Walls of Barcelona: schools of fish. Hand-made stickers placed unrequested on fences, walls, metal plates, windows. Routes of desire and uses of time: drawing, cutting out, going out to the street, choosing the surfaces, finding a spot: stick, stick, stick, keep on walking.
Practices of desire: stickers on the streets, popping out as gifts: schools of fish that proliferate in the neighborhood of El Raval. You run into them, stop, and consider: what is at stake in diligently producing objects that are necessarily ephemeral–exposed as they will be to the contact with the sun, rain, people–and placing them on also precarious surfaces? Temporalities in contact. Barthes suggest that what constitutes graffiti, and one may say also street art, is not its message “but the wall, the background, the surface”: that background exists “fully, as an object which has already lived.” Because of that, the writing on the wall, and in this case the sticker, “always comes to it as an enigmatic surplus: what is in excess…out of place–that is what disturbs the order of things” (“Cy Twombly” 1985: 167). Disturbing the order of things: to leave behind the circuits of the continuous investment on skills and management of “human capital.” Disturbing the imperative of the increased return of every activity by producing precarious pieces of paper destined to fade away. From that tension and desire may come the curiosity and certain unease that greets the passers-by.