Idoia Montón, antagonist, places her works in an unrelated, porous setting full of entries and exits for the autobiography and polyphony of commonplace occurrences. But it does not involve an accumulation; it is a selective process: decision-taking in the place of the slow, delicately eccentric life. Idoia has not stopped working on each occasion, exhaustively and resistant to the imposed reality of wealth and its culture of doom.
Her activity requires an incorruptible time to remain in a state of determination for all publics; they are case studies installed in spaces arranged in accordance with a hierarchy of three-dimensional devices, paintings and the writing of the drawing in collage in the form of stories and products, never separately, always in proliferation.
Idoia abuses intensely of each one of the exhibition methodologies, transforming these into combinations of the mimesis of the ordinary, the anticapitalist function and feminist disobedience.