There was a time when art became political. Not so long ago. Indeed, among artists, the notion of political commitment had become obsolete. It was necessary to go further. The evenings that artists had trusted disappeared and no one appeared to get involved. In the absence of political actors, or of confidence in them, the cause (the defense of a cause) became the canvas on which to work. Nature also evolves by mutations, so that the transformation of the event artistic in direct action, political state sung.
The first recorded images that we know of who would become the future mayor of Barcelona and leader of the Communes, Ada Colau, show her, in 2007, in full action as an activist for the Platform for People Affected by Mortgages (HAP). Unexpectedly, she emerges from the city, from the sidewalks, from the crowd, dressed as a superhero. It comes with a cape, tights and a mask. We see her acting, performing, breaking official acts in the name of a cause, in defense of the disadvantaged, ousted by banks and real estate speculators. However, this was not yet politics. On the contrary, it could rather be considered a counter-politics, just as culture has a counter-culture. Anti-politics is something else, a populist infamy. Anti-politics is to politics what anti-culture is to culture.
