Prophetia

An ancient stone and a bullet from 1941. The disconcerting piece by Jimmie Durham, 'The History of Europe', which takes away the shame of an alleged identity of the continent, welcomes this impressive exhibition about the disappointment of the European project. The Greek myth is updated, and in this new here and now are the men in black of the Troika who have kidnapped (the idea of) Europe.

The Old Continent is in trouble: a powerful economic, political and social crisis ravages the territory and shakes the structures of the present system. The dream is over. 'Blinda' by Jorge García, refers to the walls that have been erected on a recurring basis (from classical Greece to Ceuta and Melilla). On giant rolls of yarn rests the slogan 'Post Optimismos' in neon letters. And regarding the fallacy of the free movement of people, enter Mateo Maté and his sculptural space 'Área restringida (Europa)'.

'Prophetia' offers no hopeful answers, no miraculous prescriptions in the face of uncertainty, but rather a direct and blunt reading of the weaknesses and failures of the Union. In 'Las diez y diez', Pelayo Varela has written several fragments of the Charter of Fundamental Rights on the wall. Above that he has built the mechanism of a clock with hands that are so sharp that, as time passes, they scratch and erase each of the words: what once was agreed democratically fades into the past.

Throughout the 20-piece exhibition at the Miró Foundation, curated by Imma Prieto, you can feel the lack of enthusiasm for a Europe that no longer belongs to the citizens and that, commanded from head offices in Brussels by technocrats and bureaucrats in ties, is becoming an increasingly questionable project.