Rueda. Imaxinen que ese home se dirixe, como ocorría aquel día, hai non moito, cara a unha concentración que berra o seu nome. Pero na concentración non hai náuticos, non hai camisas fóra dos pantalóns e pulseiras da bandeira de España. Hai bandeiras da CNT, protesta e ruído, todo aquilo que semella extraterrestre. E no medio está Rueda.
A Actualidade volve con grandes cuestións: Pagará a pena apuntarse a esa eléctrica que di Alfonso Rueda que vai crear?, que pecado cometeu Álvaro Cunqueiro para que se asocie o seu nome a un pufo hospitalario?
Está con nós Pela del Álamo, o director de Curtocircuito, un festival afincado en Santiago. A contemporaneidade, o risco e a exploración formal son las guías do seu traballo.
Cos anos fun descubrindo quen son: unha muller queer, de talle XS en moitas marcas, sen marido nin fillos, e chegando aos 60 anos. Tal cousa non encaixa no algoritmo familiar heterosocial, pero hai xa tempo que lle engadín ao termo queer a acepción de queen.
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