As the title suggests, this video describes the urban environment which the author walks through ever day - the neighbourhood of El Raval, part of Barcelona’s old town -. He covers this space in a singular manner, guided by a specific and dynamic organisation of signs: a lot of graffities, street signs, plaques, posters, stickers, rubbish and other residues, the texture of the walls and the roads, the geometric designs of the tiles on the pavement... This is thus an imaginary tour, which is nonetheless as faithful to reality as any documentary film can be. Its mode of expression is a rhythm of forms, colours, signifiers... complicit with the music created by Ramón González. However, as the author clearly states, his video also embraces “the rhythm of things, the rhythm of each of us, the implicit rhythm of the spaces that we inhabit.” The passing footsteps that his images portray are witnesses to the facts of the world, the changes that disturb a neighbourhood with a long history, the heartbeats of a city, the worries and clamours of its inhabitants.
Even though the techniques of animation are one of the resources used in “Cada día paso por aquí”, this is not strictly an animation piece. It is rather a composition piece, a work of video compositing, in which stills and sequences taken with a digital photographic camera are worked on with editing and video postproduction programmes. This is Raúl Arroyo’s first work. He was born in Sevilla in 1977 and has been living in Barcelona since 2002. For a first piece it is remarkable that it is such a complete piece made out of such limited resources and with evident industry and care. On the other hand, it is obvious that the author has had previous experience in graphic creation and animation.
Absolutely everything in the piece, from the countdown and the initial titles -including the DVD cover-, is incorporated into it, integrated in its style and content. The driving motif is the animated silhouette of the anonymous passer-by - an ideogram associated with urban transit -. At different moments of the piece other elements are added to the silhouette, such as the flight of a hand drawn bird, that of a butterfly, or a row of ants in pieces of cut paper lined up on the floor. Along their path, these animated characters encounter dog excrements, discarded syringes and other waste. This is also a tour of the museum without walls, the ephemeral museum of the urban space, with its “décollages” of superimposed and torn posters, its street signs, its contrasting textures... And especially, the graffiti and the interjectory inscriptions (“vote idiot”, “contemporary panic”, “hate generates hate”, “power to moros”...) which refer to the hyperrealistic terrorism of 9/11, the Iraq war, and the Azores summit trio, fear of the immigrant and reality seen as a videogame.