Estampa
Madrid, Spain - Oct. 17/20, 2024
“You have to listen to the schools of men with the soul of a woman... or a sultana"
Milagros Polo.
Humanity requires keeping its historical memory alive and its artifacts help us preserve it. Paperless Memory is an eco-feminist interpretation of collective memory, identity, and its importance using contemporary strategies.
The register leaves the document and the male language and becomes an interactive reflection on paperless memory, feminine memory, and without traditional testimonies. An approach full of resignification and tribute to the ancestors, to the evocation of the waters and their sound becoming, to the elementary particles of the dust and what it reveals, to the hands of women artists and artisans, paying tribute to them; to all of them.
Each particle of this proposal is a tribute to the ancestral roots and the vital role of nature in the formation of our identity. A tribute to objects, dust, artifacts, to the waters that not only remember but also tell stories of resilience and continuity, highlighting the importance of the voice and work of women in history.
Amor Muñoz creates constellations of ideas, stories and references associated with living subjects contextualizing certain technologies. Through technodiversity, she establishes connections between the ancestral, the technological, the organic, and the cultural. Amor records the sounds of water and teaches an artificial intelligence to interpret them, and we can learn from her to read poetry through binary codes. Zeros and ones become mixtures of black and white and sounds that are activated with our touch give voice to different bodies of water and allow us to listen to their hidden message, their memory.
Ana De Orbegoso seeks to keep our history alive and with her Neohuacos urges us to preserve it. Orbegoso gives these portraits of the Moche culture of Peru a contemporary air and brings them to the present creating a kind of spell of transverse and intersectoral representations, shows them active and confident that their function is to preserve the ancient and contemporary history for future generations.
Francisca Rojas uses the history and traditional elements immersed in the duality of the Andean vision and does so with an obvious feminist perspective. Using black clay she refers to the production of Quinchamalí ceramics, whose material base proposes a questioning of the distinctions between art and crafts. With her Quipus series, she recognizes them as an ancestor of the current computer systems with a decolonialist approach.
Gil Gijón interprets and sculpts particles from organic remains, skin, and hair of people in diverse places, as well as inorganic remains of the objects that are from carpet fibers, dirt dragged from the street under our shoes, environmental pollution, etc. In a poetic way, Gil recovers the memory of the dust and models it, listens to it, gives it life in search of an authentic representation to make present the journey of the spaces and their history. Dust becomes an eternal echo.
Altars and offerings: A contemporary milpa uses artistic strategies to talk about ecofeminism and biodiversity, highlighting the value of food as a source of life. This contemporary milpa composed of 12 women artists honors life and good nutrition and becomes a powerful symbol of the relationship between nature and humanity.
In times of recovery of historical memory and social justice, this group of artists exposes the hidden truth in objects, and they make us break the crystals and, like a cabinet of curiosities, invite us to learn from what has been lived.
Gabriela Rosso