{"id":7034,"date":"2024-09-14T21:00:00","date_gmt":"2024-09-14T19:00:00","guid":{"rendered":"https:\/\/dev.azhr.tv\/proyector.info?p=7034"},"modified":"2025-05-09T13:58:21","modified_gmt":"2025-05-09T11:58:21","slug":"in-memoria","status":"publish","type":"post","link":"https:\/\/dev.azhr.tv\/proyector.info\/en\/2024\/09\/14\/in-memoria\/","title":{"rendered":"In MEMORIA"},"content":{"rendered":"\n

\u201cFabi\u00e1n Salvioli<\/strong> (Special Rapporteur on the promotion of truth, justice, reparation and guarantees of non-recurrence), Aua Bald\u00e9<\/strong> (Rapporteur of the Working Group on Enforced or Involuntary Disappearances), and Morris Tidball-Binz<\/strong> (Special Rapporteur on extrajudicial, summary or arbitrary executions) signed a strongly worded report urging Spain to take the necessary measures against the so-called \u201claws of concord,\u201d which, among other things, avoid and\/or fail to mention or condemn the Francoist regime\u2014contributing to the promotion of revisionist or denialist narratives about the Civil War and the dictatorship\u201c<\/em>.*<\/em><\/p>\n\n\n\n

It doesn\u2019t matter when, where, or under what pretense or contextual excuse\u2014we continue to expose the necessity of remembering. A memento<\/em> for the dead. For those murdered, forgotten, disappeared, tortured; for the vulnerable, the exiled, the displaced\u2026<\/p>\n\n\n\n

In his Theses on the Philosophy of History<\/em>, Walter Benjamin<\/strong> offers a critical perspective on memory and history, warning that official narratives are written by the victors, leaving victims and the defeated in oblivion. According to Benjamin, every document of civilization is also a document of barbarism, and it is our duty to rescue from obscurity the silenced voices erased by violence and oppression.<\/p>\n\n\n\n

Theodor Adorno<\/strong> argues that reified consciousness is a factor that enables extreme forms of barbarism, and that our society fosters this type of consciousness. Through the intrinsic values of education, we might find a path toward individual and social transformation:<\/p>\n\n\n\n

\u2013 The autonomy of the individual and self-determination through reflective thought
\u2013 Active opposition to barbarism, to avoid falling into complicit silence (affectivity in the face of barbarism<\/em>)<\/p>\n\n\n\n

Both thinkers remind us: the past cannot be left behind without consequences.<\/p>\n\n\n\n

This brief exhibition at EL LOCAL<\/strong> evokes Klee\u2019s Angelus Novus<\/em>\u2014its horrified gaze, breathless mouth, outstretched wings. The Angel of History. The artists explore the act of remembering as a way to counter the violence of forgetting: the victims\u2019 final defeat. These works affirm a commitment that must remain continuous and conscious.<\/p>\n\n\n\n

\n\n\n\n

* EL PA\u00cdS. Brussels supports \u201cthe promotion of historical memory\u201d through laws that PP and VOX seek to repeal. Silvia Ayuso. Brussels, Aug 21, 2024.
Consignas<\/strong>, Theodor W. Adorno. Education after Auschwitz<\/em>;
Education for Emancipation<\/em>, Theodor W. Adorno. Education for Overcoming Barbarism<\/em><\/p>\n\n\n\n

\n\n\n\n

\u201cStones in Flight<\/strong>\u201d by Jos\u00e9 Luis Lozano<\/strong> (Spain)<\/p>\n\n\n\n

Lozano\u2019s installation, Stones in Flight<\/em>, confronts the viewer with images capturing the desperation of survival. Two opposing photographs show, on one side, people feeding on sugarcane in a desperate act of self-preservation; on the other, devastated sugarcane fields, marked by the footprints of those fleeing. Sugarcane becomes a symbol of both life and destruction. The \u201cstones\u201d are remnants of personal histories\u2014markers of memories resisting erasure. Each step in flight etches a trace of resistance and survival.<\/p>\n\n\n\n

\u201c43 Disappeared of Ayotzinapa<\/strong>\u201d by Emiliano Reyes<\/strong> (Mexico)<\/p>\n\n\n\n

Reyes\u2019 work on the 43 disappeared students of Ayotzinapa materializes collective memory in each young man\u2019s face. It is more than a tribute\u2014it is a silent accusation against indifference and impunity. These images uncover what has been suppressed, using the power of portraiture to demand justice and visibility. Foregrounded are the absences and gazes of 43 futures that were erased. A silent scream. An open wound.<\/p>\n\n\n\n

\u201cThe Other Face<\/strong>\u201d by Crist\u00f3bal Espinosa<\/strong> (Chile)<\/p>\n\n\n\n

Espinosa\u2019s piece, based on the repeated hammering of a Chilean 100-peso coin bearing the image of a Mapuche woman, symbolizes the silent violence of cultural erasure and assimilation. Hypnotic and repetitive, it methodically effaces the face on the coin. Espinosa forces us to confront the hypocrisy behind this apparent celebration of indigenous culture\u2014is this a new form of domination? So too must memory work be: continuous and critical.<\/p>\n\n\n\n

\u201cKrematorium<\/strong>\u201d by Miquel Garc\u00eda<\/strong> (Spain)<\/p>\n\n\n\n

In his performance Krematorium<\/em>, Garc\u00eda uses fire to reveal the names of Spanish Republicans murdered in Nazi concentration camps\u2014subverting the original act and its intent. Fire becomes not just a means to uncover the truth, but a symbol of purification and remembrance. The site of Garc\u00eda\u2019s performance re-creates a sense of refuge and permanence.<\/p>\n\n\n\n

Text by: Joana Groba<\/em><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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