The sculpture that Isabel Díaz Ayuso has placed at the headquarters of the Community of Madrid in tribute to the victims of the coronavirus keep bringing tail. To the criticism of social networks, which They have branded it as “a shitting shit” or “shit stuck on a stick”, adds suspicion about whether it was really created to honor victims and the toilets that have fought against Covid-19.
On the website of the sculptor who has donated it, Víctor Ochoa, the work appears dated 2020 and under the title “Homeanje”. “To those who risk their lives to protect us from the Covid-19 and to those who were not able to overcome it”, can be read in the heading of the page that presents this work.
“Original prototype. Bronze, resin and white enamel. 208 x 87 x 60 cm. 2020“, this is how the characteristics of the work are reflected on that page, which is accompanied by the following text:
“To the victims, in recognition of their great pain, that of those who left and that of those who still remain, their families, and the heroes and heroines for maintaining themselves as the crew of a shipwreck that takes everything ahead and does not abandon us. “
“Asking a sculptor to reflect in a sculpture that immense humanity and sacrifice, is, I have already said and I repeat it, like asking the child to overturn the storm in his well of sand; but that is what we imagine and what we do: Let the spirit of so many people emerge as an intact sail on a piece of bronze and show how they defend us with a mask and the splinters of the ship. “
Capture of the Víctor Ochoa website.
Despite all these data indicating that it has been expressly created to pay tribute to the victims of the pandemic, the truth is that The author published an image of the work on May 25, 2018, indicating that the sculpture was created in 2017.
“#ESCULTOR work of the series #MASTER bronze, resin and white enamel. 2017. “, reads the Instagram post that you can see below:
“Unable to keep the balance of my dreams on a threatening reality and to transcend at one time with traditions of this trade, I decided to alter those primitive tools and let myself go“Víctor Ochoa points out in English at the foot of the photograph.
A different discourse than the one he verbalized in the presentation of the work at the Madrid government headquarters, where he defined the work as a tribute “to so many people who have become the crew of our ship during this difficult and terrible shipwreck and that they have risked their lives to protect us without abandoning it.
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