23 septiembre, 2021 – 5 noviembre, 2021
Memory is a constitutive and key element for the formation of individual and collective identity. It allows us to understand where we come from and where we are going as a community.
The end of our history crosses us as a possible promise to rebuild the course of our societies. Observing the record of events and the way in which they accumulate, makes us walk through territories of truth, vices and human blunders, many of them as possible projects of emancipation, autonomy and freedom.
This exhibition brings together the work of four artists and two galleries, who from their own beliefs and experiences, reflect through various means the importance of endogenous and exogenous influences in the territory and the future of societies.
Lacan was the first to use this term to reflect what is closer to the inside, but without ceasing to be outside.
Four testimonies of stories framed in the socio-political realities of the events: a failed hetero patriarchal capitalist system and human beings surrounded by their obsessions and shortcomings. Here, the human faces in pre-Hispanic Peru, the Magdalena riverbed, the sad Pasto-gobelins of a nation, and Goya’s satire on the whims, show the extimité of societies that could be of any kind.
In this exhibition, art poses a question about our relationship with the past so that through ancestral iconographic traditions, memory is kept alive (Retazos de una Nación, Cristina Castagna) as part of human’s natural aspiration to perpetuate their appearance, to transcend, either as a symbol of authority, family, social memory or sign of identity (Neohuacos, Ana De Orbegoso). With these pieces, memory is recreated without being limited to the traces of the past but by overlapping in the present the constitutive yesterday that allows us to understand the different socioeconomic and political realities that we have lived as a society (Río Magdalena, Iván Hurtado). Paradoxically, they are now real images that reflect current situations and continue to confront and resemble images that we believed were part of the past, thus identity and conflict are spaces of dissent and visual confrontation that lead us to understand the local world as a great timeless reflection (Mirror Stage, Avelino Sala).
The paradox of extimacy becomes clear in this exhibition: artists who reflect through iconographies and references, the most intimate, but with an intimacy that is found on the outside and therefore transcends us.
A symptom? Perhaps Lacan would see the historical manifestations reflected in these works as signs and materializations of the repressed in our societies. Still an unfinished story, still a hope.
—Text by Gabriela Rosso and Paula Builes
Cristina Castagna, Ana De Orbegoso, Iván Hurtado, Avelino Sala.