Just as the art of the 20th century disrupted the dream of representation, rather than the objectivity of journalism, Mikel Telleria Aguado (Tolosa, 20 July 1975) has long been questioning the supposed role of the media, confronting reality and the media with clean and direct work that surprises the spectator of a blow.

In most cases he works in the written press, as the digital edition, probably like many men and women of his age, will be the most common “source of information”. But the artist's gaze is strange, not just, it's not just about everything the media counts, but how, especially how.

In his work he uses the characteristics of the media: he usually works in series, for example, and sometimes feeds those series every day, like Klika in series; as of 2011, he kept the headers he clicked in the digital editions of the written press, every day on a page. He once printed that page full of headers and put it on the wall of the gallery, renovating it every day with the headlines. But I had also done a sort of yearbook that contained those of a year.

The role of photography is a recurring theme in journalism (and in this supposed representation of reality). In the Izurrak series he took photographs of the press and with a simple prayer he completely changed the images; Serial landscapes placed on the photographs taken on the mountain the lemmas taken from the press, which had no relation to each other; The serial photo foot brought his question back to the end and the photo disappeared: the photo has disappeared and the foot holds the image, he makes the words.