Jose Carlos Soto

Carpa 1918 will be the second largest volume of the publications of this editorial mandate and, without a doubt, it is the logical continuation of the work published in 1588. In the days of the closure of that edition and the work on the revision of Carpa 1708, the author, helped by his two inseparable companions, he began to sketch the project that we offer our readers today.
In the introductory pages of 1588 we commented how during Paquita's conversations with the author, in passing, they commented on the long walks and photographic sessions that José Carlos carried out in his hometown for more than eleven years. Although these walks were reflected in the selection of artistic interventions included in his proposal, he renounced placing them spatially or temporally and all of us, in our editorial staff, consider that in this second volume, since it was decided to dedicate it to the author's relationship with the city of Barcelona, we should focus on placing the images in their exact time and place.
In submitting the first draft to our editorial mandate, I had prepared an orderly outline of how this volume should be published, and as it was, I had no doubt that it would be approved without question. When leaving the third room, for this reason, I was also convinced that nothing would remain of this first sketch as soon as I spoke with Jose Carlos and his team.
The confirmation came as soon as they picked up the phone, the sketch presented before the mandate seemed fascinating and brilliant, but, without hesitation, they would make a ball with it and give three points to the nearest wastebasket, said Jose Carlos from his studio.
-Don't worry, we'll build a fairy tale for you, Jose Carlos was conciliatory, but in the background, you could hear Paquita and Dorita howling about: the magical world of color...
And what the hell are the two of them doing at Jose Carlos's house? Shouldn't they be working at 1408?