In 2017 I settled for a season in El Rocío (Huelva) to follow up on a double murder case.
El Rocío is an unusual space, a sandy town with western airs next to the Doñana natural park, where all existence revolves around the Virgin: as a great Marian pilgrimage center, they come to meet in the village near a million people. A Catholic Mecca. During the investigation process, we detected that the life of the only defendant in the case and El Rocío shared four cardinal points: the church, the hunting ground, the bar and the Civil Guard. Four walls of a world on horseback (in El Rocío, everything is always "on horseback") between the typical imaginary of a Lorca's Spain and resistance to modernity. From this con ict we saw the emergence of the novel synthesis of middle and lower class day laborers and hunters voting for the extreme right. After spending more than three years in prison awaiting trial, the defendant in the case was found not guilty. For this reason, once released, the accused is out of the picture in this installation, surrounded (like the viewer himself) by the four screens that portray the four institutions of a south that is not untimely, but rather the most unpredictable and realistic image of our 21st century.