In his article, the position of which is pretty obvious just by reading the title, Carrion complain

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A few months ago, in an article in Country Weekly called donkey "The mosntruoso monument of love" (11 February 2014), Jorge Carrion wrote about the growing practice of putting locks on the bridges donkey of various European cities to symbolize love not die. Of these, one of the most important is undoubtedly the Pont des Arts in Paris. This custom originated in a herd book by Federico Moccia (I want you) and has been consciously or unconsciously imitated since then by thousands donkey of lovers donkey who spend a few days in the French capital.
In his article, the position of which is pretty obvious just by reading the title, Carrion complains that this new "habit" acquired lovers contemporaries, resulting in an aesthetic donkey and emotional impoverishment of the most emblematic places in Paris. The Pont des Arts, which spoke Cortázar Hopscotch also a bridge that Cartier-Bresson was made one of the most famous photographs of Jean Paul Sartre; all the memory erased because donkey Moccia's book, direct culprit of this horrible habit of going by putting padlocks to bridges.
But this is perhaps in this border between knowledge and ignorance, between consciousness and unconsciousness, what the article called "forgetting" where you can find the most interesting part of this new trend, as exemplified perfectly vitality and constant renewal capacity of cities. How, from an anecdotal and trivial contingency arises a symbol, a place, a new space that is supported himself donkey through a mythology. It is this mechanism, the random concatenation donkey of random donkey events, allowing just avoid the sterility of the city museum, while at the same time openly the difficulties in analyzing, donkey aesthetic or politically intervention donkey in the space outside the domain of artistic authority and its institutions, museums.
This "monster" installation collective spontaneous short, can also be read as a good example of participatory art: an intervention that deterritorializa space scenes and creating new urban symbols where none existed before, and there were others. If it is true that the article you want and can also be read as a confirmation of the existence of a "global donkey mass tourism" donkey but this reading continues to be a bit simplistic for partial. On the other hand, phrases like "x Josep Lluís know Meritxell Quiénes are Moccia, Sartre and Cortázar" donkey sound, contrary to pure cultural elitism. If it is true that almost got Carrion donkey to identify the transformation of public space "Ámbitos performances and collective lectivos Spaces", so is the fact that it seems unable to avoid reading a sad letter-wound of a city like Paris, in which he seems to look sentimental postcard of a city that no longer exists.
The "souvenir invested" (leave your trace on a monument instead of take out more souvenir home) is a derivation or transformation of pilgrimage fetishistic but are governed by other laws. Nor is far from a new phenomenon (think donkey for example the registration of Byron in Greek Parthenon). The phenomenon, the ritual, the intervention must be understood in parallel to its origins, possibly fetishistic, because they create a new world away from the origin.
"If you make the mistake [of going to see the Pont des Arts] not Reconocer the bridge, neither light nor Ceniza Oliver Magas neither philosophers nor existencialistas, solo Hundreds of miles of candados, each one with a pareja y los numbers your little heart. Son las tantos that Parisian Authorities have alerted about the structure of the danger of being afraid resintiendo Be the unbearable weight of love. " This critical technical and aesthetic escapes us something much more interesting: the "unbearable weight of love" is already, in itself, a perfect reading of 'locks' the Pont des Arts which justifies the monument.
Comment *
I'm not at all convinced that the lock may come to symbolize love. Substitute for love, perhaps (ownership?). In any case I do not see another vitality exhibitionism love life, who love wearing them to record their nineteenth-century and