Cacotopía, unpublished work produced with the support of Screen From Barcelona, is the first piece that make together Avelino Sala and Daniel G. Andujar. It falls in line with work carried out both around the critical reflection on society and current socio-political systems. The methodology is part of a way to do that in a way characteristic of the authors, who many times have carried out an iconographic research be exempted from the obligation to create images. That is, the call trace and investigate iconosphere to save images that are part of our collective imagination. Enrolled in what Nicolas Bourriaud coined as audiovisual postpodrucción strategies are able to isolate the image, decontextualized and give a new place within the narrative that they believe in order to create new meanings. In this sense we can speak of a work of nature which houses Duchamp readymade visual idea.
On this occasion addressed the issue of cacotopía, (for which we should recall the etymology of the word “thief”, the worst, and “topos”, place). The term was coined by Jeremy Bentham in 1818 but it was his disciple John Stuart Milll who gave rise to its synonym dystopia. The dystopia arises as opposed to the utopia becomes a perverse kind of utopia in which society and the evolution take place in terms opposed to those of an ideal society. The dystopia refers to a shell company located in a near future where the consequences of manipulation and despotic totalitarianism conducted by the state lead to uncontrolled chaos.
The piece is divided into 5 chapters that are considering different ways of thinking about the contradiction inherent in the word. The first four made from material from some of the classic movies that address the issue and the fifth built from real images of the latest events and social demands arising in Athens, London, Rome or Barcelona.
Following the path of the concept itself we enter featuring double reading the piece. The narrative allows us to place ourselves in a timeless space that we are easily recognizable. Present, past and future stand as contemporary stigma through a radical investigation in etymological and sociological. Approaches that reopen debates inaugurated in s. XVI with Thomas More, to Hannah Arendt and visionary theory of society or some of the latest theories of Slavoj Zizek about death and capitalism